HTTP/1.1 200 OK
Date: Wed, 14 Mar 2012 02:02:47 GMT
Server: Apache/2.0.52 (Red Hat)
Connection: close
Content-Type: text/html;charset=UTF-8

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<HEAD>
<META http-equiv="Content-Type" content="text/html; charset=UTF-8">
<title>Archives of Graduate Course Descriptions
           | German | NYU
        </title>
<style>

/*
blue: 14416b
electric blue: 118CCF
*/
/*Site structure & background color*/
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#firstlevel #searchbox {margin-top:58px !important; margin-top:53px;}
.maincontent {background-color:#FFF;}
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H6 { FONT-SIZE: 12px; color: #14416b;font-weight:normal;}
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#sidebar .rc_title {font-weight:bold;color:#14416b;}
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#sidebar .rc_inner {width:100%;eborder-left:1px solid #FFF;padding:0 0 15 0px;}
#sidebar .rc_title {width:100%;text-align:left;padding:5 0 5 0px;margin:0 0 5 10;}
#sidebar .rc_txtbox {padding:0 0 10 20px;}
#sidebar .rc_txtlink {padding:0 0 6px 0px;}
#sidebar .rc_txtsummary {padding:0 0 5 10px;}
#sidebar .rc_txtlinkarrow {COLOR: #000;margin-left:-13px;}
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#sidebar .rc_txtlink A, #sidebar .rc_txtlink A:visited {COLOR: #000; text-decoration: underline;}
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#secondlevel .maincontent .specialeventslist .txtlink .txtlink_summary {padding-bottom:10px;}
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width:expression( 
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#secondlevel .txtlink_title, #secondlevel .txtlink_content, #secondlevel .txtlink_summary  {color:#666;}
#secondlevel .txtlink_title {font-weight:bold; padding:0 0 3px 0;}
  .leftbox {width:100px;margin-right:4px;}

label, select,input[type=checkbox],input[type=radio],input[type=button],input[type=submit] {  cursor: pointer;} 
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#pageform #searchsubmit {  border: 1px solid #FFF;}
#pageform textarea { font-size: 1.4em; font-size:12px;   background:#EEE;  border-top: 1px solid #666 !important;  border-left: 1px solid #666 !important;  border-right: 1px solid #aaa !important;  border-bottom: 1px solid #aaa !important;  height:65px;  width:300px;}


#pageform input:focus, #pageform textarea:focus{  background: #fff;}
#pageform fieldset{ border: 1px solid #999;  margin: 0; padding: 5px;}
#pageform #search fieldset label { display: none; }
#pageform input#searchsubmit{font-family: Verdana,mingliu,Arial, Sans-Serif;font-size: 12px;}

#pageform .formcontainer input[type=text] {  font-size:12px;   background:#EEE;  border-top: 1px solid #666 !important;  border-left: 1px solid #666 !important;  border-right: 1px solid #aaa !important;  border-bottom: 1px solid #aaa !important;  height:20px;  width:300px;}

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#pageform .formcontainer .button:hover {font-size: 12px;  background: #333; color: #fff; border-top: 1px solid #aaa !important;  border-left: 1px solid #aaa !important;  border-right: 1px solid #666 !important;  border-bottom: 1px solid #666 !important;  height:20px;  width:50px;margin-right:10px;}

#pageform .formcontainer input, select{  font-size: 12px;  background: #EEE;  border-top: 1px solid #666 !important;  border-left: 1px solid #666 !important;  border-right: 1px solid #aaa !important;  border-bottom: 1px solid #aaa important;  height:20px;  width: 300px;}
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</style>
<style>

/************************
EDIT BUTTON
************************/
.button-onsiteedit {z-index:1;position: fixed !important; left: 5px !important; bottom: 5px !important;
  _position:absolute;
  _top:expression(document.body.scrollTop+document.body.clientHeight-this.clientHeight);
}
.button-onsiteedit img {border:none !important;margin:0px !important;padding:0px !important;_margin-bottom:1px;}

</style>
<style>
/***** IE PNG fix *******/
img, div, a, li { behavior: url(/docs/TEMPLATE/775/iepngfix.htc); }
</style>
<style>


/* Content page faculty profile update forms css */
.fpu {font-size:1em;}
.fpu input[type=image]{ background: #FFFFFF;}
.fpu input[type=text] {background:#fafafa; width: 360px; }
.fpu input, .fpu textarea, .fpu select{ background: #FFFFFF; border-color:#999 #CCC #CCC #999;border-style:solid; border-width:1px;}
.fpu input {height:21px;}
.fpu input[type=submit],  .fpu input[type=reset] {border-color:#CCC #999 #999 #CCC;border-style:solid; border-width:1px;height:21px;}
.fpu textarea {width: 465px; height: 247px; font-size:13px; font-family: "Helvetica"; margin-top:5px;}
.fpu fieldset{ border:none; margin: 0; padding: 5px;}
.fpu input#searchsubmit{}
.fpu #searchsubmit {  border: 1px solid #FFF;}
.fpu label {width:200px;text-align:right;display:block;float:left;margin:0 5px 20px 0;font-weight:bold;}
.fpu input[type=text].referralurl {background:#FFF; border:0px; width: 490px; }
font.required {color:#F00}
