Bildu G and Gender in Nineteenth- Century Bourgeois Germany
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Erik Pringsheims Tod in Argentinien- Ein Bayrisch-Puntanisch-Schottisches Drama
Juan D. Delius und Julia A. M. Delius Erik Pringsheims Tod in Argentinien- ein bayrisch-puntanisch-schottisches Drama Es ist bekannt, dass Thomas Mann beim Schreiben seiner Biicher gerne auf die Erfahrungen seiner Familienmitglieder zuriickgriff. Seine Schwiegermutter Hedwig Pringsheim (1855-1942) war eine derjenigen, die ihn gelegentlich mit solchem Quellmaterial versorgten. Sie war die Tochter des Kladderadatsch-Re dakteurs Ernst Dohm (1819-1883) und der friihen Frauenrechtlerin Hedwig Dohm (1831-1919) und hatte eine Karriere als Schauspielerin aufgegeben, um 1878 Alfred Pringsheim (1850-1941) zu heiraten. Dieser war ein sehr reicher Mathematikprofessor in Miinchen: Sein Vater Rudolf Pringsheim (1821-1906) hatte als Fuhr- und Bergbauunternehmer ein riesiges Vermogen gemacht. Um 1890 baute sich das junge Ehepaar Pringsheim in Miinchen eine prachtige Villa, Treffpunkt vieler Schriftsteller, Musiker und Maler der damaligen Zeit. Das Paar hatte fiinf Kinder. Die jiingste Tochter Katia (1883-1980) heiratete 1905 Thomas Mann und spielte eine einflussreiche Rolle in seinem Leben. Hier inte ressiert uns aber der erste Sohn der Pringsheims, Erik, 1879 in Miinchen gebo ren.! Er wuchs unauffallig heran und erlangte das Abitur am Wilhelmsgymna sium, Miinchen. 1897 nahm er das Universitatsstudium am Balliol College, , Die hier vorgestellten Nachforschungen wurden durch das Buch von Inge und Waiter Jens: Katias Mutter. Das auflerordentliche Leben der Hedwig Pringsheim (Hamburg: Rowohlt 2005) angeregt. Als Inge und Waiter Jens Auf der Suche nach dem verlorenen Sohn. Die Siidamerika Reise der Hedwig Pringsheim (2. erw. Auf!., Hamburg: Rowohlt 2008) vorbereiteten, hat der argentinische Erstautor des vorliegenden Beitrags einige Einzelheiten zur Geschichte des Erik Pringsheim beigesteuert, siehe S. 164. Der vorliegende Aufsatz baut auf den Schilderungen in diesem Buch auf und prasentiert seitdem hinzugekommene Befunde. -
My German-Jewish Legacy and Theirs Anthony Heilbut
My German-Jewish Legacy and Theirs Anthony Heilbut This German-Jewish legacy, how German is it? and how Jewish? Moreover, what kind of Germans? what sort of Jews? Who inherits this legacy, a Joseph or a Judah? What legacy do our Joseph and Judah select? Surely not the same one. It's typically German, typically Jew- ish, typically German-Jewish to stress the uniqueness of one's group, attended by an inexorable ambivalence, another specialty of the three groups in question. A perfectly straightforward issue is posed, and immediately my tone seems captious. I have two explanations: a general one-I'm upset by any form of cultural nationalism-and one more immediate: A few months ago, I spoke with a young German. He was both effusive in his praise of German Jewry and obsequious in his apology for crimes committed years before his birth. (In Germany, wallowing in guilt and self-pity seems as timeless as bad taste.) Finally he revealed his agenda: "Let's face it," he said. "Germans are the best people, and Jews make the best Germans." Aha, I thought, there you go. We're either the best or not good enough. Much about the German-Jewish legacy eludes facile generalization, starting with the question of Germanness. Consider my family's com- plicated roots. The son of a Hamburg father and a London mother, my father was born in Amsterdam. Maritime links between his parents' cities helped make the Hamburgers spirited Anglophiles. For Ham- burg Jews as well, British connections added a whiff of cosmopolitan style, particularly during the nineteenth century when German--or German-Jewish-identity was newly formed and tentative. -
Femininity and Dress in fic- Tion by German Women Writers, 1840-1910
