List of Contributors

Total Page:16

File Type:pdf, Size:1020Kb

List of Contributors LIST OF CONTRIBUTORS Susan C. Anderson, Professor of German at the University of Oregon, works on German and Austrian literature from the late 19th- century to the present. Her current research focuses on ideas of difference and identity and on modern reworkings of epic traditions. Recent publications have addressed metaphors of seeing, the figure of the outsider, storytelling and desire, and translation. She is presently completing a book on notions of the foreign in contemporary German narrative and film. Christine Anton is Associate Professor of German and Director of the Language Resource Center at Berry College in Georgia. She has published a number of articles on 19th and 20th-century German literature, including Schiller, Eichendorff, Ebner-Eschenbach, Stifter, Rilke, and Schlink, as well as second language acquisition and teaching methodology. She is the author of Selbstreflexivität der Kunsttheorie in den Künstlernovellen des Realismus (1998). Muriel Cormican is Professor of German at the University of West Georgia. Her articles on Lou Andreas-Salomé’s fictional works, Christa Wolf, and on German film have appeared in such places as The Women in German Yearbook, The German Studies Review, Seminar and The Philological Quarterly. She is the author of the book Women in the Works of Lou Andreas-Salomé: Negotiating Identity (2009). David N. Coury is Associate Professor of Humanistic Studies (German) and Global Studies at the University of Wisconsin-Green Bay. He has published widely on contemporary German literature and cinema as well as on literature and globality. He is the author of The Return of Storytelling in Contemporary German Literature and Film (2004), and co-editor, with Frank Pilipp, of The Works of Peter Handke: International Perspectives (2005). Norgard Klages received her Ph.D. from UNC-Chapel Hill in 1992. She has since taught German at The University of the South, Sewanee, 268 List of Contributors UNC-Chapel Hill where she also directed the undergraduate language program, and Salem College. Her publications and presentations focus on 20th-century women’s literature, second language acquisition and teaching methodologies. She currently teaches at UNCSA. Dagmar C. G. Lorenz is Professor of Germanic Studies at the University of Illinois at Chicago. In her research she focuses on 19th and 20th-century German and Austrian literature and culture, German- Jewish writing, and Holocaust literature and film. She was the editor of The German Quarterly from 1997 to 2003, and has held offices in major international scholarly associations. Her book publications include Keepers of the Motherland: German Texts by Jewish Women Writers (1997), and Verfolgung bis zum Massenmord. Diskurse zum Holocaust in deutscher Sprache (1992), and she edited From Fin-de- Siecle to Theresienstadt: The Works and Life of the Writer Elsa Porges-Bernstein (2007; co-editor Helga W. Kraft), A Companion to the Works of Elias Canetti (2004), A Companion to the Works of Arthur Schnitzler (2003), Contemporary Jewish Writing in Austria (1999), Transforming the Center, Eroding the Margins: Essays on Ethnic and Cultural Boundaries in German-Speaking Countries, (1998; co-editor Renate S. Posthofen), and Insiders and Outsiders. Jewish and Gentile Culture in Germany and Austria (1994). Sabine von Mering is Associate Professor of German and Director of the Center for German and European Studies and chair of the Jewish- German Dialogue group at Brandeis University in Massachusetts. She completed her Staatsexamen at Georg-August-Universität Göttingen (1991) and her Ph.D. in German Literature at the University of California Davis (1998). She co-edited Russian-Jewish Emigration after the Cold War: Perspectives from Germany, Israel, Canada, and the United States (2006). Jennifer E. Michaels is Samuel R. and Marie-Louise Rosenthal Professor of Humanities and Professor of German at Grinnell College in Iowa. She received her M.A. degree in German from Edinburgh University and an M.A. and Ph.D. in German from McGill University in Montreal. She has published four books and numerous articles about 20th-century German and Austrian literature and culture, and has .
