Ge6 Module Descriptions and Reading Lists

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Ge6 Module Descriptions and Reading Lists
1. Sexuality and the Unconscious
The conflict between social norms and sexual desire became a salient public issue in
the period around 1900, and it lies at the heart of Freud’s project of psychoanalysis
as well as the literary writing of that time. This module focuses on Wedekind’s
famous drama about adolescent sexuality, Frühlings Erwachen, and Schnitzler’s
equally well-known narrative representation of a young woman confronting a
profound sexual dilemma, Fräulein Else. It also provides the opportunity to consider
how Freud’s ideas might help us understand these literary texts on the one hand, and
the senses in which Freud’s thinking should itself be viewed critically as a
manifestation of the culture of his time on the other.
Primary material
▪ Frank Wedekind, Frühlings Erwachen
▪ Arthur Schnitzler, Fräulein Else
▪ Sigmund Freud, Vorlesungen zur Einführung in die Psychoanalyse, lectures 5-7
and 9-11 (on the interpretation of dreams), 20 (‘Das menschliche Sexualleben’),
and 31 (‘Die Zerlegung der psychischen Persönlichkeit’)
Introductory reading
▪ Elizabeth Boa, The Sexual Circus (Oxford 1987), chapter 2
▪ Elisabeth Bronfen, Over Her Dead Body: death, femininity and the aesthetic
(Manchester University Press 1992), pp. 281-90
▪ Anthony Storr, Freud, Oxford 1989
For further study (long essay option)
▪ Freud, Drei Abhandlungen zur Sexualtheorie (1905), with one of the following: a)
Wedekind, Erdgeist; David Midgley, ‘Wedekind: Erdgeist’, in Peter Hutchinson
(ed.), Landmarks in German Drama (Oxford: Lang, 2002), pp. 143-58; Ruth
Florack, Wedekinds ‘Lulu’: Zerrbild der Sinnlichkeit (Tübingen: Niemeyer, 1995) b)
Arthur Schnitzler, ‘Frau Beate und ihr Sohn’; Michael Titzmann, ‘Normenkrise und
Psychologie in der frühen Moderne: Zur Interpretation von Arthur Schnitzlers “Frau
Beate und ihr Sohn”’, Recherches Germaniques 28 (1998), 97-112; Silvia
Kronberger, Die unerhörten Töchter: Fräulein Else und Elektra und die
gesellschaftliche Funktion der Hysterie (Innsbruck: Studien Verlag, 2002) c)
Robert Musil, Die Verwirrungen des Zöglings Törleß; Andrew Webber, ‘Robert
Musil, Die Verwirrungen des Zöglings Törleß’, in David Midgley (ed.), The German
Novel in the Twentieth Century: Beyond Realism (Edinburgh: Edinburgh UP,
1993); Patrizia C. McBride, The Void of Ethics: Robert Musil and the experience of
modernity (Evanston IL: Northwestern UP, 2006), chapter 1
Further secondary reading
▪ Andrew Webber, ‘Psychoanalysis, Homosexuality, and Modernism’, in The
Cambridge Companion to Gay and Lesbian Writing, ed. Hugh Stevens
(Cambridge: CUP, 2011), pp. 34-49
▪ Juliet Mitchell, Psychoanalysis and Feminism (London 1974)
▪ Malcolm Bowie, ‘Freud and Art’, in Psychoanalysis and the Future of Theory
(Oxford: Blackwell, 1993)
2. Transformations of the National Idea 1890-1989
German national identity underwent profound changes between 1890 and 1989.
Questions about the relationship between national identity and the state posed
themselves with traumatic regularity: after 1888, with the accession of the impetuous
Emperor Wilhelm II; in the Weimar Republic after 1918 and the Third Reich after
1933; after 1945 with the emergence of two German states; and in 1989-90 with the
unification of the German Democratic Republic and the Federal Republic of
Germany. Between 1890 and 1945 German nationalism became increasingly radical
and xenophobic, shaped by the ideological conflict between Left and Right and by
racial thinking. After the Second World War and the Holocaust the Germans had to
redefine their relationship with their past and, in both East Germany and West
Germany, they forged new ideas about their identity and their role in Europe. The
selection of primary material will enable students to explore political, social and
cultural-historical dimensions of the development of modern German national identity
in its European context.