.require, .optional {padding:0 0 20px 0;vertical-align:top;clear:both;}
.selbox {width:40px;}
.fieldbox {margin:0 0 0 205px;_margin:0 0 0 210px;}
.fieldalert {margin:10px 0 5px 0px;_margin:5px 0 5px 3px;padding:5px;border:1px solid #CCC;font-size:0.85em;background:#FFC;}/* fieldalert is for info that require a more pop out look */
.fieldnote {margin:10px 0 5px 0px;_margin:5px 0 5px 3px;padding:5px;border:1px solid #CCC;font-size:0.85em;background:#FFF;}/* fieldnote is for info that should stand out, but not require an alert kind of look */
.fieldnote-inline {padding:10px 0 5px 0px;font-size:0.9em;font-style:italic;} /*fieldnote-inline is for info that should just go with the rest, like one line sentence */
.fieldtitle {margin:10px 0 5px 0px;_margin:0 0 0 3px;font-size:1em;font-weight:bold;} /* fieldtitle is for title about the following field */
.radiobox, .chkbox {margin:3px 5px 0 0;_margin:0 10px 0 0;vertical-align:top;}
.col-left, .col-right, .col-grad-left {display:inline-block;margin-bottom:15px;width:210px;_width:210px;}
.col-left {float:left;padding:0 0 0 20px;margin-right:30px;}
.col-left .radiobox, .col-right .radiobox {margin-left:-18px;_margin-left:-24px;_margin-right:5px;}
.col-right {_padding:0 0 0 19px;}
.formbox {display:inline-block;float:left;width:480px;}
.spicon {font-weight:bold;color:#F00;margin:0 3px 0 0;}
p.chkbox-box {margin:0 0 5px 208px;}
input.smbbtn {border-top:1px solid #CCC;border-right:1px solid #666;border-bottom:1px solid #666;border-left:1px solid #ccc;vertical-align:top;padding:0px 10px 2px 10;height:29px;}
.smbbtn-box {text-align:center;}
.txtareabox {}
.fieldbox #select-choices, .fieldbox .txtareabox {width:360px;}


 </style>
<script src="http://ajax.googleapis.com/ajax/libs/jquery/1.7.1/jquery.min.js"></script><script type="text/javascript" src="https://ajax.googleapis.com/ajax/libs/jqueryui/1.8.16/jquery-ui.min.js"></script><script type="text/javascript">
    var $= jQuery.noConflict();
$(document).ready(tigerStripe);

//pulled this into a separate function so other scripts on the page can call it
function tigerStripe() {
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</HEAD>
<BODY>
<div class="button-onsiteedit">
<a target="ionAdmin" href="http://ionadmin.fas.nyu.edu/admin/ContentPageEditAction.ion?method=setup&key=8307"><img height="8" width="8" alt="" src="/docs/TEMPLATE/1033/edit.png"></a>
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<div ID="fourthlevel">
<table style="width:744px;height:500px;" cellspacing="0" cellpadding="0" border="0" align="center">
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<td bgcolor="#FFFFFF">
<div ID="schoolnav"></div>
<div ID="header">
<table style="width:100%;height:50px;" cellspacing="0" cellpadding="0" border="0">
<tr valign="top">
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<H4 style="padding-left:20px ">Archives of Graduate Course Descriptions</H4>
<div class="maincontent">
<p><H4 align=left>Spring 2011</H4>
<P align=left><B>G51.1655:&nbsp;&nbsp;Archive, Image, Text&nbsp;- </B>Ulrich Baer, &nbsp;Shelley Rice</P><?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p>
<P><STRONG>G51.1116:&nbsp;&nbsp;Origins of Critical Thought II: Heidegger and Adorno - </STRONG></o:p><o:p>Eckart Goebel<STRONG> <BR></STRONG></o:p><o:p>The course, conducted in German, offers a slow line-by-line reading of Martin Heidegger’s book on <I>Sein und Zeit</I> from 1926. Halfway through the semester, we will start a close reading of Th. W. Adorno’s <I>Negative Dialektik</I> from 1966, focusing mainly on Adorno’s Heidegger-critique. The course is intended to provide students with strong theoretical interests, a detailed knowledge of two seminal texts of 20<SUP>th</SUP> century thought. Finally, we might also consult Max Horkheimer’s <I>Eclipse of Reason</I>, however, that will be determined at a later date. <BR><BR></o:p><o:p><STRONG>G51.2703:&nbsp;&nbsp;Poetics &amp; Theory Seminar: Writing Animals</STRONG>&nbsp;- Marcel Beyer<BR>This seminar examines "writing animals" in a dual sense: both animals that write and the writing on animals. At stake is the animal as a figure of imagination, of the work of imagination in the creative process.<o:p></o:p></P></o:p><o:p>
<P><STRONG>G51.1945:&nbsp; Post-World War II Mordernism:&nbsp;Max&nbsp;Frisch and Peter Weiss&nbsp;-</STRONG> Robert Cohen<BR><o:p>Max Frisch and Peter Weiss were key figures in the reconstitution of (West-) German post-World War II litera&shy;ture, though – or maybe because –&nbsp;neither was German. Their works are both paradigmatic of, and different from, the literature of their German contemporaries (Andersch, Böll, Koeppen, Walser) that emerged out of the collapse of Germany. From vantage points located at the periphery of German culture (Switzerland in the case of Frisch, Sweden for Peter Weiss) the two authors functioned as seismographs reacting to post-war reality. Their use of innovative and avant-gardist forms in drama and prose reflects the problematic recovering of the recent past and decoding of a complex present.<o:p></o:p></P>