Recommended publications
  • «Nirgends Sünde, Nirgends Laster»
    Ute Kröger «NIRGENDS SÜNDE, NIRGENDS LASTER» Zürich inspiriert Literaten Mit Texten von Hugo Ball, Johannes R. Becher, Claus Bremer, Max Brod, Elias Canetti, Paul Celan, Walter Matthias Diggelmann, Alfred Döblin, Friedrich Dürrenmatt, Kasimir Edschmid, Nanny von Escher, Robert Faesi, Max Frisch, Manuel Gasser, Friedrich Glauser, Johann Wolfgang Goethe, Kurt Guggenheim, Alexander Xaver Gwerder, Max Herrmann-Neisse, David Hess, Peter Hille, Hans Rudolf Hilty, Rudolf Jakob Humm, Meinrad Inglin, James Joyce, Franz Kafka, Ossip Kalenter, Gottfried Keller, Egon Erwin Kisch, Klabund, Friedrich Gottlieb Klopstock, Arnold Kübler, Meinrad Lienert, Hugo Loetscher, Klaus Mann, Thomas Mann, Nikiaus Meienberg, Conrad Ferdinand Meyer, Oskar Panizza, Joachim Ringelnatz, Max Rychner, Salomon Schinz, Barbara Schulthess, Mario Soldati, Tom Stoppard, Fridolin Tschudi, Grete von Urbanitzky, Richard Wagner, Robert Walser, Maria Waser, PaulWehrli, Ernst Zahn, Albin Zollinger Limmat Verlag Zürich Inhalt Vorwort 10 jm 800 Meinrad Lienert Grundstein für die Wasserkirche 12 Kaiser Karl der Grosse, die Schlange und der Hirsch m 1650 Conrad Ferdinand Meyer Liebesabenteuer auf der Au 18 Der Schuss von der Kanzel rn 1700 Maria Waser Nur fort aus dem Krähennest 32 Die Geschichte der Anna Waser 1750 Friedrich Gottlieb Klopstock Liebeleien auf dem See 44 Der Zürcher See 1774 Salomen Sclunz Aufgeklärte Botanik 50 Die Reise auf den Uethberg 1775 Johann Wolfgang Goethe Skandal um Nackte im Sihlwald 64 Dichtung und Wahrheit m 1780 Robert Faesi Revoluzzer auf dem Lindenhof
    [Show full text]
  • Staging Memory: the Drama Inside the Language of Elfriede Jelinek
    Studies in 20th & 21st Century Literature Volume 31 Issue 1 Austrian Literature: Gender, History, and Article 13 Memory 1-1-2007 Staging Memory: The Drama Inside the Language of Elfriede Jelinek Gita Honegger Arizona State University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, and the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Honegger, Gita (2007) "Staging Memory: The Drama Inside the Language of Elfriede Jelinek," Studies in 20th & 21st Century Literature: Vol. 31: Iss. 1, Article 13. https://doi.org/10.4148/2334-4415.1653 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Staging Memory: The Drama Inside the Language of Elfriede Jelinek Abstract This essay focuses on Jelinek's problematic relationship to her native Austria, as it is reflected in some of her most recent plays: Ein Sportstück (A Piece About Sports), In den Alpen (In the Alps) and Das Werk (The Plant). Taking her acceptance speech for the 2004 Nobel Prize for Literature as a starting point, my essay explores Jelinek's unique approach to her native language, which carries both the burden of historic guilt and the challenge of a distinguished, if tortured literary legacy. Furthermore, I examine the performative force of her language. Jelinek's "Dramas" do not unfold in action and dialogue, rather, they are embedded in the grammar itself.
