Department: Arts and Sciences : Germanic Languages and Literature ![[clear]](close-x.png "Remove this limiter")
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1.
BAKER, JULIA K.
THE RETURN OF THE CHILD EXILE: RE-ENACTMENT OF CHILDHOOD TRAUMA IN JEWISH LIFE-WRITING AND DOCUMENTARY FILM.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2007, University of Cincinnati
► “The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish…
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▼ “The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film” is a study of the literary responses of writers who were Jewish children in hiding and exile during World War II and of documentary films on the topic of refugee children and children in exile. The goal of this dissertation is to investigate the relationships between trauma, memory, fantasy and narrative in a close reading/viewing of different forms of Jewish life-writing and documentary film by means of a scientifically informed approach to childhood trauma. Chapter 1 discusses the reception of Binjamin Wilkomirski’s Fragments (1994), which was hailed as a paradigmatic traumatic narrative written by a child survivor before it was discovered to be a fictional text based on the author’s invented Jewish life-story. In this chapter, I also review established adaptations of trauma in literature, as introduced most prominently into the humanities by Shoshana Felman, Dori Laub and Cathy Caruth, and subsequently propose a more clinicial view of trauma informed by childhood trauma research and cognitive psychology. My methodological approach thus links recent scholarship on Holocaust literature with contemporary trauma theory. Subsequently, Fragments serves as a point of departure to discuss the links between traumatic memory, fantasy and narrative in Georges-Arthur Goldschmidt’s pseudo-autobiographical texts Der Spiegeltag, Ein Garten in Deutschland, Die Absonderung, Der unterbrochene Wald, and Die Aussetzung, as well as his autobiography Über die Flüsse (Chapter 2), Stefanie Zweig’s two autobiographical novels Nirgendwo in Afrika and Irgendwo in Deutschland (Chapter 3), and Lore Segal’s memoir turned novel Other People’s Houses (Chapter 4). Following Lenore Terr’s and other childhood trauma specialists’ insights, I locate the four most common characteristics found in traumatized children in Goldschmidt’s, Zweig’s and Segal’s texts. These characteristics are: strongly visualized or otherwise repeatedly perceived memories, repetitive behaviors, trauma-specific fears, and changed attitudes about people, aspects of life, and the future. Finally, in chapter 5, I show how childhood trauma and child exiles have been depicted in documentary films such as Into the Arms of Strangers (2000), My Knees Were Jumping (1995), and Vielleicht habe ich Glück gehabt (2003).
Advisors/Committee Members: Gerstenberger, Dr. Katharina.
Subjects: Literature, Germanic
Keywords: Life-Writing, Childhood Trauma, Jewish Children in Exile, Refugee Children, Holocaust Literature, Binjamin Wilkomirski, Georges-Arthur Goldschmidt, Stefanie Zweig, Lore Segal, Documentary Film
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2.
BERG, FLORIAN.
DIE MACHT DER KUNST ZU EINEM VERGLEICH HEIDEGGERS UND FOUCAULTS.
Degree: MA, Arts and Sciences : Germanic Languages and Literature, 2001, University of Cincinnati
► The thesis is a comparison of main thoughts of Martin Heidegger (1889-1976)…
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▼ The thesis is a comparison of main thoughts of Martin Heidegger (1889-1976) and Michel Foucault (1926-1984). Foucault is the philosopher of power but this theme is often overlooked in Heidegger´s work. In the first chapter these writer´s conceptions of power are compared and it is shown that both of them reject the idea of an autonomous human subject. Instead of this humanist perspective they consider the human being as part of a machinery of relations between people, institutions and technology that is not controllable by humans. The second and the third chapter describe the consequences for the historicity of thinking. For Heidegger and Foucault history (as res gestae) is something unseperable from language, it happens as language. The power relations form the rules of languages spoken in a particular cultural and historical field, i.e. they determine and produce the historical truth. It is discussed which implications this standpoint has for both writer´s historiography and its status of truth (they make different claims). The fourth chapter is the most important one because it deals with the role of art in history and the role of the artist in a world without autonomous subjects. Heidegger and Foucault take different perspectives in different phases of their works but it is characteristic for Heidegger that the work of art is regarded as a language that can produce a new historical truth. Therefore the work of art undermines the actual complex of power and language and it opens space for something new. The early Foucault is similarily enthusiastic about the role of art but then he regards art as just another controlled part of a large machinery. The late Foucault returns to a position closely connected to the early Heidegger´s existentialism. Now the relation of a human being to himself is considered an act of art. The mergence of Heidegger and Foucault can provide us with thoughts which reject a history in terms of progress and continuity. It is a different history that pays attention to power and forces but also to art as a creative relation to oneself and a positive form of power.
Advisors/Committee Members: Mladek, Klaus.
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3.
Buesch, Marie-Luise.
Von den (Irr-)Wegen der Frauen in Karen Duves Romanen Regenroman, Dies ist kein Liebeslied und Taxi sowie in der Kurzgeschichtensammlung Keine Ahnung.
Degree: MA, Arts and Sciences : Germanic Languages and Literature, 2008, University of Cincinnati
► This thesis offers an analysis of Karen Duve's Regenroman (1999), Dies ist…
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▼ This thesis offers an analysis of Karen Duve's Regenroman (1999), Dies ist kein Liebeslied (2002), Taxi (2008) and the short story collection Keine Ahnung (1999) in regard to their positions toward feminism and postfeminism. It argues that Karen Duve as a feminist follows a postfeminist agenda in her work, which employs contradictions, sexual prejudices and violence in order to add to the (post)feminist discourse. The text analysis is structured around the works' common themes, focusing on the female protagonists' physicality, family relationships, sexuality, and professional lives. Because of exaggerated and ironic representations of the women and men in Duve's works the reader is caught between recognition and parody of his/her behavior. At the same time, Duve composes an up-to-date, positive feminism for women even though, or perhaps because, she works with psychologically fragile female protagonists.
Advisors/Committee Members: Gerstenberger, Katharina.
Subjects: German literature
Keywords: Duve; Regenroman; Taxi; Liebeslied; Keine Ahnung; Feminismus; Postfeminismus; German feminism
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4.
Engels, Andrea.