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Scripts, skirts, and stays: femininity and dress in fic- tion by German women writers, 1840-1910 https://eprints.bbk.ac.uk/id/eprint/40147/ Version: Full Version Citation: Nevin, Elodie (2015) Scripts, skirts, and stays: femininity and dress in fiction by German women writers, 1840-1910. [Thesis] (Unpub- lished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Scripts, Skirts, and Stays: Femininity and Dress in Fiction by German Women Writers, 1840-1910 Elodie Nevin Thesis submitted for the degree of PhD in German 2015 Department of European Cultures and Languages Birkbeck, University of London Declaration for PhD thesis I have read and understood the regulations for students of Birkbeck, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Date: 12/08/2015 2 Abstract This thesis examines the importance of sartorial detail in fiction by German women writers of the nineteenth century. Using a methodology based on Judith Butler’s gender theory, it examines how femininity is perceived and presented and argues that clothes are essential to female characterisation and both the perpetuation and breakdown of gender stereotypes. -
Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895)
Private Lives and Collective Destinies: Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895) Dissertation submitted for the degree of Doctor of Philosophy Benedict Keble Schofield Department of Germanic Studies University of Sheffield June 2009 Contents Abstract v Acknowledgements vi 1 Introduction 1 1.1 Literature and Tendenz in the mid-19th Century 1 1.2 Gustav Freytag: a Literary-Political Life 2 1.2.1 Freytag's Life and Works 2 1.2.2 Critical Responses to Freytag 4 1.3 Conceptual Frameworks and Core Terminology 10 1.4 Editions and Sources 1 1 1.4.1 The Gesammelte Werke 1 1 1.4.2 The Erinnerungen aus meinem Leben 12 1.4.3 Letters, Manuscripts and Archival Material 13 1.5 Structure of the Thesis 14 2 Political and Aesthetic Trends in Gustav Freytag's Vormiirz Poetry 17 2.1 Introduction: the Path to Poetry 17 2.2 In Breslau (1845) 18 2.2.1 In Breslau: Context, Composition and Theme 18 2.2.2 Politically Responsive Poetry 24 2.2.3 Domestic and Narrative Poetry 34 2.2.4 Poetic Imagination and Political Engagement 40 2.3 Conclusion: Early Concerns and Future Patterns 44 3 Gustav Freytag's Theatrical Practice in the 1840s: the Vormiirz Dramas 46 3.1 Introduction: from Poetry to Drama 46 3.2 Die Brautfahrt, oder Kunz von der Rosen (1841) 48 3.2.1 Die Brautfahrt: Context, Composition and Theme 48 3.2.2 The Hoftheater Competition of 1841: Die Brautfahrt as Comedy 50 3.2.3 Manipulating the Past: the Historical Background to Die Brautfahrt 53 3.2.4 The Question of Dramatic Hero: the Function ofKunz 57 3.2.5 Sub-Conclusion: Die -
Positionings of Jewish Self
“SCHREIBEN WAS HIER WAR” BEYOND THE HOLOCAUST-PARADIGM: (RE)POSITIONINGS OF JEWISH SELF-IDENTITY IN GERMAN-JEWISH NARRATIVES PAST AND PRESENT by Martina Wells B.A equivalent, English and History, University of Mainz, Germany 1985 M.A., German Studies, University of Pittsburgh, 2008 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Martina Wells It was defended on March 31, 2015 and approved by Randall Halle, Klaus W. Jonas Professor of German Film and Cultural Studies, Department of German John B. Lyon, Associate Professor, Department of German Lina Insana, Associate Professor, Department of French & Italian Languages and Literatures Dissertation Advisor: Sabine von Dirke, Associate Professor, Department of German ii Copyright © by Martina Wells 2015 iii “SCHREIBEN WAS HIER WAR” BEYOND THE HOLOCAUST-PARADIGM: (RE)POSITIONINGS OF JEWISH SELF-IDENTITY IN GERMAN-JEWISH NARRATIVES PAST AND PRESENT Martina Wells, PhD University of Pittsburgh, 2015 This dissertation examines the stakes of self-Orientalizing in literary and cinematographic texts of German-Jewish cultural producers in the context of Jewish emancipation and modernization. Positing Jewish emancipation as a trans-historical and cultural process, my study traces the poetic journey of a particular set of Orientalist tropes from 19th century ghetto stories to contemporary writings and film at the turn of the millennium to address a twofold question: what could this problematic method of representation accomplish for Germany’s Jewish minority in the past, and how do we understand its re-appropriation by Germany’s “new Jewry” today. -