<P>After prose works exploring the immediate post-war trauma and reconstituting the (literary) subject, both Frisch and Weiss turned to drama with works focusing on anti-Semitism and Auschwitz. These plays will be read against theoretical writings by Sartre and Adorno.<o:p></o:p></P>
<P>Frisch and Weiss's evolution from modernist to late-modernist/post-modernist writing will be traced through their late works which dissolve narrative certainty and signal a new kind of text with unstable meanings and uncertain chronologies. In order to situate these works in the aesthetic and literary context of the postwar period, two sessions will be devoted to theories of modernism, the avant-garde, and postmodernism.<o:p></o:p></P>
<P>Beyond – and before – all the topical issues these works evoke, however, they need to be understood as literature. Discussions will be based on close readings of the texts, on their narrative and dramatic structures, and on the way meaning is produced in literary texts.</P>
<P><o:p><STRONG>G51.3000:&nbsp; Independent Research<BR></STRONG>TBA</P></o:p></o:p></o:p>
<H4 align=left>Fall 2010</H4>
<P><STRONG>G51.1111 – EXEMPLARY TEXTS: Traces of Modernity (Benjamin, Bloch, Kracauer, Adorno) -</STRONG> Paul Fleming<BR>This course investigates four seminal texts written on and about the margins of modernity: Kracauer’s Mass Ornament, Bloch’s Traces, Benjamin’s One-Way Street, and Adorno’s Minima Moralia. At stake in each of these works is a protocol of reading that takes the seemingly insignificant – surface structures, minor details, popular sayings, fragmented memories – as the entrance to the deeper structures that define modern society and thought.<BR><BR><STRONG>G51.2610 - Special Topics in Theory:&nbsp; How to read -</STRONG> Avital Ronell<BR>Beginning with Heidegger's important text, _What is Called Thinking?_ the class will explore exemplary texts that turn against themselves as they face down ruling cognitive regimens. If you have understood the first sentence of this course description, you do not need to take the class. Otherwise, be prepared to train rhetorically, and with critical finesse, in order to confront some genuinely demanding textual events of the canon. <?xml:namespace prefix = st1 /><st1:PersonName w:st="on">Students</st1:PersonName> can expect to get close to major axioms and theoretical concerns of selected texts by Barbara Johnson, Paul de Man and Derrida while also confronting technological installations, paranoid utterance, political reactivity, historical registers of anxiety and traumatic forgetting. Nearly every work under consideration engages literature in essential ways, so theoryheads must be prepared to read and submit to poetic language. <o:p></o:p></P>
<P>Smart undergraduates are also welcome, but should obtain permission from the professor.<o:p></o:p></P>
<P><BR><STRONG>G51.1550 – German Poetry: German Symbolism</STRONG>&nbsp;- Eckart Goebel&nbsp;<BR>This graduate seminar will follow the contours of an art at the limits of (traditional) art by means of closely reading George, Hofmannsthal, and Rilke. The poetry of German symbolism – and this is the hypothesis to be discussed in class – is understood less as last feverish shivers of Romanticism but rather as modern literature on the threshold. German symbolism – the art of crisis emerging from the crisis of art – points towards the Avant-garde movements of the 20th century on the one hand, and towards charismatic leadership as the modern myth on the other. <o:p></o:p></P>
<P>The reading of lyrical poetry and lyrical drama will be prepared by a careful study of the black bible of aestheticism and pessimism: Arthur Schopenhauer’s The World as Will and Representation. Schopenhauer’s influence on European writers from Flaubert to Kafka, Beckett, and Bernhard can hardly be overrated. Reading his book, ending with the word “nichts,” may also serve as an introduction to the concept of “nihilism,” haunting an art on the verge of silence. <BR><BR><STRONG>G51.1600 – Theory Clashes: The Persistence of the Theologico – Political</STRONG>&nbsp; - Avital Ronell, &nbsp;Slavoj Zizek,&nbsp;and François Noudelman&nbsp;<BR>The question of political theology has become an increasingly important concern for students of literary and political theory, religious studies, and philosophy. Starting off the course, Professor Ronell will be hosting and engaging world renowned philosophers Slavoj Zizek and François Noudelmann on crucial aspects of political theology ranging from the works of Jean-Luc Nancy on the deconstruction of Christianity to Derrida on religion (Ronell) and the concept of the absent Third in Sartre, Rancière, and Negri (Noudelmann). Zizek will be teaching his own work, among others, on Christian </P>
<P><STRONG>G51.2250 - Post 1945 Germany: Polemics, Provocation, Pop - </STRONG>Elke Siegel<BR><STRONG>F&nbsp;2:30 – 5:00</STRONG> (Please note time change)</P>