W. G. Sebalds Nach der Natur. Ein Elementargedicht.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2009, University of Cincinnati
► „W.G. Sebalds Nach der Natur. Ein Elementargedicht“ bemüht sich, die Missverständnisse und…
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▼ „W.G. Sebalds Nach der Natur. Ein Elementargedicht“ bemüht sich, die Missverständnisse und Verwirrungen, die sich im Laufe der Zeit um das Elementargedicht Nach der Natur in der Sekundärliteratur über den Text angesammelt haben, aufzulösen. Bis zu dieser Arbeit blieb die Sebald-Forschung dem Gedicht eine genaue Analyse schuldig. In der Einleitung wird nicht nur die kurze Rezeptionsgeschichte des Gedichtes Nach der Natur behandelt, sondern weiterhin auch die Entstehungsgeschichte. Dabei wird die originale Greno-Publikation von 1988 verwendet, die ebenfalls eine Erläuterung der Photographien des Münchener Photographen Thomas Becker beinhaltet. Das Kapitel „Sebalds Grünewald“ bemüht sich, zum einen der Intertextualität Sebalds in Nach der Natur auf die Spur zukommen und weiterhin eine verständliche Interpretation der Ergebnisse anzubieten. Es wird dabei deutlich, dass Sebald sich in diesem Abschnitt nicht nur auf die Forschung über Grünewald vor, sondern auch nach dem Zweiten Weltkrieg stützt, und sie folglich kontrastiert. Durch diese Vorgehensweise ist es dem Autor möglich, eine nicht nur von unserer Gegenwart entfernte historische Gestalt in Form des Malers des Isenheimer Altares in unsere heutige Realität zu integrieren. Einer ähnlichen Vorgehensweise wird in dem Kapitel „Sebalds Steller“ nachgegangen. Dabei wird während der Analyse der Intertextualität klar, dass sich Sebald in diesem Teil auf den amerikanischen Autoren Corey Ford und seine fiktionale Biographie über Steller mit dem Titel Where the Sea Breaks Its Back aus dem Jahre 1967 stützt. Abschließend wird die Frage erhoben, ob es sich dabei weiterhin um eine Referenz zu dem Kalten Krieg handeln könnte. Die in den ersten zwei Teilen von Nach der Natur erarbeitete Vorgehensweise und Analyse der Intertextualität Sebalds muss im vorletzten Kapitel dieser Arbeit mit der Überschrift „Sebalds Alter Ego“ adaptiert werden. Es kann gezeigt werden, dass der Erzähler eine Art Alter Ego des Autors darstellt und mit ihm viele gemeinsame biographische Fakten teilt. Das Erzählerproblem wird als auctoriale Intertextualität gelesen. Abschließend, im fünften Kapitel dieser Arbeit, wird die Bedeutungen der Numerologie besprochen. Im speziellen wird auf den Zusammenhang zwischen Numerologie und Sebalds Form der Geschichtsschreibung eingegangen. Die Ergebnisse dieser Arbeit werden in der Auswertung besprochen. Im Appendix dieser Arbeit befinden sich ein Stellenkommentar, wie auch ein Artikel von Peter Simon Pallas aus der Physikalisch-Oekonomischen Bibliothek, und die Bilder Beckers aus der originalen Greno-Publikation.
Advisors/Committee Members: Friedrichsmeyer, Sara.
Subjects: German literature
Keywords: Winfried Georg Sebald; Nach der Natur. Ein Elementargedicht; Grünewald; Mathis Nithardt-Gothardt; Georg Wilhelm Steller; Sebalds Alter Ego; Intertextualität; Walter Karl Zülch; Corey Ford; Thomas Becker
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5.
Gracanin, Maja S.
“Über allen Menschen und Dingen lag … ein Hauch von Zwiespältigkeit…”: Dualism and Division in the Novels of Marlen Haushofer.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2001, University of Cincinnati
► The quintessentially modern human being, Marlen Haushofer (1920-1970) spent her fifty years…
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▼ The quintessentially modern human being, Marlen Haushofer (1920-1970) spent her fifty years on earth torn between an innate spirituality, and the cynicism and nihilism provoked by the modern age. The dualism of her fundamental world-view permeated every facet of her reality and resulted in a body of literary work that is defined by division and contradiction. This study examines these elements present in the Haushofer novels, and in the masterful novella, Wir Töten Stella. The investigation seeks to elucidate Haushofer's dualistic and contradictory perceptions through analysis of two major themes: nature, and the relationship between men and women. Nature plays a vital role in the Haushofer oeuvre and represents the chief means through which the author conveys her ontological struggles. Depiction of the male and female has been of great interest to feminist critics. Many see in Haushofer an early feminist and an ardent critic of male culture, and of patriarchy. Scrutiny of the works leads to a rather complex conclusion. Haushofer's views on the subject are dualistic, and also extraordinarily replete with contradiction. Traditionallly "male" and "female" characteristics are liberally apportioned to both sexes. While overt criticism of men abounds, male figures are at times portrayed quite positively. The presentation of female characters is surprisingly negative. Ultimately, it is difficult to determine Haushofer's position regarding not only the sexes, but nearly every other aspect of life. Only one pronouncement can be made with true conviction: with few exceptions, Marlen Haushofer was unable to commit to a given position on any given subject. The tension between opposites is the defining quality of her work.
Advisors/Committee Members: Glenn, Jerry.
Subjects: Literature, Germanic
Keywords: AUSTRIAN LITERATURE; PAST-WAR LITERATURE; WOMEN WRITERS IN AUSTRIA
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6.
Heidt, Todd W.