Primary Material (Short texts to be made available as a pdf document via
CamTools.)
▪ Selected extracts from Lesebuch zur deutschen Geschichte, vol. 3, ed. Bernhard
Pollmann, (Dortmund: Chronik Verlag, 1984), pp. 21-26, 41-6, 58-61, 63-9, 82-5,
120-9, 134-5, 150-3, 177-98, 209-11, 221-5, 229-32, 234-49, 258-60.
▪ Selected extracts from Nürnberg Laws (1935)
▪ Preamble to the Grundgesetz fur die Bundesrepublik Deutschland (23.05.1949),
also articles 20-27 on ‘Der Bund und die Länder’, and 116
▪ Preambles to Verfassung der Deutschen Demokratischen Republik of 7 October
1949 and 1974
▪ Bundespräsident Horst Köhler, Ansprache 8.v.2005, Rede vor dem Bundestag
zum 60. Jahrestag der deutschen Kapitulation 1945
(http://www.bundespraesident.de/SharedDocs/Reden/DE/HorstKoehler/Reden/2005/05/20050508_Rede.html)
Recommended reading
▪ Stefan Berger, Inventing the Nation: Germany (London: Bloomsbury, 2004), ch. 37
▪ John Breuilly (ed.), The state of Germany: the national idea in the making,
unmaking and remaking of a modern nation state (London: Longman, 1992), ch. 1,
6-12.
▪ John Breuilly, ‘The national idea in modern German history’, in Mary Fulbrook
(ed.), German History since 1800 (London: Hodder Arnold, 1997), pp.556-84.
▪ William W. Hagen, German history in modern times: four lives of the nation
(Cambridge CUP, 2012), Part III + IV.
▪ Helmut Walser Smith (ed.), Oxford Handbook of Modern German History (Oxford:
OUP, 2011), ch. 22, 24, 31, 34, 35.
▪ Volker Kronenberg, ‘Verfassungs-patriotismus im vereinten Deutschland’, Aus
Politik und Zeitgeschichte (28/2009) online at
http://www.bpb.de/apuz/31878/verfassungs-patriotismus-im-vereintendeutschland?p=0▪ Selected extracts from Peter Alter (ed.), Nationalismus: Dokumente zur
Geschichte und Gegenwart (Munich: Piper, 1994).
▪ “Historikerstreit”. Die Dokumentation der Kontroverse um die Einzigartigkeit der
national-sozialistischen Judenvernichtung, 9th edn (Munich: Piper, 1995), pp. 3947, 62-76, 132-42.
▪ Students are also advised to consult the website of the Deutsches Historisches
Museum for an illustrated account of the period (including documents):
http://www.dhm.de/lemo/home.html
▪ David Blackbourn and James Retallack (ed.), Localism, landscape and the
ambiguities of place: German-speaking central Europe, 1860-1930(Toronto:
Toronto University Press, 2007), Introduction and chapter 6.
▪ Peter Blickle, Heimat: A critical theory of the German idea of homeland
(Rochester: Camden House, 2002).
▪ Ian Buruma, The Wages of Guilt: Memories of War in Germany and Japan (1995),
Introduction and pp. 69-91, 137-76, 239-61.
▪ Jane Caplan (ed.), Nazi Germany (Oxford: OUP, 2008), chapters 1, 4, 10.
▪ Norbert Frei, 1945 und wir: Das Dritte Reich im Bewußtsein der Deutschen
(enlarged edition, Munich: dtv, 2009).
▪ Mary Fulbrook, German national identity after the holocaust (Cambridge: Polity,
1999).