<P><STRONG></STRONG><BR><STRONG>G51.1512 – Kafka - </STRONG>Friedrich Ulfers<BR>The course will deal with Kafka’s work largely in the light of the author’s preoccupation with language particularly with the way this preoccupation affected his writing, indeed provided the theme of it. The point of departure will be the experience of “language crisis” among intellectuals and writers in turn of the century Austria, which led to the radical language criticism – already foreshadowed by Nietzsche – of Fritz Mauthner and Ludwig Wittgenstein among others. An interpretation of Kafka’s work aims to show not only the influences of this thinking on his writing, but also how Kafka radicalized it so as to make it “Kafkaesque.” Another aspect of the course will be to examine Kafka as anticipating a line of writing and thinking that could be described as deconstructive.&nbsp; In this context, undecidability, the breakdown of referential language and irreducible allusiveness will be shown as constitutive of Kafka’s texts.&nbsp; This will also be the context to discuss the problematization of the real, of judgment, of justice, and the law that suffuses Kafka’s writing.</P>
<H4 align=left>Spring 2010</H4>
<P><SPAN><BR><STRONG>G51.3399:<SPAN style="mso-spacerun: yes">&nbsp; </SPAN>Comparative Poetics: Lyric Poetry - </STRONG>Prof. Ulrich Baer<BR></SPAN><SPAN lang=DE>This course is taught in English and originates in the Comparative Literature Department.</SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN lang=DE>A seminar that examines different approaches to lyric poetry as a genre, a sensibility, a mood (Stimmung). Particular emphasis will be placed on the modern lyric from formalist, historicist, rhetorical/deconstructive, hermeneutic, cultural-sociological (materialist), literary historical, philosophical perspectives. We will examine how lyric poetry teaches us about these approaches and the relationship between them, and to what extent poems contains their own ars poetica (“the art of poetry”)– or how reading poetry can teach us how to read in general.<BR><BR>We will focus on a selection of poems by the following authors: Sappho, Pindar, Du Fu, Li Po; William Wordsworth, Percy Bysshe Shelley, John Keats, Robert Browning; Emily Dickinson, Walt Whitman, Wallace Stevens, Elizabeth Bishop, Anne Carson; Friedrich Hölderlin, Rainer Maria Rilke; Charles Baudelaire, Stéphane Mallarmé, Paul Celan; Yehuda Amichai, Octavio Paz.<BR><BR>The seminar will instruct students in basic and advanced skills of interpreting lyric poetry, and in recognizing the differences between periods, forms, and poets. It is also intended as a reflection on the field of comparative literature by reading comparatively a range of poets from distinct backgrounds and traditions. We will also compare <BR>existing methodologies in the interpretation of literary works.</SPAN><SPAN style="mso-ansi-language: EN-US"><o:p></o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><B style="mso-bidi-font-weight: normal"><SPAN style="mso-ansi-language: EN-US"><o:p></o:p></SPAN></B>&nbsp;</P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN style="mso-ansi-language: EN-US"><o:p><STRONG>G51.1863:&nbsp; Psychoanlysis &amp; Philosophy: Genealogies of Psychoanalysis -</STRONG> Prof. Larry Rickels&nbsp;</o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN style="mso-ansi-language: EN-US"><o:p>Psychoanalysis, as institution of higher yearning, is open to the address of the Superhuman, the Psycho, and the Android.&nbsp;&nbsp;The following movies will be referred&nbsp;to during&nbsp;class discussions: Batman Forever, Batman Returns, Dr. No, From Russia with Love, Octopussy, Psycho, Halloween, Nightmare on Elm Street, Blade Runner, Total Recall, and Minority Report<STRONG>. </STRONG></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN style="mso-ansi-language: EN-US"><o:p></o:p></SPAN><STRONG>&nbsp;</STRONG></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN><STRONG>G51.2912:<SPAN style="mso-spacerun: yes">&nbsp; </SPAN>Literature &amp; Philosophy: Decadence </STRONG>- Prof. Eckart Goebel<BR></SPAN><SPAN style="mso-ansi-language: EN-US">In his diaries young Robert Musil portrays himself as “Monsieur le vivisecteur,” and thus provides this graduate course on “décadence” with a certain perspective on a European movement. We will read some famous texts from the 19th century from Pater to Wilde focusing on their insights into the less boring aspects of the <I style="mso-bidi-font-style: normal">conditio humana, </I>psychological, physiological, sexual, and artistic subtleties: “Being natural is simply a pose, and the most irritating pose I know” (Wilde). The second part of the class will discuss seminal works from the 20th century which were, for example by Georg Lukács, banned as documents of “bourgeois decadence,” such as the works of Kafka, and even Beckett. “I think he is a little deranged,” the narrator says about Bartleby who prefers not to function in Downtown Manhattan. The seminar intends to discuss the critical potential of those who are a little deranged, dysfunctional, dégoutant, or decadent.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><o:p></o:p></SPAN></P>