Modernity in Word and Image: Narrative Literature and Film in Weimar Germany.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2010, University of Cincinnati
► This study analyzes the diverse cultural output of the Weimar Republic in…
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▼ This study analyzes the diverse cultural output of the Weimar Republic in terms of media, narrative and modernity. I investigate a series of filmic adaptations, capturing two nearly simultaneous iterations of a narrative in different media. I argue that consistent lines of development can be discerned despite incongruities in medium, style and narrative content. These texts and films reinscribe the role of the narrator in a two-fold manner. First, these narratives break open the hermetically sealed diegetic world by allowing an interpenetration of levels of narrating and narrative content. Second, these narratives utilize and explore the potential of multiple media in telling one story; a process repeated in the work’s adaptation into film. The role of the narrator becomes a performative and self-reflexive processes of selection, editing and representation (or reiterative re-presentation), drawing readerly and/or spectatorial attention to the process of narrating as much as it does to the narrative content. I analyze the adaptations of Dr. Mabuse, der Spieler, Die Dreigroschenoper and Berlin Alexanderplatz. Ranging from 1921 to 1931, all of these texts were adapted into films within three months to three years. In chapter one, I show that the alternating power over texts in Norbert Jacques’ Dr. Mabuse, der Spieler novel is reflected in the shifting narrative focalizations and the final, performative recapitulation of the crimes as entertainment in Sandor Weltmann’s stage show. Fritz Lang’s film starts with performative criminality as reflected in the use of post-production editing techniques which highlight the power of the criminal. It is Mabuse’s failing visual power and the transference of cinematic visions to the prosecutor which will prove to be Mabuse’s downfall. In chapter two, I argue that Bertolt Brecht spatializes his medialization of Die Dreigroschenoper to effect a more direct and obvious interplay of his fiction on stage and the real world, doubling and recasting real social conditions as drama. G.W. Pabst’s film also participates in this sort of interplay, comparison and doubling. However, Pabst’s cinematic space is diametrically opposed to Brecht’s theatrical space, and Pabst’s film becomes a piece in dialogue with itself, underscoring its own mediality, the medialization of its characters (especially Mackie Messer) and the interchangeability of characters and inanimate objects. In chapter three, I discuss Alfred Döblin’s Berlin Alexanderplatz. Die Geschichte vom Franz Biberkopf. While his predilection for montage is often cited in scholarly work, I argue that it is the very material basis of cut-and-pasted texts which is of central importance to Döblin’s masterpiece. Thus, Döblin’s modern realism exposes itself as construct, collaborating with unwitting narrative co-creators in this style of appropriation and recapitulation. Piel Jutzi’s film version is also highly cognizant of media, utilizing sound and image in rather creative manners. And yet, Franz Biberkopf becomes the point at which these media harmonize to tell the tale of one individual, eliding the complex medial and social context of the urban environment Döblin paints in his novel.
Advisors/Committee Members: Herzog, Harold.
Subjects: German literature
Keywords: Weimar Germany; Film Studies; Adaptation Studies; narrative
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7.
Jackson, Wesley Todd Jr.
Verwesung und Werden: Images of Violence and Conversion in Alfred Döblin's Wallenstein.
Degree: MA, Arts and Sciences : Germanic Languages and Literature, 2008, University of Cincinnati
► This thesis treats the themes of decay and change as represented in…
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▼ This thesis treats the themes of decay and change as represented in Alfred Döblin's historical novel, Wallenstein. The argument is drawn from the comparison of the verbal images in the text and Döblin's larger philosophical oeuvre in answer to the question as to why the novel is primarily defined by portrayals of violence, death, and decay. Taking Döblin's historical, cultural, political, aesthetic, and religious context into account, I demonstrate that Döblin's use of disturbing images in the novel, complemented by his structurally challenging writing style, functions to challenge traditional views of history and morality, reflect an alternative framework for history and morality based on Döblin's philosophical observations concerning humankind and its relationship to the natural world, raise awareness of social injustice among readers and, finally, provoke readers to greater social activism and engagement in their surrounding culture.
Advisors/Committee Members: Gerstenberger, Katharina.
Subjects: German literature
Keywords: Alfred Doeblin; Wallenstein; Violence; Verwesung; Werden; Thirty Years' War; World War I; Decay; Conversion; Change; Weimar; Novel
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8.
Jones, Susanne Lenné.
What’s in a Frame?: Photography, Memory, and History in Contemporary German Literature.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2005, University of Cincinnati
► During the past two decades, a vast body of German literature has…
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▼ During the past two decades, a vast body of German literature has appeared that is interested not only in the Holocaust but also in the way Germans have dealt with the legacy of National Socialism over the last sixty years. Especially since the fall of the Berlin Wall and the German reunification, a number of literary works have appeared that use photographs to approach this limit-event and its remembrance in German national and private discourses. At the same time, the scholarly attention given to questions of memory and its representation has also sharply increased over the last few decades. Such debates have brought forth a number of demands in order for Holocaust literature to become productive for remembrance as well as for the creation of the present and the future. The following study investigates works by Monika Maron, W. G. Sebald, and Irina Liebmann. Of particular interest is the question of how these authors have integrated photographs within their texts in order to address and overcome the problems of Holocaust representation: the generational distance, absences and silences as well as the institutionalization and instrumentalization of memory. The first chapter lays out the theoretical framework that informs the discussion of the most vital concepts treated in this study: fact and fiction, history and memory, photography and text. The subsequent three chapters investigate the respective works written by the three authors: Monika Maron’s Pawels Briefe (1999), W. G. Sebald’s Die Ausgewanderten (1992) and Austerlitz (2001), and Irina Liebmann’s Stille Mitte von Berlin (2002). I maintain that the complex and paradoxical nature of photography, most significantly its simultaneous claim to truth and to deception, renders it a particularly fruitful means to negotiate questions of factuality and fiction as well as memory and history. It allows these authors to engage the reader in a problematization of the concept of truth as well as the constructedness of all forms of representation.
Advisors/Committee Members: Gerstenberger, Dr. Katharina.
Keywords: Photography; Memory; History; Holocaust; German literature; Jewish; fact; fiction; Sebald; Maron; Liebmann
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9.
Koch, Susanne.