3. Searching the City: Urban Culture in the Weimar Period
This module is concerned with German urban culture in its heyday: the period of the
Weimar Republic. While the burgeoning cities of the 1920s and early 1930s
provide the environment for new forms of freedom and pleasure, they also become
haunted by fears and subject to new forms of control and constraint. We will
consider a range of classic works that concern themselves with the ambivalent
character of urban culture, focusing on the themes of crime and punishment,
surveillance and vigilance, capture and evasion. The key texts will be Fritz Lang’s
classic film M: Eine Stadt sucht einen Mörder and two works by Brecht, his
musical drama (with Kurt Weill) Die Dreigroschenoper and the short poetry cycle,
Aus einem Lesebuch für Städtebewohner. The module will also draw on the work
of two pioneering theorists of urban culture in the Weimar period, Walter Benjamin
and Siegfried Kracauer.
Primary Material
▪ Fritz Lang, M – eine Stadt sucht einen Mörder (1931)
▪ Bertolt Brecht, Die Dreigroschenoper (1928), Aus einem Lesebuch für
Städtebewohner
▪ (1931)
▪ Extracts from: Siegfried Kracauer, Das Ornament der Masse, Der DetektivRoman; Walter Benjamin, Kommentare zu Gedichten von Brecht, Was ist das
epische Theater?; Bertolt Brecht, Der Dreigroschenprozess (1931).
▪ Anton Kaes, M. (London: BFI, 2000).
▪ David Midgley, Writing Weimar: Critical Realism in German Literature, 1918-1933
(Oxford: Oxford University Press, 2000), especially pp. 88-94.
▪ Peter Thompson and Glendyr Sacks (eds.), The Cambridge Companion to Bertolt
Brecht (Cambridge: CUP, 1994), especially pp. 78-89, 225-41.
▪ Janet Ward, Weimar Surfaces: Urban Visual Culture in 1920s Germany (Berkeley:
University of California Press, 2001), especially pp. 233-40.
▪ Bertolt Brecht, ‘Anmerkungen zur Dreigroschenoper’, Aufstieg und Fall der Stadt
Mahagonny (1930), ‘Anmerkungen zur Oper, Aufstieg und Fall der Stadt
Mahagonny’;
▪ Alfred Döblin, Berlin Alexanderplatz (1928, and film version by Phil Jutzi (1931));
▪ Joe May, Asphalt (1929);
▪ G. W. Pabst’s film version of Die Dreigroschenoper (1931);
▪ Fritz Lang, Das Testament des Dr. Mabuse (1933);
▪ Erich Kästner, Emil und die Detektive (1929, and film version by Gerhard
Lamprecht (1931));
▪ Irmgard Keun, Das kunstseidene Mädchen (1932).
▪ P. V. Brady, ‘Aus einem Lesebuch für Städtebewohner: On a Brecht essay in
Obliqueness’, German Life and Letters 26.2 (January 1973), 160-172.
▪ Todd Herzog, Criminalistic Fantasy and the Culture of Crisis in Weimar Germany
(Berghahn, 2009), especially pp. 13-33.
▪ Helmut Lethen, Cool Conduct: The Culture of Distance in Weimar Germany
(Berkeley: University of California Press, 2002), especially pp. 133-41.
▪ Carlo Salzani, ‘The City as Crime Scene: Walter Benjamin and the Traces of the
Detective’, New German Critique, 100 (Winter 2007), 165-187.