<P style="LINE-HEIGHT: 150%; MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN style="mso-ansi-language: EN-US"><o:p>&nbsp;</o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN><STRONG>G51.1513: <SPAN style="mso-spacerun: yes">&nbsp;</SPAN>Brecht </STRONG>- Prof. Robert Cohen</SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN lang=DE>Dialogical and intertextual to the core, Brecht's oeuvre can be seen as an open-ended critical conversation with philosophical, theoretical, political, economic, and aesthetic discourses from Aristotle to Marx, Lukács, and Benjamin, as well as with readers and theatergoers, with collaborators, colleagues and lovers. The result of these conversations is a work in progress, a collection of unstable and endlessly revised texts exploring the human experience in a time of class struggle, violence, and war.</SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN lang=DE><o:p>&nbsp;</o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN lang=DE>The course is conceived as a general introduction to Brecht's work. Topics include the experience of the modern metropolis; the disintegration of social and sexual relations; the destruction of identity and the construction of a 'collective individuality;' Brecht's Marxism and his contribution to a new dialectics; Brecht's formal innovations in drama and poetry, and his theater theories.</SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN lang=DE><o:p>&nbsp;</o:p></SPAN></P>
<P style="MARGIN: 0in 0in 0pt" class=MsoNormal><SPAN lang=DE>Before any of the controversies which Brecht's work evokes, it needs to be understood as literature. Discussions in class will be based on close readings of the texts – poetry, plays, and theoretical writings – and on the way meaning is produced through Brecht's performative use of language ("<I style="mso-bidi-font-style: normal">Gestus</I>"), as well as through his use of modern&shy;&shy;ist literary techniques such as montage, frag&shy;men&shy;tation, repetition, and distanciation/alienation ("Verfremdung").</SPAN></P></o:p></SPAN>
<H4 align=left>Fall 2009</H4>
<P align=left><STRONG>G51.1716 - Autobiographical Writing: The Day in Writing (Diaries)</STRONG> - Prof. Elke Siegel<BR>Das Tagebuch – in seiner modernen Erscheinung seit dem 18. Jahrhundert als ‘persönliches Tagebuch’ – bereitet der Literaturwissenschaft Schwierigkeiten, die ins Herz ihrer gängigen Begrifflichkeiten – etwa Autorschaft und Gattung – treffen. Wie – dies eine Fragen im Zentrum der Arbeit in diesem Seminar – ist ein solches fragmentarisches Schreiben zu lesen, begreift man das Tagebuch nicht vorrangig als Steinbruch für Informationen zu Biographie und Werkgeschichte oder als historisches Dokument? Die Spannung von Ich und Welt, Alltag und Geschichte, Subjektivität und Objektivität, Öffentlichkeit und Privatheit, Fiktion und Dokumentarismus öffnet und verhandelt jedes einzelne Tagebuch neu. Damit widersteht dieses Schreiben am Rande der Form verallgemeinernden Bestimmungen. Im Seminar werden wir uns mit ausgewählten Tagebüchern der deutschsprachigen Literatur vom 18. bis zum 20. Jahrhundert beschäftigen und dabei auch beobachten, wie TagebuchautorInnen sich auf die Tagebücher anderer beziehen und damit literarische Traditionslinien eröffnen und/oder verweigern. Wir werden – in Gänze oder Auszügen – die Tagebücher u.a. folgender Autoren und Autorinnen lesen: Lavater, Goethe, Hebbel, Grillparzer, Kafka, Doderer, Jünger, Frisch, Frank, Wolf, Goetz, Grünbein, dies vor dem Hintergrund theoretischer Interventionen von, z.B., Barthes, Genette und Blanchot. Besondere Aufmerksamkeit wird dabei dem Problem des Autobiographischen (Philippe Lejeune) gelten, sowie der Frage nach dem Verhältnis von Alltag und Schreiben. Welche Rolle – dies eine der möglichen weiteren Fragen, die im Seminar zur Diskussion stehen werden – kommt dem Tagebuch in der Geschichte des Subjekts zu? Welche Bedeutung erhält dabei der Akt der Relektüre des eigenen Tagebuchs? Registriert das Tagebuch den Tag oder versucht es, ein Leben, einen Lebensplan zu projizieren? Und wie ist es um die Literarizität des Tagebuchs bestellt? Handelt es sich bei dem im Datum verankerten Schreiben gar um eine schützende Geste vor den Gefahren des Schreibens und der Zeit, die das Subjekt zu zerschlagen drohen? </P>
<P align=left><STRONG>G51.2700 - TPCS: Representations of Death</STRONG> -&nbsp;Prof. Elisabeth Bronfen <BR>The act of dying is something one can expect or something one can witness. Yet it defies all unmediated articulation. Representations of death, in turn, can be horrifying, fascinating or morally elevating. In all cases, however, death has been translated into an image or a story, and as such contained. The mortality we experience is not our own; the medium we engage with is not the materiality of the mortal body but the mediality of aesthetic signs. Death is the limit of representation but also one of its most seminal sources of inspiration. The seminar will engage this complex interface between death and represenation by looking at fictions (Goethe's Elective Affinities, Poe's Tales and Sketches), Hitchcock's late trilogy (Rear Window, Vertigo, Psycho), Freud's speculations on death, as well as recycling of death photography (Andy Warhol, Jeff Wall). </P>