In the Footsteps of Pascal and Kierkegaard: Ethics and Faith in Wolfgang Koeppen's Postwar Novels.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2009, University of Cincinnati
► In focus of this dissertation are the philosophical and Christian dimensions of…
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▼ In focus of this dissertation are the philosophical and Christian dimensions of Wolfgang Koeppen’s postwar novels, Tauben im Gras (1951), Das Treibhaus (1953), and Der Tod in Rom (1954). The author claimed to be neither a philosophical nor a religious writer. Nevertheless, Koeppen raised in his postwar novels fundamental philosophical questions, as well as questions pertaining to the Christian Church and faith. Since the author explicitly identified Blaise Pascal (1623-1662) and Søren Aabye Kierkegaard (1813-1855) as wise men, this dissertation sets out to answer three pivotal questions: why did Koeppen choose these two religious philosophers as mentors, how does this choice manifest itself in his postwar novels, and what might have been the reason for his preference of Kierkegaard? The introduction provides a research overview and places the author and his work within postwar Germany, i.e., his time, culture, and postwar literature. Chapter one examines Koeppen’s literary intentions, the means that he utilizes in his trilogy to achieve his goal, and the texts’ existential themes and issues. The propounded existential thoughts and problems serve then as the basis for the following chapters. Chapter two relates Koeppen’s literary objectives and existential ethics to Pascal’s literary intentions and philosophy. The chapter concludes that the French philosopher’s perspicacious understanding of human nature and relations and his uncompromising ethical approach to existence made him a trustworthy guide for Koeppen, who searched for sure ways and means to amend his contemporaries emotional, mental, moral, and spiritual deficiencies. Chapter three briefly discusses the emergence of existentialism and the movement’s impact on the postwar German author and his trilogy. Thereafter, the chapter analyzes the similarities in Koeppen’s and Kierkegaard’s thinking and writing and concludes that the Danish philosopher provided Koeppen with the insight of what it means to be a self and how to achieve true freedom, which certainly prompted the postwar German author to give Kierkegaard preference over Pascal. Chapter four investigates the themes of Church and faith as they manifest themselves in the trilogy. Since Koeppen portrayed a society that no longer believes in or misconceives Christianity and presented the Catholic Church as a powerful worldly institution whose integrity needs to be questioned, the trilogy’s themes of Church and faith are ambiguous. Nevertheless, chapter four substantiates that Koeppen offered not only ethics but also faith as a potential remedy to his era’s despair and nihilism. Since the connection between Koeppen’s, Pascal’s, and Kierkegaard’s way of thinking and writing has been largely overlooked, the vast majority of Koeppen researchers ascribed to the author a scornful, misanthropic, fatalistic, and resigned mentality. However, the findings of this study, i.e., Koeppen’s moral and spiritual engagement in society, allow for a new assessment of the postwar German author’s mental disposition.
Advisors/Committee Members: Friedrichsmeyer, Sara.
Subjects: German literature
Keywords: Koeppen; Ethics; Faith; Pascal; Kierkegaard; Postwar German Literature
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10.
Lueckel, Wolfgang.
“Penile Politics” Sexuality and America in Thomas Brussig’s Novel Helden wie wir.
Degree: MA, Arts and Sciences : Germanic Languages and Literature, 2005, University of Cincinnati
► The German reunification in 1990, a political and historical turning point, produced…
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▼ The German reunification in 1990, a political and historical turning point, produced a literary vacuum, in which the younger generation of writers stood a chance of becoming accepted by a big readership. One of these newcomers is the East German Thomas Brussig. His novel Helden wie wir (Heroes like us) has since its publication in 1995 been acclaimed as one of the most important contemporary German novels. Recounting the German reunification from a sexual point of view, it tells the story of the pervert Klaus Uhltzscht who brings down the Berlin Wall with his penis. Sexuality embodies the East German society’s struggle between freedom and ideological bondage. Helden wie wir also deals with the relationship between Germany and the United States. We see today’s United States as a sanctuary and mainstay for Germany’s history. Brussig refers to the American dream, democracy and freedom, interweaving voices of American politicians like Ronald Reagan and using American culture as a foil for his protagonist Klaus. In my analysis of Helden wie wir I focus on sexuality and America. In my analysis of sexuality I follow the references in the novel itself – Freudian theories, the East German sex therapist Siegfried Schnabel, and works by Christa Wolf. I also include works not explicitly mentioned in the novel but which yield further insight into Brussig’s understanding of sexuality, Philip Roth’s novel Portnoy’s Complaint and Thomas Laqueur’s Making Sex. I try to explore sexuality further by working out special aspects, like the division of sexuality in East and West, the penis as symbol, and the language of sex. In the chapter on American ideas I include political statements of American presidents as a historical account of the reunification by the German historian Manfred Görtemaker. Besides other historical analyses and scholarly literature about the picture of America in German literature, the view of the Western world in Christa Wolf’s works is juxtaposed with Helden wie wir. Furthermore, I include the depiction of America in Brussig’s two other novels Am kürzeren Ende der Sonnenallee and Wasserfarben in order to show a continuity in the author’s perspective on this topic. The conclusion unites the previous chapters and shows how sexuality and America together form a complex in Helden wie wir.
Advisors/Committee Members: Gerstenberger, Dr. Katharina.
Subjects: Literature, Germanic
Keywords: Contemporary German Literature; Theory of Sexuality; America in German Literature
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11.
Lyon, Nicole M.
Between the Jammertal and the Freudensaal: the Existential Apocalypticism of Paul Gerhardt (1607-76).
Degree: MA, Arts and Sciences : Germanic Languages and Literature, 2009, University of Cincinnati
► Early Modern Germany has been noted as the most apocalyptic time period…
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▼ Early Modern Germany has been noted as the most apocalyptic time period in Western Tradition. Although a prominent historical and literary figure of this time period, Lutheran hymnist, Paul Gerhardt (1607-76), has not been explored by scholars with eschatology in mind. This thesis uses apocalyptic literary tradition as a lens to interpret six of his hymns. Before offering discussing the content of these hymns, however, I establish Paul Gerhardt within the context of Early Modern apocalypticism as well as within his literary genre, the German Kirchenlied tradition. The various interpretations that follow revolve around three questions concerning Gerhardt and apocalyptic tradition. First, what did Gerhardt say about the apocalypse? Second, how or to what ends did he engage the topic? Third, why did he portray apocalypticism the way he did? Gerhardt expresses apocalyptic expectation in his work, but his apocalypticism is as concerned with the temporal present as it is with the eternal future. In his hymns, Gerhardt creates a mediating landscape between the Jammertal and Freudensaal; his hymns do not define earthly life as a Jammertal void of joy or peace nor is heaven defined as a divine Freudensaal divorced of earthly reality. Rather, a degree of earthly peace and joy is possible alongside great sorrow, and that one's conception of heaven is marked by earthly symbols of true Home, Sustenance and Peace. In a world approaching its end, Gerhardt portrays the apocalypse as a means to navigate himself and his fellow man on the journey between the Jammertal and the Freudensaal.
Advisors/Committee Members: Schade, Richard.
Subjects: German literature; History
Keywords: Early Modern Germany; Paul Gerhardt; Apocalypticism; Protestant Hymns; Revelations; 17th Century; Thirty Years' War; Poetry; Protestantism
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12.