4. Lies, Secrets and Narrative
Although, as the social and aesthetic philosopher T. W. Adorno says in ‘Standort des
Erzählers im zeitgenössischen Roman’ (1954), Kafka may not be a good model, it
is hard to think of serious European literature since the Second World War without
his presence. Adorno’s radio essay was broadcast at the time of Ingeborg
Bachmann’s first fame as a lyric poet, and this module aims to focus study upon
the responses of Modernist prose in German to the rhetorical challenge facing the
realist novel, a challenge described in Adorno’s essay in characteristically
idiosyncratic intellectual style. Bachmann’s own turn to prose in Das dreißigste
Jahr (1961, the title of a collection of short stories, of which the eponymous ‘Das
dreißigste Jahr’ is the longest) implies a dialogue with Kafka’s most famous novel,
Der Proceß (written 1914-15, published 1925), as well as with other examples of
his fiction, such as Die Verwandlung. In both texts narrative fiction forges a path
between the ‘Lüge der Darstellung’, as Adorno puts it, and the secret of what
might lie beyond the exhausted cultural discourses of the twentieth century.
Primary Material
▪ Franz Kafka, Der Proceß
▪ Ingeborg Bachmann, ‘Das dreißigste Jahr’
▪ T. W. Adorno, ‘Standort des Erzählers im zeitgenössischen Roman’
▪ Frank Pilipp, Ingeborg Bachmanns Das dreißigste Jahr: Kritischer Kommentar und
Deutung (Würzburg: Königshausen und Neumann, 2001)
▪ Julian Preece (ed.), The Cambridge Companion to Kafka (Cambridge: CUP, 2002)
▪ Ritchie Robertson, Kafka: A Very Short Introduction (Oxford: OUP, 2004)
▪ H. Scott Porter, The Cambridge Introduction to Narrative (Cambridge: CUP, 2008)
▪ Sigrid Weigel, Ingeborg Bachmann: Hinterlassenschaften unter Wahrung des
Briefgeheimnissess (Munich: DTV, 2003), 28-46; 113-134
▪ Bachmann, ‘Literatur als Utopie’, the other stories from Das dreißigste Jahr; Kafka,
Aphorisms, Der Verschollene
▪ Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life, trans. D. HellerRoazen (Stanford: Stanford UP, 1998), 49-62
▪ Monika Albrecht & Dirk Göttsche, eds., Bachmann-Handbuch: Leben, Werk,
Wirkung (Stuttgart/Weimar: Metzler), 2002
▪ Jean Améry, ‘Die Tortur’ and ‘Wieviel Heimat braucht der Mensch?’, in Jenseits
von Schuld und Sühne: Bewältigungsversuche eines Überwältigten (Stuttgart:
Klett-Cotta, 1977), 46-101
▪ Mathias Mayer, Werke von Ingeborg Bachmann (Stuttgart: Reclam, 2002), 140-55
▪ Frank Pilipp, ‘Der Wahrheitsbegriff bei Kafka und Bachmann’, Modern Austrian
Literature, 24, 1 (1991), 43-57
▪ Ritchie Robertson, Kafka: Judaism, Politics, and Literature (Oxford: OUP, 1985),
87-130
▪ Ursula Töller, Erinnern und Erzählen: Studie zu Ingeborg Bachmanns Erzählband
“Das dreißigste Jahr” (Berlin: Erich Schmidt Verlag, 1998)
▪ Sigrid Weigel, ‘“Stadt ohne Gewähr”: Topographie der Erinnerung in der
Intertextualität von Bachmann und Benjamin’, in Dirk Göttsche & Hubert Ohl, eds,
Ingeborg Bachmann: Neue Beiträge zu ihrem Werk (Würzburg: Königshausen &
Neumann, 1993), 253-264
▪ Theodore Ziolkowski, ‘The Novel of the Thirty-Year-Old’, in Dimensions of the
Modern European Novel: German Texts and European Contexts (Princeton:
Princeton UP, 1969). 258-88
5. Living between the cultures in Germany
Many ethnic communities have settled in Germany during the last fifty years, since
migrant labourers were first formally encouraged to come to the Federal Republic to
assist in Germany’s economic development. Public attention tends to focus on those
of Turkish descent, not least because of the concerns about the compatibility of
Christian and Moslem cultures that flare up from time to time. This module focuses
on a well-known book – Özdamar’s Mutterzunge – that evokes the experiences of
social and linguistic adaptation in particularly vivid ways, and a recent film – Akin’s
Auf der anderen Seite – which explores the complex nature of relations between the
generations and the sexes as well as between ethnic backgrounds. These works are
studied in the light of theoretical perspectives on cultural identity in a global society
that have been developed in recent decades, to which Robert Young provides an
excellent initial guide.