Jiddistik Heute
לקט ייִ דישע שטודיעס הנט Jiddistik heute Yiddish Studies Today לקט Der vorliegende Sammelband eröffnet eine neue Reihe wissenschaftli- cher Studien zur Jiddistik sowie philolo- gischer Editionen und Studienausgaben jiddischer Literatur. Jiddisch, Englisch und Deutsch stehen als Publikationsspra- chen gleichberechtigt nebeneinander. Leket erscheint anlässlich des xv. Sym posiums für Jiddische Studien in Deutschland, ein im Jahre 1998 von Erika Timm und Marion Aptroot als für das in Deutschland noch junge Fach Jiddistik und dessen interdisziplinären אָ רשונג אויסגאַבעס און ייִדיש אויסגאַבעס און אָ רשונג Umfeld ins Leben gerufenes Forum. Die im Band versammelten 32 Essays zur jiddischen Literatur-, Sprach- und Kul- turwissenschaft von Autoren aus Europa, den usa, Kanada und Israel vermitteln ein Bild von der Lebendigkeit und Viel- falt jiddistischer Forschung heute. Yiddish & Research Editions ISBN 978-3-943460-09-4 Jiddistik Jiddistik & Forschung Edition 9 783943 460094 ִיידיש ַאויסגאבעס און ָ ארשונג Jiddistik Edition & Forschung Yiddish Editions & Research Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Band 1 לקט ִיידישע שטודיעס ַהנט Jiddistik heute Yiddish Studies Today Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Yidish : oysgabes un forshung Jiddistik : Edition & Forschung Yiddish : Editions & Research Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Band 1 Leket : yidishe shtudyes haynt Leket : Jiddistik heute Leket : Yiddish Studies Today Bibliografijische Information Der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliografijie ; detaillierte bibliografijische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © düsseldorf university press, Düsseldorf 2012 Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urhe- berrechtlich geschützt. -
Schiller's Egmont and the Beginnings of Weimar Classicism*
Steffan Davies Schiller’s Egmont and the Beginnings of Weimar Classicism* This essay examines Schiller’s stage version of Goethe’s Egmont, which was performed in Weimar in April 1796 and which Schiller described as “gewissermaasen Göthens und mein gemeinschaftliches Werk”. Beginning with his review of Egmont in 1788 the essay demonstrates some of the principles on which Schiller amended the text, and then shows that these match changes in Goethe’s own writing by the mid-1790s. On this basis it evalu- ates the correspondence between Goethe and Schiller, and other biographical texts, to reconsider the view that Goethe’s misgivings about the adaptation marked a low-point in their relationship. It argues that Schiller’s work on Egmont instead deserves to be seen as a constructive experience in the development of the Weimar alliance. I. Schiller had spent three weeks in Weimar watching performances by Iffland and his visiting theatre company when he wrote a letter to Körner on 10 April 1796. His aim: to persuade Körner to join him for Iffland’s last performance, Goethe’s Egmont, which he had adapted for the stage. He sounds happy with his stay and with his work, describing the new Egmont as “gewissermaasen Göthens und mein gemeinschaftliches Werk” (NA 28. 210–211). Goethe, Schiller and Iffland – surely Körner would not want to miss experiencing such a combination of talents.1 * Schiller’s texts are quoted from Schillers Werke. Nationalausgabe. Ed. by Julius Petersen, Gerhard Fricke et al. Weimar: Hermann Böhlaus Nachf. 1943ff. Quotations are identified by NA with volume and page numbers. -
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates a Disse