<P align=left><STRONG>G51.1112 - Problems in Critical Theory: Metaphors, Examples, Anecdotes</STRONG> - Prof. Paul Fleming&nbsp; <BR>The course will explore the role of para-theoretical (e.g., poetic, rhetorical, and narrative) elements within philosophy and critical theory. In particular, it will examine the status of the literary-rhetorical elements as at once illuminating and obscuring thought, whereby the didactic function of metaphors, examples, and anecdotes lies in compelling the reader to continually return to and hermeneutically re-examine the material. The central focus will be on metaphors, examples, and anecdotes in Western thought from Plato and the Bible to Classical rhetoric (Horace and Quinitilian) to contemporary theory (DeMan, Derrida, Benjamin, and Blumenberg). </P>
<P align=left><STRONG>G51.2912 - Literature &amp; Philosophy: Hegel, Freud, &amp; Literature</STRONG> - &nbsp;Prof. Avital Ronell &amp; Prof. Slavoj Zizek </P>
<P align=left><STRONG>G51.1824 - Nietzsche's Impact on 20th Century Thought</STRONG> -&nbsp;Prof. Friedrich Ulfers&nbsp; <BR>The objective of the seminar is to show how Nietzsche revolutionized Western philosophy by transforming its dualistic-metaphysical worldview into a holistic one that corresponds to the reality of the world as one interrelated, processual whole. It will also show how this transformation influenced significantly what is known as “Continental Philosophy,” which includes such figures as Heidegger, Derrida, and Deleuze. Particular attention will be paid to the meaning of Nietzsche’s pronouncement that “God is dead”; his declaration that the world is “Will to Power ” and an “aesthetic phenomenon”; and his idea of “Eternal Recurrence.” Also discussed will be the role language plays in Nietzsche’s view on epistemology and ontology, his revaluation of morality, and his influence on the arts. </P>
<P align=left><STRONG>G51.3000 - Independent Research </STRONG></P>
<H4 align=left>Spring 2009</H4>
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<P align=left><STRONG>G51.2912 – Literature &amp; Philosophy: Theories of Time</STRONG> - Prof. Paul North <BR>In this class we will read texts that consciously try to regain time as a concept, category, or intuition after the European enlightenment. Following a singular development, starting from a theorization of the transcendental subject of experience by means of time in Kant, we will move toward the pointed dismantling of this configuration in Heidegger, interestingly enough, also by means of time. Bookending the course—but not merely that—the first and last volumes of Proust’s In Search of Lost Time will help explain the urgency that seems to characterize the gesture toward time in what has been called “modernity.” <BR></P>
<P><STRONG><BR>G51.1720 – Echoes of Antiquity: Germany and the Gre</STRONG>eks - Prof. John Hamilton <BR>This seminar investigates the rise and development of German Philhellenism from Winckelmann to Heidegger. Topics include antiquarianism and national identity; originality, genius, and tradition; pedagogy and revolution; the formation of the lyrical subject; representations of the classical body; Dionysus and theories of tragedy; philology, classical scholarship, and institutional history. <BR></P>
<P><STRONG><BR>G51.1919 – Literature of the Weimer Period: Philosophical Anthropology</STRONG> - Prof. Eckart Goebel <BR>The course provides a careful close reading of key texts on philosophical anthropology. We will start with Kant’s highly influential Anthropologie in pragmatischer Hinsicht, followed by a reconstruction of Nietzsche’s theory of civilization developed in his Morgenröte, focusing mainly on book 1. The second part of the seminar is meant to discuss Arnold Gehlen’s notorious book on Der Mensch (including an analysis of the famous radio debate between Gehlen, and Adorno, provided in copy), as well as a discussion of Martin Heidegger’s critique of philosophical anthropology, formulated in his book on Kant und das Problem der Metaphysik (including, as an appendix, the seminal debate between Cassirer and Heidegger in Davos). The seminar will provide background information on further reading, such as Helmuth Plessner, Max Scheler, and Michel Foucault. Books: Immanuel Kant, Schriften zur Anthropologie, Werkausgabe Bd. XII (Suhrkamp Taschenbuch) Friedrich Nietzsche, Morgenröthe, Kritische Studienausgabe (dtv-Taschenbuch) Arnold Gehlen, Der Mensch, Aula paperback Ausgabe Helmuth Plessner, Die Stufen des Organischen und der Mensch, de Gruyter paperback <BR><BR><STRONG>G51.1994 – Realism: Problems in 19th Century Prose</STRONG> - Prof. Paul Fleming <BR>This seminar is a systematic introduction to the problems of representation in 19th-century prose, particularly with respect to notions of the everyday, the ordinary, and the average. The course explores to what extent language can produce a ‘reality effect,’ and whether the quotidian, by means of such detailed description, necessarily leaps into the realm of the exemplary. Authors include Tieck, Grillparzer, Keller, Stifter, and Fontane. <BR><BR><STRONG>G29.2640 - Romanticism &amp; Revolution</STRONG> - Prof. Richard Sieburth <BR>The course will explore various literary and philosophical reactions to the French Revolution during the late 18th and early 19th centuries in Germany, England, and France. </P>