    [Show full text]
  • Moses Und Aron and Viennese Jewish Modernism
    Finding Music’s Words: Moses und Aron and Viennese Jewish Modernism Maurice Cohn Candidate for Senior Honors in History, Oberlin College Thesis Advisor: Annemarie Sammartino Submitted Spring 2017 !2 Table of Contents Acknowledgments 3 Introduction 4 Chapter One 14 Chapter Two 34 Chapter Three 44 Conclusion 58 Bibliography 62 !3 Acknowledgments I have tremendous gratitude and gratefulness for all of the people who helped make this thesis a reality. There are far too many individuals for a complete list here, but I would like to mention a few. Firstly, to my advisor Ari Sammartino, who also chaired the honors seminar this year. Her intellectual guidance has been transformational for me, and I am incredibly thankful to have had her mentorship. Secondly, to the honors seminar students for 2016—2017. Their feedback and camaraderie was a wonderful counterweight to a thesis process that is often solitary. Thirdly, to Oberlin College and Conservatory. I have benefited enormously from my ability to be a double-degree student here, and am continually amazed by the support and dedication of both faculties to make this program work. And finally to my parents, Steve Cohn and Nancy Eberhardt. They were my first teachers, and remain my intellectual role models. !4 Introduction In 1946, Arnold Schoenberg composed a trio for violin, viola, and cello. Schoenberg earned his reputation as the quintessential musical modernist through complex, often gargantuan pieces with expansive and closely followed musical structures. By contrast, the musical building blocks of the trio are small and the writing is fragmented. The composer Martin Boykan wrote that the trio “is marked by interpolations, interruptions, even non-sequiturs, so that at times Schoenberg seems to be poised at the edge of incoherence.”1 Scattered throughout the piece are musical allusions to the Viennese waltz.
    [Show full text]
  • Theorizing and 'Playing' Sport in Elfriede Jelinek: Some Notes on Ein
    ALLYSON FIDDLER Theorizing and ‘Playing’ Sport in Elfriede Jelinek: Some Notes on Ein Sportstück ABSTRACT: In Ein Sportstück (1998) kulminieren Elfriede Jelineks Gedanken zum Thema Sport, obwohl die Autorin auch in früheren Stücken und Romanen das Motiv bereits eingesetzt hatte. In diesem Aufsatz werden soziologische, philosophische sowie auch dramaturgische Zusammenhänge des Sports erforscht und Überschneidungen mit den Bereichen Medien, Religion und Geschlechter- politik analysiert. Jelineks Kritik am Sport muß daher als ein vielfältiger und bedeutungsvoller Bestandteil ihrer gesamten Gesellschaftskritik angesehen werden. Bei Jelinek ist der Sport weder Ausdruck noch Motor der Zivilisierung, er ist vielmehr der Inbegriff des Krieges zu Friedenszeiten. Letzten Endes ist Sport für Jelinek auch Symptom einer faschistoiden Begeisterung für den starken gesunden Körper und einem Gefühl der „Zugehörigkeit“ förderlich, welches soziale, individuelle und pyschologische Gewalt auslösen muß. Letztere Perspektive gewinnt bei Jelinek durch Anspielungen auf die rechtspopulistische Freiheitliche Partei Österreichs mit ihrem sportlichen, telegenen und damals noch amtierenden Führer Jörg Haider eine österreichische Dimension. Ein Sportstück (1998) is by no means the first of Elfriede Jelinek’s works to have dealt with the theme of sport. It is merely the publication in which sport receives its most central treatment.1 In the following discussion I wish to interpret Jelinek’s deployment of sport and its I am grateful to the British Academy for a grant enabling me to undertake research towards this article. 1 Elfriede Jelinek, Ein Sportstück (Reinbek bei Hamburg, 1998). Some reference will also be made to the following Jelinek texts: Die Klavierspielerin (Reinbek, 1983), Krankheit oder moderne Frauen (Cologne, 1987), Totenauberg (Reinbek, 1991), and Stecken, Stab und Stangl, in Stecken, Stab und Stangl, Raststätte oder Sie machens alle, Wolken.