Packer, Jeffrey M.
Negotiating the Borderland: Thresholds in Hugo von Hofmannsthal, Paul Celan, and Peter Handke.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2004, University of Cincinnati
► My dissertation, Negotiating the Borderland: Thresholds in Hugo von Hofmannsthal, Paul Celan,…
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▼ My dissertation, Negotiating the Borderland: Thresholds in Hugo von Hofmannsthal, Paul Celan, and Peter Handke, focuses on the threshold imagery of these three writers as a means of approaching the often contradictory issues of modernity in the twentieth century. Thresholds offer a literary means for writers to dwell momentarily in an instant of calm amidst the chaos of the modern world. By setting their works within threshold regions, these authors create new spaces that simultaneously maintain an element of separation from society and reestablish a relationship to it. Threshold metaphors are about transgressing boundaries and pushing the limits, but also about lingering "in between" them. A threshold functions as a bridge between extremes in which opposite sides of a paradox coexist The thresholds I explore fall into three general categories: thresholds of time, thresholds of place, and thresholds of language. They take such forms as doorways, rivers, the instant between waking and sleeping, or a turn of breath before speaking. These three threshold types correspond to aspects of spatial, temporal, and linguistic fragmentation that are characteristic of the twentieth-century experience. The cause-and-effect relationship between the three becomes blurred as they come to represent a complex of ideas more than a linear progression from one to the next. These different types of thresholds can be combined to explore fragmentation on all levels as individuals negotiate the boundaries of speech and history and their position in them. I contend that the threshold as a metaphor can both define the phenomenon discussed above, and hint at a resolution of the fragmentation resulting from the pressures of modernity. The threshold becomes a symbol for symbolism per se, by standing as a part, or fragment, for the whole. And it is this wholeness informed and given depth by an awareness of fragmentation that can be discovered in the threshold.
Advisors/Committee Members: Herzog, Dr. Todd.
Keywords: Thresholds; borders; Hugo von Hofmannsthal; Paul Celan; Peter Handke; twentieth century literature
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13.
PRICKETT, DAVID JAMES.
BODY CRISIS, IDENTITY CRISIS: HOMOSEXUALITY AND AESTHETICS IN WILHELMINE- AND WEIMAR GERMANY.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2003, University of Cincinnati
► The following study inquires into the emergence and development of homosexuality in…
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▼ The following study inquires into the emergence and development of homosexuality in German medical, legal, and social discourses from the turn of the last century through the Weimar Republic. Literary works, medical journals, homosexual journals, visual art, and film from the turn of the last century to the early thirties reflect a growing “gender crisis” throughout German society. Such primary media provide the data for this study. Of particular interest are the works, theories, and the person of Magnus Hirschfeld, a physician whose politics were social-democratic and who was of Jewish background. Hirschfeld was himself homosexual, but never portrayed himself as such due to the legal and political climate of his times. Having published extensive studies on homosexuality,hermaphroditism (today’s “intersexual”), and transvestism, Magnus Hirschfeld was an established sexologist in Wilhelmine Germany. In 1919, Hirschfeld founded the world’s first Institute for Sexual Science in Berlin. This Institute was a site of research, consultation, and therapy for those who sought enlightenment in sexual matters including birth control, venereal disease, intersexuality, and homosexuality. This project examines the dissemination and reception of Hirschfeld’s progressive theories both inside and beyond the medical community—indeed, how homosexuals themselves responded to Hirschfeld’s project of normality. This response, which I term the “modernist homosexual aesthetic,” is the basis of my thesis. The “modernist homosexual aesthetic,” an aesthetic, self-affirming expression of male homosexual identity, arises from this period of gender crisis in Germany, and is that aesthetic force that not only defines but is defined by the homosexual male body. I maintain that the media of photography,literature, and popular journals disseminated this aesthetic among those who sought to define themselves simultaneously outside normative gender roles and in a positive manner.
Advisors/Committee Members: Gerstenberger, Katharina.
Keywords: Magnus Hirshfeld; Weimar Germany; Weimar Literature and Photography; gender studies; homosexuality in Germany
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14.
Rice, Michael Howard.
Nazis and Jews: A Thematic Approach to Three Exile Works by Friedrich Torberg.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2001, University of Cincinnati
► Friedrich Torberg was born on September 16 1908, in Vienna, to Theresia…
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▼ Friedrich Torberg was born on September 16 1908, in Vienna, to Theresia Berg Kantor and Alfred Kantor, an assimilated Jewish couple. From 1908 until 1938, Torberg spent his time working and writing in Vienna and Prague. In 1938 with German troops "occupying" Austria and a marked increase in support for the fascist Sudeten German Party in Czechoslovakia, Torberg relocated to Zurich. During the next 16 months, Friedrich Torberg was forced to immigrate many times, finally making his way to Lisbon, where, with the help of some well-connected friends, he received a visa to the United States. Torberg lived in the U.S. from 1940 until his return to Austria in 1951. This dissertation is a thematic analysis of two novels (Auch das war Wien and Hier bin ich, mein Vater) and one novella (Mein ist die Rache) written during Friedrich Torberg’s exile in the United States. All three works contain a Jewish protagonist who finds himself in conflict with the Nazi State, his environment, and his own Jewish identity. The dissertation consists of five chapters plus a bibliography. The first chapter gives biographical information about Torberg and an overview of previous Torberg scholarship. I provide an in-depth discussion of the major themes occurring in each individual work in chapters two through four, and in the final chapter, I demonstrate that there are common motifs running throughout these works, some of which are Jewish in character and others which frequently appear in exile literature.
Advisors/Committee Members: Glenn, Dr. Jerry H.
Subjects: Literature, Germanic
Keywords: Friedrich Torberg; Jewish; exile literature
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15.
SCHADE, SILKE KATHARINE.