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Richard Block, Chair Sabine Wilke Ellwood Wiggins Program Authorized to Offer Degree: Germanics ©Copyright 2018 Nathan Jensen Bates University of Washington Abstract Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates Chair of the Supervisory Committee: Professor Richard Block Germanics This dissertation explores the question of how German modernist novels anticipate and critique the transhumanist theory of mind-uploading in an attempt to avert binary thinking. German modernist novels simulate the mind and expose the indistinct limits of that simulation. Simulation is understood in this study as defined by Jean Baudrillard in Simulacra and Simulation. The novels discussed in this work include Thomas Mann’s Der Zauberberg; Hermann Broch’s Die Schlafwandler; Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf; and, in the conclusion, Irmgard Keun’s Das Kunstseidene Mädchen is offered as a field of future inquiry. These primary sources disclose at least three aspects of the mind that are resistant to discrete articulation; that is, the uploading or extraction of the mind into a foreign context. A fourth is proposed, but only provisionally, in the conclusion of this work. The aspects resistant to uploading are defined and discussed as situatedness, plurality, and adaptability to ambiguity. Each of these aspects relates to one of the three steps of mind- uploading summarized in Nick Bostrom’s treatment of the subject. -
German and Dutch Courses
Course Descriptions for German Courses Spring 2017 See also our courses listed under Literature in Translation. ----------------------------- German 101 First Semester German, 4 credits 001 09:55 AM 10:45 AM MTWRF 002 11:00 AM 11:50 AM MTWRF 003 11:00 AM 11:50 AM MTWRF 004 12:05 PM 12:55 PM MTWRF 005 01:20 PM 02:10 PM MTWRF 006 03:30 PM 04:50 PM MWR Prerequisites: None. (This course is also offered for graduate students as German 401.) Presumes no knowledge of the German language. In the course students learn basic vocabulary around topics such as classroom objects, daily routines, descriptions of people and objects, simple narration in present time, etc. German 101 covers material presented in the textbook VORSPRUNG from Kapitel 1 to Kapitel 6. Students read and discuss “real” texts (written by and for native) speakers from the start. Grammar is explained using examples from these texts as well as from a graphic novel, told in installments, that traces the journey of an American exchange student, Anna Adler, to the university in Tübingen as well as her adventures once there. The course also offers basic cultural insights and comparisons that are further elaborated on in second-year courses. Testing is done in increments of chapter quizzes; there is no mid- term and no traditional final exam. Students also complete writing & reading assignments as well as matching assessments, all with a take-home component. There are two oral projects. Class participation is encouraged and an attendance policy is in place. This course cannot be audited. -
Germany from Luther to Bismarck
University of California at San Diego HIEU 132 GERMANY FROM LUTHER TO BISMARCK Fall quarter 2009 #658659 Class meets Tuesdays and Thursdays from 2 until 3:20 in Warren Lecture Hall 2111 Professor Deborah Hertz Humanities and Social Science Building 6024 534 5501 Readers of the papers and examinations: Ms Monique Wiesmueller, [email protected]. Office Hours: Wednesdays 1:30 to 3 and by appointment CONTACTING THE PROFESSOR Please do not contact me by e-mail, but instead speak to me before or after class or on the phone during my office hour. I check the mailbox inside of our web site regularly. In an emergency you may contact the assistant to the Judaic Studies Program, Ms. Dorothy Wagoner at [email protected]; 534 4551. CLASSROOM ETIQUETTE. Please do not eat in class, drinks are acceptable. Please note that you should have your laptops, cell phones, and any other devices turned off during class. Students do too much multi-tasking for 1 the instructor to monitor. Try the simple beauty of a notebook and a pen. If so many students did not shop during class, you could enjoy the privilege of taking notes on your laptops. Power point presentations in class are a gift to those who attend and will not be available on the class web site. Attendance is not taken in class. Come to learn and to discuss. Class texts: All of the texts have been ordered with Groundworks Books in the Old Student Center and have been placed on Library Reserve. We have a systematic problem that Triton Link does not list the Groundworks booklists, but privileges the Price Center Bookstore. -