<H4 align=left>Fall 2008</H4>
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<P align=left><STRONG>Goethe: The Art of Dilettantism</STRONG> - Paul Fleming<BR>This seminar examines Goethe’s literature and thought through the prism of dilettantism, the art of doing things in a non-professional manner.&nbsp; Dilettantism for Goethe is a modern phenomenon, concomitant with the rise of the bourgeois subject, and is thus inextricable from questions surrounding art, education, and knowledge since the 18th century. In addition to Goethe’s poetry, prose, and drama, we will also examine his aesthetic, scientific, and autobiographical writings. A further focal point will be the reception of Goethe and the question of tradition. </P>
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<P align=left><STRONG>Object Relations: Melanie Klein -</STRONG> Laurence Rickels (Visiting Professor)<BR>The seminar will focus on the work of Melanie Klein, its point of departure in Karl Abraham’s reflections on melancholia and its running commentary on (and continuity with) Freud’s “second system.” The delegation of Klein’s thought proceeds via a series of controversies: Klein’s followers were largely guided and contextualized via the contest with the “Anna Freudians” in London in the 1940s, while Klein’s reception today (in the humanities) is inflected by the ambivalent revalorization of her work within French Freud.</P>
<P align=left><STRONG>War, Text, Image -</STRONG> Elisabeth Bronfen (Distinguished Global Professor of German)<BR>War: Literally a state of open, armed, often prolonged, conflict carried on between nations, states, or parties. Figuratively a condition of active antagonism or contention. War is not only a concrete condition but also a trope for all the other antagonisms that structure our sense of who we are, what our relation is to the world, and how others relate to us. Point of departure for this seminar is the question why the political situation of embattlement has served so resiliently as theme, scene, topos and <I>Denkfigur</I> in our cultural imagination. The seminar will involve four domains of inquiry: 1. Shakespeare's <I>Henry V</I> and its cinematic afterlife; 2. Kleist's <I>Penthesilea</I> and the battle of the sexes; 3. Cinematic enactments of battlescenes; and 4. Cultural theoretical issues involved in the representation of war.</P>
<H4 align=left>Spring 2008</H4>
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<P align=left><STRONG>Interdisciplinary approaches to Literature: German Music and Letters</STRONG> - Prof. John Hamilton<BR>This seminar examines the history of music and music theory in specific relation to German literature, philosophy, and criticism. Particular focus is given to the employment of music as a privileged metaphor in literary projects as well as music’s distance from and appropriation of verbal and linguistic structures. Session topics include: theories of the harmony of the spheres; synaesthesia, Romanticism and <I>Universalpoesie</I>; Wagner, tragedy and the <I>Gesamtkunstwerk</I>; absolute music and the tone-poem; secularization and the rise of chromatization; the semiotics of music; and music and psychoanalysis. Historical and cultural contexts will be presented as a number of predominant theoretical questions are developed, including but not limited to the following: the presumed immediacy or singularity of musical expression versus the mediation or abstraction of verbal language; the relation of tonal language and text; the reciprocal, philosophical critique of music and poetry; the “literalization” of music; patriotism, nationalism, and racism. The course ends with a close reading of Thomas Mann’s <I>Doktor</I> <I>Faustus</I>, a novel that is profoundly critical of, while being thoroughly informed by, the tradition outlined here. </P>