    [Show full text]
  • J.B.METZLER Metzler Lexikon Weltliteratur
    1682 J.B.METZLER Metzler Lexikon Weltliteratur 1000 Autoren von der Antike bis zur Gegenwart Band 1 A-F Herausgegeben von Axel Ruckaberle Verlag J. B. Metzler Stuttgart . Weimar Der Herausgeber Bibliografische Information Der Deutschen National­ Axel Ruckaberle ist Redakteur bei der Zeitschrift für bibliothek Literatur »TEXT+ KRITIK«, beim >>Kritischen Lexikon Die Deutsche Nationalbibliothek verzeichnet diese zur deutschsprachigen Gegenwartsliteratur<< (KLG) und Publikation in der Deutschen Nationalbibliografie; beim >>Kritischen Lexikon zur fremdsprachigen detaillierte bibliografische Daten sind im Internet über Gegenwartsliteratur<< (KLfG). <http://dnb.d-nb.de> abrufbar. Rund die Hälfte der in diesen Bänden versammelten Autorenporträts stammen aus den folgenden Lexika: >>Metzler Lexikon englischsprachiger Autorinnen und Autoren<<, herausgegeben von Eberhard Kreutzer und ISBN-13: 978-3-476-02093-2 Ansgar Nünning, 2002/2006. >>Metzler Autoren Lexikon<<, herausgegeben von Bernd Lutz und Benedikt Jeßing, 3. Auflage 2004. ISBN 978-3-476-02094-9 ISBN 978-3-476-00127-6 (eBook) »Metzler Lexikon amerikanischer Autoren<<, heraus­ DOI 10.1007/978-3-476-00127-6 gegeben von Bernd Engler und Kurt Müller, 2000. »Metzler Autorinnen Lexikon«, herausgegeben von Dieses Werk einschließlich aller seiner Teile ist urheber­ rechtlich geschützt. Jede Verwertung außerhalb der Ute Hechtfischer, Renate Hof, Inge Stephan und engen Grenzen des Urheberrechtsgesetzes ist ohne Flora Veit-Wild, 1998. Zustimmung des Verlages unzulässig und strafbar. Das >>Metzler Lexikon
    [Show full text]
  • The Austrian Problem of Language and Peter Handke: a Documentation
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1981 The Austrian Problem of Language and Peter Handke: a Documentation. Donald Russell Bailey Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bailey, Donald Russell, "The Austrian Problem of Language and Peter Handke: a Documentation." (1981). LSU Historical Dissertations and Theses. 3667. https://digitalcommons.lsu.edu/gradschool_disstheses/3667 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or "target” for pages apparently lacking from the document photographed is "Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.
    [Show full text]
  • Proquest Dissertations
    KATHARINA ANNA KROSNY UNIVERSITY COLLEGE LONDON, UNIVERSITY OF LONDON (PhD 2003) THE CAPACITY FOR WONDERMENT: TRANSFORMATIONS AND TRANSFIGURATIONS OF THE AESTHETE FIGURE IN SELECTED WORKS OF ENGLISH AND GERMAN FICTION FROM 1891 TO 1927 ProQuest Number: U642987 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642987 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Capacity for Wonderment -j ABSTRACT The thesis argues that, from the early nineteenth century onwards, primarily in response to the ever more assertive inroads of science, technology, and industrialisation, key thinkers and writers within British and German culture upheld the cardinal importance of art and the aesthetic. That reaction was the expression of and response to an urgent sense of cultural crisis. The thesis begins with an introduction that offers a brief historico-cultural survey of England, Germany, and Austria in the nineteenth century. There follows a lengthy chapter which summarises the theories of art advanced by both English and German thinkers from the Romantics to Pater and Nietzsche. The contention here is that aesthetic theory moves beyond the confines of the, as it were, technical discussion of a particular discipline and becomes, rather, the governing discourse for the expression of the central philosophical concerns of modernity.