Download Report 2010-12
RESEARCH REPORt 2010—2012 MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science Cover: Aurora borealis paintings by William Crowder, National Geographic (1947). The International Geophysical Year (1957–8) transformed research on the aurora, one of nature’s most elusive and intensely beautiful phenomena. Aurorae became the center of interest for the big science of powerful rockets, complex satellites and large group efforts to understand the magnetic and charged particle environment of the earth. The auroral visoplot displayed here provided guidance for recording observations in a standardized form, translating the sublime aesthetics of pictorial depictions of aurorae into the mechanical aesthetics of numbers and symbols. Most of the portait photographs were taken by Skúli Sigurdsson RESEARCH REPORT 2010—2012 MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science Introduction The Max Planck Institute for the History of Science (MPIWG) is made up of three Departments, each administered by a Director, and several Independent Research Groups, each led for five years by an outstanding junior scholar. Since its foundation in 1994 the MPIWG has investigated fundamental questions of the history of knowl- edge from the Neolithic to the present. The focus has been on the history of the natu- ral sciences, but recent projects have also integrated the history of technology and the history of the human sciences into a more panoramic view of the history of knowl- edge. Of central interest is the emergence of basic categories of scientific thinking and practice as well as their transformation over time: examples include experiment, ob- servation, normalcy, space, evidence, biodiversity or force. -
(1814/15–1890) 2. Literatur 1830–1848 2.1
PD Dr. Michael Ansel: Ringvorlesung „Einführung in die Geschichte der deutschen Literatur“: Vormärz und Realismus (WiSe 2013/14) Seite 1 Übersicht 1. Historische Rahmendaten (1814/15–1890) 2. Literatur 1830–1848 2.1. Problematik des Epochenbegriffs 2.1.1. Vormärz 2.1.2. Biedermeier 2.1.3. Literatur der Restaurationsepoche 2.2. Literarisches Leben 2.3. Summarische Epochencharakteristik 2.4. Wichtige Werke 2.4.1. Lyrik 2.4.2. Prosa 2.4.3. Drama 3. Literatur 1850–1890 3.1. Epochenbegriff 3.1.1. Binnendifferenzierung der Epoche 3.2. Literarisches Leben 3.3. Summarische Epochencharakteristik 3.4. Fontane als epochentypischer Autor 3.5. Wichtige Werke 3.5.1. Lyrik 3.5.2. Prosa 3.5.3. Drama 4. Forschungsliteratur 4.1. Einführende Literatur zum Vormärz/Biedermeier 4.2. Einführende Literatur zum Realismus 4.3. Literatur zur Epochenproblematik 4.4. Quellensammlungen zum Vormärz/Biedermeier und Realismus 1. Historische Rahmendaten 1814/15 Wiener Kongress, Gründung des Deutschen Bundes 1817 Wartburgfest 1818/20 Verfassungen in Bayern, Baden, Württemberg, Hessen-Darmstadt 1819 Karlsbader Beschlüsse: Demagogenverfolgungen und Einführung der Vorzensur 1830/31 Julirevolution/Verfassungen in Sachsen, Hannover, Braunschweig, Hessen-Kassel 1832 Hambacher Fest 1834 Deutscher Zollverein 1848/49 Märzrevolution/Nationalversammlung/Oktroyierte Verfassung in Preußen 1864 Deutsch-Dänischer Krieg PD Dr. Michael Ansel: Ringvorlesung „Einführung in die Geschichte der deutschen Literatur“: Vormärz und Realismus (WiSe 2013/14) Seite 2 1866 Norddeutscher Bund 1871 Gründung des Deutschen Reichs 1890 Entlassung Bismarcks 2. Literatur 1830–1850 2.1. Problematik des Epochenbegriffs Es gibt keine unumstrittene Benennung der Literatur dieses Zeitraums, als konkurrierende Begriffe werden Vormärz (2.1.1.), Biedermeier (2.1.2.) und Literatur der Restaurationsepoche (2.1.3.) ver- wendet 2.1.1.