REWRITING HOME AND MIGRATION: SPATIALITY IN THE NARRATIVES OF BARBARA HONIGMANN AND EMINE SEVGI andOumlZDAMAR.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2007, University of Cincinnati
► This dissertation explores the creation of a personal sense of home within…
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▼ This dissertation explores the creation of a personal sense of home within the experience of migration in two semi-autobiographical trilogies by contemporaries Barbara Honigmann and Emine Sevgi Özdamar. The interdisciplinary literary analysis draws on the fields of Urban Studies, Gender Studies, and Human Geography to examine the interdependence between these seeming binaries – home and migration – in six works: Honigmann’s Roman von einem Kinde (1986), Eine Liebe aus Nichts (1991), and Damals, dann und danach (1999), and Özdamar’s Das Leben ist eine Karawanswerei (1992), Die Brücke vom Goldenen Horn (1998), and Seltsame Sterne starren zur Erde (2003). The dissertation begins with a discussion of scholarship on Özdamar and Honigmann, and on concepts of home, space, and place, migration, exile, and nomadism. Four central chapters examine each protagonist’s critical engagement with and reinvention of the varied spaces she inhabits. The textual analysis explores physical, social, linguistic, spiritual, and gendered spaces as points of contact between home and migration. It demonstrates the ways in which artistic and literary spaces blur the boundaries between home and away, familiarity and foreignness. In these texts, home and migration emerge not as static concepts, but as two very similar dynamic processes. Özdamar and Honigmann create new and particular perspectives that come out of allegiances to multiple localities, and from real and imagined “double locations.” By taking these works out of their potentially competing fields of German-Jewish Studies and transnational studies and examining them instead through the common lens of spatiality, this dissertation challenges the discourse that locates Honigmann’s and Özdamar’s texts as marginal or “Other” in relation to the German literary canon. The dissertation concludes with speculations on the term “cosmopolitanism,” arguing that Özdamar and Honigmann rewrite the term cosmopolitanism as a highly personal and individual patchwork of allegiances to people, places, communities, and traditions. This dissertation extends existing ways of thinking about home, and migration, and cosmopolitanism and explores the permeability of boundaries, not only between these concepts, but between the disciplines of scholarship it draws upon.
Advisors/Committee Members: Gerstenberger, Dr. Katharina.
Keywords: Germany; German-Jewish Literature; German-Turkish Literature; Transnational Literature; Honigmann; Özdamar; Home; Migration; Space; Gender
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16.
SHAUGHNESSY, MICHAEL RYAN.
EDUCATIONAL SOFTWARE EVALUATION: A CONTEXTUAL APPROACH.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2002, University of Cincinnati
► This dissertation concerns itself with the analysis, interpretation, and development of educational-software…
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▼ This dissertation concerns itself with the analysis, interpretation, and development of educational-software evaluation models, with a particular attention towards second-language acquisition software. This work first explores the current state of research into educational software and analyzes the relationship of computer-assisted language learning to the general field of educational technology. After exploring the basic nature of software and evaluation, a justification for the research is provided by analyzing the current state of evaluation theory and identifying flaws through a meta-analysis of software reviews over the past twenty years. Secondary literature and academic reception are then analyzed over the same period to identify major trends in evaluation theory. General educational-software evaluation and CALL evaluation theories are analyzed separately to identify the relationship and uniqueness of each field. Due to the great number of individual evaluation theories, this work seeks to establish a classification system for educational-software evaluation by grouping and classifying individual theories by their basic characteristics. After the theories have been grouped and classified for the period ranging over the past twenty years, both CALL and general educational-software evaluation theories are compared to highlight trends shared by both and trends unique to each discipline. The findings are used to establish a new model based on educational context and real-life educational implementation. Finally, the new contextual evaluation theory is applied and the results are analyzed in a small-scale study.
Advisors/Committee Members: Obrath, Dr. Karl.
Keywords: education; software; evaluation; CALL; foreign language
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17.
Sturdevant, Renate Kaiser.
The Change of the Religious Voices through the Trauma of Exile in the Works of Else Lasker-Schüler, Nelly Sachs, and Barbara Honigmann.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2010, University of Cincinnati
► This dissertation explores the religious voices of three German-Jewish women. The trauma…
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▼ This dissertation explores the religious voices of three German-Jewish women. The trauma of exile caused by the Holocaust for Else Lasker-Schüler and Nelly Sachs, as well as the trauma of migration for Barbara Honigmann during the Cold War, changed their religious voices to become stronger. Their works bear testimony to the struggle of reconciling their assimilated German-Christian and German-Jewish heritages. Each of the authors’ works have been researched in regards to their religious voices, however, in spite of many commonalties between the three female exiles, no attempt at contrasting the changes of their religious voices with each other have been made so far. I approached each of my three chapters by first researching the authors’ familial, religious, and ethnic backgrounds. Since this dissertation covers 106 years of German-Jewish publications, there are some main differences in the historical, personal, and professional development of each writer. After having established an understanding of their lives and religious backgrounds, I investigated selected works, starting with the first published work of each author and ending with the last. My research reveals that living in exile changed the religious voices of all three German-Jewish authors. With the losses of their geographical Heimat, the losses of family members and friends, they indeed lost part of their German cultural identities. Nonetheless, the predicament goes deeper. The exiled authors rejected their German identities or they were rejected because of their assimilated German cultural heritage. They were not able to replace this part of their lives, unless they concentrated on their Jewish identities and built their lives around it. All three authors set out on journeys to discover Judaism right before or soon after their moves into exile. This dissertation concludes that Lasker-Schüer’s and Nelly Sachs’s religious voices became quieter in their last works. Their religious voices changed back to the assimilated German-Christian content. However, there is a chain of development from Lasker-Schüler, to Sachs, and then Honigmann. The “Torah Connection” already existed during Lasker-Schüler’s and Sachs’ lifetimes. The writings of Martin Buber and all three authors’ personal acquaintance with Gershom Sholem, for example, demonstrate continuity. It proves that Jewish roots grow strong in spite of centuries of assimilation. In addition, there is a possibility of reconciling Germanness and Jewishness today, which was not possible for Lasker-Schüler and Sachs during and soon after WWII. German-Jewishness lies in the hands of the individual as does Heimat. Honigmann’s texts suggest that Jewishness today is increasingly becoming more global and diverse. All three authors found their Heimat in their work and their families. Lasker-Schüler and Nelly Sachs hoped to find it in heaven to be reunited with their families, while Honigmann found it with her family and Judaism in Strasbourg.
Advisors/Committee Members: Herzog, Harold.
Subjects: German literature
Keywords: Else Lasker-Schüler; Nelly Sachs; Barbara Honigmann; Exile; Religion; Heimat
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18.