Primary Material
▪ Emine Sevgi Özdamar, Mutterzunge (1990)
▪ Fatih Akın, Auf der anderen Seite (2007)
▪ Robert Young, Colonial Desire (London: Routledge, 1995), chap. 1, and Leslie A.
Adelson, ‘Against Between’ (in New German Critique 80 (2000), 93-124, and
reprinted in S. Hassan and I. Dadi (eds), Unpacking Europe, Rotterdam 2001, pp.
244-55; T. Cheesman and K. Yeşilada (eds), Zafer Şenocak, Cardiff 2003, pp.
130-43; Text + Kritik, Sonderband IX/06: Literatur und Migration, 2006, 36-46)
▪ Deniz Göktürk, David Gramling, Anton Kaes (eds), Germany in Transit: Nation and
Migration 1955-2005 (Berkley: University of California Press, 2007). This is a
documentary volume; the introduction to each chapter provides a concise guide to
the aspect in question, including literary writing and film.
▪ Moray McGowan, ‘Turkish-German fiction since the mid 1990s’, in Stuart Taberner
(ed.), Contemporary German Fiction. Writing in the Berlin Republic (Cambridge:
Cambridge University Press, 2007)
▪ Leslie A. Adelson, The Turkish Turn in Contemporary German Literature: toward a
new critical grammar of migration (New York: Palgrave Macmillan, 2005), with one
or two of the following: a) Feridun Zaimoğlu, Kanak Sprak (1995) b) Thomas
Arslan, Geschwister (1997) c) Emine Sevgi Özdamar, Die Brücke vom goldenen
Horn (1998)
▪ Helmut Schmitz, Von der nationalen zur internationalen Literatur: Transkulturelle
deutschsprachige Literatur und Kultur im Zeitalter globaler Migration (Amsterdam:
Rodopi, 2009), Introduction and section III (Deutsch-türkische Literatur und Film)
▪ Tom Cheesman, Novels of Turkish German settlement: cosmopolite fictions
(Rochester, N.Y.: Camden House 2007)
▪ Margaret Littler, ‘Diasporic Identity in Emine Sevgi Özdamar’s Mutterzunge’, in S.
Taberner and F. Finlay (eds), Recasting German Identity: Culture, Politics and
Literature in the Berlin Republic, Rochester 2002, pp. 219-34
▪ Yasemin Yildiz, ‘Political Trauma and Literal Translation: Emine Sevgi Özdamar’s
Mutterzunge’, Gegenwartsliteratur: ein germanistisches Jahrbuch 7 (2008), 248-70
▪ Özkan Ezli (ed.), Kultur als Ereignis. Fatih Akıns Film "Auf der anderen Seite" als
transkulturelle Narration, Bielefeld 2010, contributions by Levent Tezcan and
Valentin Rauer
▪ Tom Cheesman, ‘Talking “Kanak”: Zaimoğlu contra Leitkultur’, New German
Critique 92 (2004), 82-99
▪ Thomas Ernst, ‘“Kanak Sprak” and Union Suspecte: scandals around hybrid and
multilingual literature in Germany and Belgium’, in Mirjam Gebauer, Pia Schwarz
Lausten (eds), Migration and Literature in Contemporary Europe, Munich 2010,
243-57
▪ Maria Mayr, 'Among and Between: alterity in Emine Sevgi Özdamar's Die Brücke
vom Goldenen Horn’, in Mirjam Gebauer, Pia Schwarz Lausten (eds), Migration
and Literature in Contemporary Europe, Munich 2010, 319-32
6. Contemporary German Memory Work: Text and Image
The contemporary culture of the German-speaking countries is intensely concerned
with the imperatives and problems of the work of memory, and this module will
explore these concerns through a combination of textual and visual material. When
cultural memory work is under greatest pressure to create appropriate archives and
achieve adequate testimony, it reaches for varied combinations of material and of
media, and not least for combinations of pictures and words. The module will
consider issues of contemporary memory culture through the work of a writer who is
also profoundly concerned with images – W. G. Sebald, and two artists who are also
profoundly concerned with words and texts – Anselm Kiefer and Gerhard Richter.
