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1 - 10 of 17 results for: GERMAN

GERMAN 80N: Modern Conservatives

How do conservatives respond to the modern world? How do they find a balance between tradition and freedom, or between stability and change? This seminar will examine selections from some conservative and some classically liberal writers that address these questions. At the center of the course are thinkers who left Germany and Austria before the Second World War: Friedrich Hayek, Leo Strauss and Hannah Arendt. We will also look at earlier European writers, such Edmund Burke and Friedrich Nietzsche, as well as some recent American thinkers. Taught in English.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum
Instructors: Berman, R. (PI)

GERMAN 116: Writing About Germany: New Topics, New Genres

For Seniors who are declared German Studies majors. How to write about various topics in German Studies for a wide public through opinion pieces or blogs. Topics based on student interests: current politics, economics, European affairs, start-ups in Germany. Intensive focus on writing. Taught in English. Fulfills the WIM requirement.
Terms: Aut, Win, Spr | Units: 3-4
Instructors: Berman, R. (PI)

GERMAN 120N: The Brothers Grimm and Their Fairy Tales

Historical, biographical, linguistic, and literary look at the Kinder- and Hausmarchen of Jacob and Wilhelm Grimm. Readings from the fairy tales, plus materials in other media such as film and the visual arts. Four short essays, one or two oral reports. Preference to Freshmen; class then opens to all. Fulfills WIM for German majors (must be taken for letter grade.) In German.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
Instructors: Robinson, O. (PI)

GERMAN 131: What is German Literature?

This course covers material from the fairy tales of German romanticism, expressionist poetry and painting, literary responses to Nazi Germany and reflections on a unified Germany. Exploring the shifting relationships between cultural aesthetics, entertainment, historical context, and "what is German" we will cover roughly 250 years of literary and artistic production, social and political upheavals, as well as the lives of numerous authors, both male and female. Taught in German.
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Starkey, K. (PI)

GERMAN 154: Poetic Thinking Across Media (COMPLIT 154B, JEWISHST 144B)

Even before Novalis claimed that the world must be romanticized, thinkers, writers, and artists wanted to perceive the human and natural world poetically. The pre- and post-romantic poetic modes of thinking they created are the subject of this course. Readings include Ecclestias, Zhaozhou Congshen, Montaigne, Nietzsche, Kafka, Benjamin, Arendt, and Sontag. This course will also present poetic thinking in the visual arts--from the expressionism of Ingmar Bergman to the neo-romanticism of Gerhard Richter.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
Instructors: Eshel, A. (PI)

GERMAN 199: Individual Work

Repeatable for Credit. Instructor Consent Required
Terms: Aut, Win, Spr, Sum | Units: 1-12 | Repeatable for credit

GERMAN 233: Cultures of Forgetting: On the Ethics and Aesthetics of Dementia

Both identity and narration rely on memory and (some extent of) cohesion. What happens in the case of dementia, when the ability to remember fails and language tends to disintegrate? Reading scientific and (fictitious or biographical) literary texts, we will analyze competing concepts of forgetting, their bioethical and political impact against the backdrop of (post-) World War II, possible differences between European and American ways of relating dementia, and the aesthetic strategies of telling stories about the breakdown of language. Readings include literary texts by J. Bernlef, Irene Dische, Ulrike Draesner, Jonathan Franzen, Arno Geiger, Michael Ignatieff, Tilman Jens, and Alice Munro. Taught in English with some readings in German. 6-week course, offered weeks 1-6.
Terms: Aut | Units: 3

GERMAN 246: Hegel's Phenomenology of Spirit

Written in the turmoil of the Napoleonic Wars, Hegel's masterpiece is a freewheeling philosophical story about what Hegel takes to be the experiential path that consciousness must traverse from rudimentary awareness to insight into the absolute truth. Experience, as Hegel understands it, is a necessary process in the course of which consciousness becomes estranged from itself in order finally to recognize itself in its object. This recognition seals the knowledge that thought is not finite and constrained by an inert reality but absolutely free, the only source of authority for modern subjects. We will ask whether Hegel's thesis about the supremacy of conceptual thought is compatible with his reliance on narrative form and dramatic impersonation. How does Hegel's survey of rival models of consciousness and forms of life relate to historical reality? Is the ideal of modernity upheld by Hegel still relevant in the light of recent developments? Discussion and readings in English.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
Instructors: Dornbach, M. (PI)

GERMAN 262: The Total Work of Art (TAPS 262S)

Frequently associated with the work of Richard Wagner, The Total Work of Art (or Gesamtkunstwerk) is a genre that aims to synthesize a range of artistic forms into an organic unity, a unity that both models and helps to forge an ideal state. This seminar will examine the history of the Gesamtkunstwerk from its roots in German Romanticism to the present day, focusing on the genre's relations with technology and mass culture across a wide range of media. Creations we will consider include Wagner's Festival Theatre at Bayreuth, Walter Gropius' plans for a Totaltheater, Bertolt Brecht and Kurt Weill's radio-oratorio The Lindbergh Flight, Leni Riefenstahl's Triumph of the Will, Walt Disney's theme parks, Andy Warhol's Exploding Plastic Inevitable, and Bill Gates' "home of the future." Taught in English.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II
Instructors: Smith, M. (PI)
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