    [Show full text]
  • From Art As a Science to the Death of Poetry: Hermann Broch in Dialogue with Scientific Thought in the Sleepwalkers (1931-1932) and the Death of Virgil (1945)
    Aletria, Belo Horizonte, v. 30, n. 2, p. 147-166, 2020 From Art as a Science to the Death of Poetry: Hermann Broch in Dialogue with Scientific Thought in The Sleepwalkers (1931-1932) and The Death of Virgil (1945) Da arte como ciência à morte da poesia: Hermann Broch em diálogo com o pensamento científico em The Sleepwalkers (1931-1932) e The Death of Virgil (1945) Eduardo Wright Cardoso Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio), Rio de Janeiro, Rio de Janeiro / Brasil [email protected] http://orcid.org/0000-0002-6932-1000 Abstract: This article reflects on the contacts and dialogues between literature and scientific thought in the works of Austrian writer Hermann Broch in the first half of the 20th century. His first novel,The Sleepwalkers [Die Schlafwandler] (1931-1932), points to certain interpretations, allusions and similarities in connection with thinkers such as Max Weber, Walter Benjamin and Hannah Arendt, which suggest the incorporation of literature to scientific and philosophical knowledge. Conversely, in his last fiction work, The Death of Virgil [Der Tod des Vergil] (1945), Broch seems to question and even to doubt the importance of literature as a way of reflecting on contemporary life. While prioritizing Broch’s early works, this article follows his trajectory as he incorporates philosophical, scientific, and religious considerations to fiction, while reflecting on the time in which he lived. Keywords: Hermann Broch; The Sleepwalkers; The Death of Virgil; scientific thought. Resumo: O objetivo deste artigo é refletir sobre os contatos e diálogos que o escritor austríaco Hermann Broch estabeleceu entre a literatura e o pensamento científico na primeira metade do século XX.
    [Show full text]
  • Room No. Name Profession Dates 101 Max Frisch Architect and Author 1911 1991
    FAMOUS ZURICH PERSONALITIES IN HOTEL RIGIHOF Room No. Name Profession Dates 101 Max Frisch Architect and author 1911 1991 102 Gottlieb Duttweiler Founder of the Migros store chain 1888 1962 103 Maximilian Bircher- Medical practitioner and dietary 1867 1939 Benner researcher 104 Anna Waser Painter of miniatures 1678 1714 105 Leopold Ruzicka Chemist 1887 1976 106 Else Züblin-Spiller Initiator of the soldiers‘ canteens 1881 1948 and the Swiss Soldiers‘ People’s Service Association 107 Othmar Ammann Bridge constructor 1879 1965 108 Arthur O. Honegger Composer 1892 1955 109 Johanna Spyri Author 1827 1901 110 Johann Heinrich Educationalist 1746 1827 Pestalozzi 111 Therese Giehse Actress 1898 1975 112 Johann Heinrich Füssli Painter 1741 1825 113 Carl Gustav Jung Psychiatrist 1875 1961 114 Arnold Bürkli Building engineer 1833 1894 115 Rüdiger Manesse Nobleman and song collector 1252 1304 116 Paul Burkhard Composer 1911 1977 117 Olga Meyer Author 1889 1972 118 Rudolf Koller Painter 1828 1905 119 Mathilde Wesendonck Author and patron of the arts 1828 1902 120 Rolf Liebermann Composer and theatre director 1910 1999 121 Paul Usteri Lawyer and politician 1853 1927 122 Ricarda Huch Author and historian 1864 1947 200 Lukas Zeiner Glass painter 1454 1513 201 Anna Heer Gynaecologist and surgeon 1863 1918 202 Johann Caspar Lavater Pastor and author 1741 1801 203 Alfred F. Bluntschli Architect 1842 1930 204 Verena Loewensberg Painter 1912 1986 205 Conrad Ferdinand Author 1825 1898 Meyer 206 Suzanne Perrottet Dance educationalist and therapist 1889 1983 207
    [Show full text]
  • Fruits of the Fire
    FRUITS OF THE FIRE a historical and literary fantasy by Piers Burton-Page Two elderly Austrian writers meet again in London, and relive a traumatic episode in Vienna during the Twenties. In a wave of political protest, on 15 July 1927 nearly ninety people died and the Palace of Justice was set ablaze. The two men witnessed the mobs and the violence from opposite sides – and the scars have still not healed. Page 1 of 39 CAST Elias Canetti Heimito von Doderer Gusti Hasterlik Veza Canetti Iris Murdoch Page 2 of 39 A brief montage of riot sounds: running feet, cries of panic, sirens, horses’ hooves, vehicles, gunshots. Flames, initially barely perceptible, grow to an inferno, swamping all else. Fade. Lights up. Gusti Hasterlik: I saw it all. The 15th of July was a Friday. The heat was intense, the sun blazing down from early morning. I remember coming out of my flat in the suburbs and being almost blinded by the glare. I remember walking to the tram stop to catch a tram into the centre of the city. It took a while before I realised everywhere was unnaturally quiet. There was a man already at the tram stop and he told me he’d been waiting nearly half an hour. It was very unusual. Then someone else went past and said we might be there all day. The electricity workers had gone on strike at 8 o’clock that morning to take part in a protest march. There’d been ugly scenes already, and the stand-off might turn nasty at any moment.