Urbaniak, Erick Francis.
Criminals and Artists: Detecting the Artist in German Crime Literature of the Twentieth Century.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2009, University of Cincinnati
► My dissertation,Criminals and Artists: Detecting the Artist in German Crime Literature of…
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▼ My dissertation,Criminals and Artists: Detecting the Artist in German Crime Literature of the Twentieth Century, examines how German speaking authors of the twentieth century reflect upon their identity as artists through writing about criminals both real and fictional. Moreover, each case represents a response to a specific era. This project begins with Thomas Mann's crime novel Die Bekenntnisse des Hochstaplers Felix Krull. Mann's work draws on a long, but rarely examined tradition of linking the criminal to the artist that stretches back to Plato and forward to Michel Foucault. Mann's novel establishes the nexus in which the artist and the criminal are united. Felix Krull, a confidence man, is a unique case because he is simultaneously a criminal deceiving society for one's personal gain, and an artist, performing a role for an audience like a masterful actor. This novel not only uncovers points of intersection for the criminal and the artist, but also reveals the surprising function the public / audience has in differentiating the two.This study also considers a little known and short-lived series of reports on contemporary criminal cases by a variety of authors called the Außenseiter der Gesellschaft. Die Verbrechen der Gegenwart edited by Rudolf Leonhard. The specific volumes discussed are Der Mord am Polizeiagenten Blau by Eduard Trautner, Karl Otten's Der Fall Strauβ, and Freiherr von Egloffstein by Thomas Schramek. This group is responding to the criminalization of the artist in the Weimar Republic which threatens their own personal freedom and livelihood. Interestingly, they discuss contemporary criminal cases without the aid of fiction to defend the freedom of speech and combat the labeling of artists as criminals. The artist and the criminal are also linked by seriality. An analysis of the fictional serial killer in Doron Rabinovici's novel Die Suche nach M, provides a new way to approach the main characters of the work which illuminates new insights to the process of identity formation and re-formation for the surviving generations of Jewish-Austrians living in Vienna in the decades following the Holocaust. Read alongside Rabinovici's short story “Ich schriebe Dir” and Mark Seltzer's Serial Killers: Death and Life in America's Wound Culture, this novel discovers the serial bahavior that authors might exhibit through writing.
Advisors/Committee Members: Herzog, Todd.
Subjects: German literature; Literature
Keywords: Crime Literature; Artists and Criminals; Hochstapler; Serial killers; Thomas Mann; Doron Rabinovici; Identity Formation; Criminality; History of the Artist
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19.
Vas, Laura Terézia.
Orbis pictus: Intermedialität zwischen Berliner Stadtmalerei und literarischer Stadterfahrung dargestellt anhand der Werke von E.T.A. Hoffmann und Wilhelm Raabe.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2008, University of Cincinnati
► This dissertation explores the relationship between the visual and textual Berlin representations…
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▼ This dissertation explores the relationship between the visual and textual Berlin representations of E.T.A. Hoffmann and Wilhelm Raabe and architectural and city paintings among others by Karl Friedrich Schinkel, Eduard Gaertner and Adolph Menzel. Besides interart comparison the dissertation uses non-fictional aesthetic writings, socio-historical analyses and contemporary concepts of urban planning for the interpretation of canonical Berlin texts. As city texts often bear an explicit or implicit affinity to the art of painting, concepts and techniques such as the elevated view, window view and the bird's eye view in text and images are compared in Berlin texts and paintings. The dissertation argues that the innovative visual and textual representations of the civic spaces of Berlin served as frame for transforming the Berliners' relationship to their urban environment and raised a new urban consciousness. The dissertation argues that early city texts and city paintings reflect similarly upon a new significance of seeing and a changing urban perception. The introduction is devoted to methodological questions as it explores the necessity of an interdisciplinary approach, the terminology for the concept intermediality and the interconnectedness of the representations of the urban environment in literature and in the visual arts. The first chapter analyzes eight Berlin-texts by E.T.A. Hoffmann and discusses the label "Berlinische Geschichte" in a wide cultural context with the aid of Hoffmann's Berlin drawings and of contemporary Berlin paintings. The second chapter is devoted the Hoffmann's Des Vetters Eckfenster (1822), which is compared to two architectural paintings of the Gendarmenmarkt from 1822 and to the curtain design of the Schauspielhaus by Karl Friedrich Schinkel. The similarity of the representations manifests itself in extraordinary perspectives and reveals how the Gendarmenmarkt contributed to the emergence of a new civic space and a new urban consciousness, whose most important feature is the democratization of previously privileged vantages on the canvas as much as in literature. The third chapter interprets Wilhelm Raabe's Die Chronik der Sperlingsgasse in context of Eduard Gaertner's paintings and discusses the differences and similarities in the two media in regard to the concept of the elevated view above the city. Raabe mobilizes many images from the reservoir of Biedermeier Berlin paintings, however fills them with new political contents after the failed March Revolution. The fourth chapter analyzes three Berlin novels by Raabe (Ein Frühling, Die Leute aus dem Walde, Ihre Wege, Sterne und Schicksale and Die Akten des Vogelsanges) and focuses on topics such as the description of the new Berlin neighborhoods versus the Altstadt (especially the vicinity of the university) and industrialization in the novels as well as in contemporary city paintings.
Advisors/Committee Members: Gerstenberger, Katharina.
Subjects: German literature
Keywords: the city in art and literature, Berlin in art and literature, E.T.A. Hoffmann, Wilhelm Raabe, intermediality, 19th century German city literature
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20.
Wachter, David.
Thinking at a Threshold. Nietzsche and Benjamin on Experience and Art In Modernity.