Through the complex historical layering that they achieve in their works, we will see
both the possibilities and the limitations of memory culture in the shadow zone after
dark times.
Primary Material
▪ W. G. Sebald, Die Ausgewanderten (1992)
▪ Anselm Kiefer, e.g. Besetzungen; Mohn und Gedächtnis; Shulamith and
Margarete images; Volkszählung
▪ Gerhard Richter, e.g. Reichstag; October 18, 1977 (see http://www.gerhardrichter.com/art/)
Introductory reading / viewing
▪ Aleida Assmann, ‘Four Formats of Memory: From Individual to Collective
Constructions of the Past’, in David Midgley and Christian Emden (eds), Cultural
Memory and Historical Consciousness in the German-speaking World since 1500,
pp. 19-37.
▪ Corinna Belz, Gerhard Richter Painting (documentary film, 2011, available in
Faculty Library)
▪ J. J. Long, W. G. Sebald: Image, Archive, Modernity (New York: Columbia
University Press, 2010), especially pp. 109-29.
▪ Andrea Lauterwein, Anselm Kiefer/Paul Celan: Myth, Mourning and Memory
(London: Thames and Hudson, 2007), especially pp. 87-131.
▪ W. G. Sebald, Die Ringe des Saturn (1995), Luftkrieg und Literatur (2003); Paul
Celan, Mohn und Gedächtnis (1952), especially ‘Todesfuge’; images by Thomas
Demand ( http://www.thomasdemand.info/images/photographs/). Herta Müller,
Atemschaukel (2009)
Further reading / viewing
▪ Anne Fuchs and J. J. Long (ed.), W. G. Sebald and the Writing of History
(Würzburg: Königshausen & Neumann, 2007), especially pp. 163-78 (Carolin
Duttlinger, ‘A Lineage of Destruction’).
▪ Scott Denham and Mark McCulloh (eds.), W. G. Sebald: History, Memory, Trauma
(Berlin: de Gruyter, 2005), especially pp. 205-18 (Maya Barzilai, ‘On Exposure’).
▪ Sophie Fiennes, Over Your Cities Grass Will Grow (documentary film on Kiefer,
2010, available in Faculty Library)
▪ Martin Henatsch, Gerhard Richter, 18. Oktober 1977: Das verwischte Bild der
Geschichte (Frankfurt a. M.: Fischer, 1998)
▪ Linda Hutcheon, Irony and the Power of the Unsaid [on Anselm Kiefer]
▪
▪
▪
▪
▪
(Newfoundland: Memorial University, 1993), available in the West Room of the
University Library, classmark 1997.8.5248.
Anselm Kiefer, with texts by Werner Spies (Künzelsau: Swiridoff, 2004)
Lise Patt and Christel Dillbohner (eds), Searching for Sebald: Photography after
W. G. Sebald (London: Institute of Cultural Inquiry, 2007)
Gerhard Richter: Editions 1965-2004 (Ostfildern-Ruit: Hatje Cantz, 2004)
Lisa Saltzman, Anselm Kiefer and Art after Auschwitz (Cambridge: Cambridge
University Press, 1999)
David C. Ward, ‘Ghost Worlds of the Ordinary: W. G. Sebald and Gerhard Richter’,
PN Review 152, 29.6 (July/August 2003), 32–36.

Ge6 Module Descriptions and Reading Lists

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