    [Show full text]
  • Capaok Cortes.Indd
    The author as an actor. Karl Kraus and the scene of writing António Sousa Ribeiro Universidade de Coimbra As is well known, one of the basic tenets of the reformation of the theatre in different national contexts in Europe in the course of the Enlightenment was the postulate of the strict predominance of the literary text as the essential basis determining all the details of the theatrical performance. It was not until the turn from the 19th to the 20th centuries, as Erika Fischer-Lichte (2001) reminds us, that this conception of the relationship between text and performance in the theatre became problematic, giving rise to a reversal of the hierarchy between those two terms that manifested itself abundantly not only in new theatrical practices but also in theoretical thinking about the theatre as an art form in its own right, as witnessed prominently e.g. by Gordon Craig’s refl ections on the art of the theatre (1911). The concomitant rise of the theatre director contributed in turn to the emancipation from the literary text and to the highlighting of a notion of the theatrical conceived as a total practice which was autonomous from if not outrightly at odds with dramatic literature. Paradoxically, or not, the same context of the turn of the century that saw the rise of theatre as an autonomous art form also witnessed the rise of antitheatrical drama, i.e. of a kind of dramatic writing that was apparently indifferent or even hostile to the idea of the theatre. The new genres of the “ecstatic drama”, “lyrical drama”, “closet drama”, etc., all partake of the often conjured up antitheatrical nature of modernism (Moi, 2004) in that they represent a celebration of writing which shuns any specifi c reference to theatrical practice.
    [Show full text]
  • Duke University [email protected] German Studies Department 919-660-3168 (Office) 116 Old Chemistry / Box 90256 / Durham, NC 27708 USA
    KATA GELLEN Duke University [email protected] German Studies Department 919-660-3168 (office) 116 Old Chemistry / Box 90256 / Durham, NC 27708 USA EMPLOYMENT Duke University, Durham, NC Associate Professor of German, 2020–present (on leave fall 2020) Core Affiliated Faculty in Jewish Studies, 2014–present Assistant Professor of German, 2012–2019 Lecturer in German, 2011–2012 Post-doctoral Fellow in German, 2009–2011 EDUCATION 2010 PhD, German. Princeton University, Princeton, NJ. Dissertation title: Earwitnesses: Noise in German Modernist Writing. Advisers: Michael Jennings (German) and Daniel Heller-Roazen (Comparative Literature) 2006–2007 DAAD Research Fellow. Humboldt University, Berlin, Germany. 2000–2001 Fulbright Scholar. University of Vienna, Austria. 2000 B.A. magna cum laude. History and Literature. Harvard University, Cambridge, MA. AWARDS AND FELLOWSHIPS DAAD Faculty Summer Seminar. Cornell University, Ithaca, NY (June 17–July 27, 2018) – declined Andrew W. Mellon Assistant Professorship in the Humanities. Duke University (2017–2018) Mellon Grant ($25,000) awarded by the Franklin Humanities Institute and the Center for Philosophy, Arts, and Literature, with Dr. Saskia Ziolkowski. Project title: Whose Kafka? Multiplicity, Reception, and Interpretation. Duke University (2014–2015) Max Kade Prize for the Best Article in the Journal of Austrian Studies for 2011–2012 (awarded 2014) Volkswagen-Mellon Postdoctoral Fellowship in the Humanities. Project title: Eastern Promises? Discovering Modernism in the Eastern European German Jewish Novel. Dahlem Humanities Center, Free University Berlin, Germany (2013–2014) IFK Research Fellowship. Vienna, Austria (spring 2014) – declined Departmental Course Development Mini-Grant for the projecy “Staging Austria,” with Dr. Corinna Kahnke. Duke University (spring 2013) Arts & Sciences Committee on Faculty Research Grant.
    [Show full text]