Degree: MA, Arts and Sciences : Germanic Languages and Literature, 2002, University of Cincinnati
► This thesis attempts to compare major thoughts by Friedrich Nietzsche (1844-1900) and…
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▼ This thesis attempts to compare major thoughts by Friedrich Nietzsche (1844-1900) and Walter Benjamin (1892-1940). Although seldom put in relation to each other, their theories on experience and art in modernity bear striking similarities. Beyond a mere study of how Nietzsche may have influenced Benjamin, this thesis seeks to show that both thinkers employ comparable styles and strategies of argumentation. This common approach consists in the juxtaposition of an organological discourse that views modernity as cultural decomposition with an aesthetic emphasis that reshapes the respective attitude towards modernity. By this movement of establishing and at the same time questioning a discourse on modernity, both Nietzsche and Benjamin situate their own thinking at a moment of transition, a threshold that lives from the continuous contact to opposed perspectives. A first part concentrates on Nietzsche's theory of decadence. It is shown that Nietzsche's borrowings from the 19th century physiological discourse provides him with a powerful tool to criticize decadence as corporeal decay and to suggest a remedy in the reestablishment of a "healthy organism". Yet this perspective is opposed by an aesthetic one in which the dissolution of the "whole" is seen as an emancipatory movement that renders the "nuance" available for art. By this surprising turn, Nietzsche situates decadence at the core of his own thinking. A second part focuses on Benjamin's views on art and experience in modernity. While his essay on Der Erzähler criticizes the modern dissolution of experience and narration, his famous Das Kunstwerk sees the becoming independent of parts as a form of emancipation from tradition's totalizing grip. In contrast to these seemingly irreconcilable views, Benjamin's work Über einige Motive bei Baudelaire takes the moment of tension seriously and establishes an aesthetic of the threshold: the French poet's value lies in his combination of both spleen and idéal , of separating forces and uniting tendencies. The present thesis thus shows that the location in between discourses is being developed into a threshold thinking that constitutes a common feature of both Nietzsche's and Benjamin's theories of modernity.
Advisors/Committee Members: Mladek, Dr. Klaus.
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21.
Wendtorf, Dirk Christian.
Adoleszenz, Verantwortung und Poetologisches Konzept: Erklärungsmodelle zur Motivation Jugendlicher Angehöriger der Nationalsozialistischen Wehrmacht in der Jugendliteratur der Nachkriegszeit.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2003, University of Cincinnati
► This present study examines how German authors, who participated in World War…
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▼ This present study examines how German authors, who participated in World War II as adolescent members of the German Armed forces, attempt to convey their experience to a juvenile audience. Therefore, the attempt to elicit an answer to the following pivotal questions is the ultimate goal of this work: 1. How does the adolescent and later adult author portray his motivation to fight as a juvenile for National Socialist Germany? 2. How does this portrayal coincide with the historical and sociological development in post war Germany? 3. To what degree do the authors address the topic of individual responsibility in the context of the developmental stage of adolescence? 4. What literary techniques do the authors employ in their attempt to convey their concepts to the juvenile reader? According to the authors of the 1940s and 50s, the success of the National Socialist in manipulating juveniles to defend Germany until defeat is based on the particular cognitive and affectionate stage of adolescence. In the mid 1960s, when the publication of World War II juvenile literature reaches its climax, the authors of this genre begin to incorporate the seductive side of the consolidation phase of the national socialist regime. In the course of a more intense accommodation of the presumptive reader the authors also introduce the topics of resistance and the Holocaust in their works. However, like their predecessors of the Adenauer-era, these writers refrain from a conclusive and definitive statement on personal responsibility for their involvement in the national socialist system. The 1980s mark the commencement of a new and more far-reaching sensitivity of German society to the topic of national socialism, which is also reflected in the juvenile literary medium. The presentation of resistance within the military, civil disobedience, the ideological infiltration of the Wehrmacht as well as of the involvement of the German Armed Forces in the genocide are emphasized in juvenile literature. Subsequently, both the content and literary form of these works can be viewed as an expression of self-reproach of socio-ethical failure in the face of the national socialist scourge.
Advisors/Committee Members: Herzog, Todd.
Keywords: juvenile literature; child soldier; World War; adolescence
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22.
Zimmerman, Aine K.
Estranged Bedfellows: German-Jewish Love Stories in Contemporary German Literature and Film.
Degree: PhD, Arts and Sciences : Germanic Languages and Literature, 2008, University of Cincinnati
► This dissertation is a survey and analysis of German-Jewish love stories, defined…
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▼ This dissertation is a survey and analysis of German-Jewish love stories, defined as romantic entanglements between Jewish and non-Jewish German characters, in German literature and film from the 1980s to the 21st century. Breaking a long-standing taboo on German-Jewish relationships since the Holocaust, there is a spate of such love stories from the late 1980s onward. These works bring together members of these estranged groups to spin out the consequences, and this project investigates them as case studies that imagine and comment on German-Jewish relations today.Post-Holocaust relations between Jews and non-Jewish Germans have often been described as a negative symbiosis. The works in Chapter One (Rubinsteins Versteigerung, “Aus Dresden ein Brief,” Eine Liebe aus nichts, and Abschied von Jerusalem) reinforce this description, as the German-Jewish couples are connected yet divided by the legacy of the Holocaust. Similarly, Die Haut retten and “Die Beschneidung” (Chapter Two) reflect doubt about the ability for Jews and non-Jewish Germans to connect, but introduce non-Jewish German protagonists who disassociate themselves from Nazism and/or a negative German identity. The films of Chapter Three (Comedian Harmonists, Aimeé & Jaguar, Viehjude Levi, Rosenstrasse) seek to bridge the divide between Jewish and non-Jewish Germans. They portray individual German exceptions to Nazism through sympathetic female German partners romantically involved with Jews. Works in Chapter Four (Das jüdische Begräbnis, Schalom meine Liebe, Eduards Heimkehr) likewise disassociate German lovers from perpetration. These works suggest that positive German-Jewish relationships are possible by finding exceptions to perpetration. In Chapter Five, texts (“Harlem Holocaust,” “Finkelsteins Finger,” Deutsche Einheit) revolve around sexual encounters in which both partners manipulate the Holocaust legacy, indicating unfinished business between the two groups. German and Jewish characters' self-serving behaviors alike are parodied, and this evenly balanced and satirical treatment shifts the focus away from “good” or “guilty” characters toward criticism of the unproductive roles the Holocaust legacy has spawned. This dissertation traces the development of German-Jewish relationship from estranged bedfellows to complicated companions after the Holocaust. It links these changes to gender and normalization discourses, arguing that more “normalized” relations mainly occur between female non-Jewish German and male Jewish characters.
Advisors/Committee Members: Gerstenberger, Dr. Katharina.
Subjects: German literature
Keywords: German-Jewish relations; German-Jewish love stories; intercultural relationships; Holocaust studies; Holocaust legacy; normalization; contemporary German literature; contemporary German film; negative symbiosis
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