<P align=left><STRONG>Archive, Image, Text</STRONG> - Prof. Ulrich Baer<BR>This interdisciplinary seminar explores the role of the archive as the actual and conceptual origin or grounding context of much, if not all, research in the arts and humanities. Virtually all intellectual inquiry into artistic and humanistic expression – whether we are considering artworks, literary texts or scholarly productions – ultimate makes reference to one authoritative version of the object under discussion. This version is most frequently housed in some kind of actual or virtual archive from where the work is canonized, and effectively put into circulation. The archive is supposed to guarantee authenticity while permitting revisions and rethinking of the humanistic heritage. The archive is thus at once the solid reference point and grounding origin of scholarly work, and the site where prevailing views are most effectively challenged or overthrown. This class will examine two particular aspects of this process: the notion of the archive as an actual physical location that houses actual objects and artifacts beyond an artist’s lifespan, and the metaphor of the archive as the receptacle of past knowledge and a work’s inalienable history. Different types of archives and issues will be addressed, since we will include literary works, art objects, political documents, racial and national repositories as well as technological storage “spaces” in our discussions. Guest speakers, experts on various types of research materials, will supplement lectures by the two professors, who specialize in the history and theory of modern texts and images respectively. Updating classical concepts of the archive, we will try to examine how new technologies are rapidly changing both the nature and the power of information, and thus its repositories.</P>
<P align=left><STRONG>Anna Seghers, Christa Wolf &amp; Theory of Narration</STRONG> - Prof. Robert Cohen<BR>The works of Seghers and Wolf have acquired iconic status. They appear overdetermined by their authors' identities as women, as communists, as Jewish (Seghers) or Protestant (Wolf), as Nazi victims (Seghers) or perpetrators (Wolf's childhood), and as key figures of Weimar modern&shy;ism (Seghers) and of the literature of the GDR. Analyses and interpretations will proceed from close readings of the texts, with emphasis on the theoretical problems of modernist narration and on the way meaning is constructed in 20th century fiction (novels, novel&shy;las, historical and autobio&shy;graphical fiction). Several sessions will be devoted to theories of narration from Käthe Hamburger, Franz Stanzel, and Gérard Genette, to Philippe Lejeune's theory of autobiography. The sessions on Seghers will focus on the avant-gardist narrative techniques of works such as <I>Aufstand der Fischer von St. Barbara</I> and "Der Ausflug der toten Mädchen". Readings of other works – <I>Transit</I>, "Die schönsten Sagen vom Räuber Woynok," Die Reisebegegnung" – will investigate Seghers' repeated recourse to cross over narration (a woman narrating as a man), and her use of&nbsp; mythology, fairy tales and the fantastic as ways of disrupting traditional notions of realism. Discussions of Wolf's work will focus on the late modernist agenda of transforming the writer's own life into the subject of fiction (<I>Nachdenken über Christa T.</I>, <I>Störfall</I>); and on the construction of the female subject, and its constantly threatened destruction in patriarchal society, from <I>Nachdenken über Christa T.</I> through its staging in historical (<I>Kein Ort. </I><I>Nirgends</I>) and mythological costumes (<I>Kassandra</I>). </P>
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<P align=left><STRONG>Exemplary Texts: Poetry &amp; Experience</STRONG> - Prof. Avital Ronell </P>
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<P align=left><STRONG>In the Presence of Noise: Theories and Media</STRONG> - Prof. Hans-Christian von Herrman<BR>At the end of the 1970s when the era of the personal computer was dawning a new kind of media theories started to break up with the sociological analysis of mass media communication by analyzing modernity’s technological unconscious. As the seminar will show these concepts emerged from the confluence of three main sources: French poststructuralist theory, Canadian media history and American information theory. The reading list will include texts by Vilém Flusser, Friedrich Kittler, Paul Virilio, Régis Debray, Niklas Luhmann, and others.</P>
<H4 align=left>Fall 2007</H4>
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<P align=left><STRONG>Psychoanalysis and Philosophy: Love’s Body revisited. The Religion of Psychoanalysis</STRONG> - Professor Eckart Goebel<BR>This graduate course is intended to reread the relation between religion and psychoanalysis. The first part is devoted to key figures of religious thought, such as St. Augustine, Pascal, and Luther who were at the same time path breaking as analysts of the human psyche. We will read Erikson’s book on Luther since Erikson had the provocative thesis that Luther actually invented what Freud then was forced to study 400 years later. Before the seminar turns to Freud’s writings on religion and monotheism we will read a key book for the development of psychoanalysis, especially the concepts of the Nirvana principle or the Death Drive: Schopenhauer’s seminal work on <I>The World as Will and Representation</I>. This first part is followed by close readings of several Freudian writings. The overall goal of this seminar is to equip students of literary studies with the background information needed for a better understanding of modern literature and advanced literary theory.</P>
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<P align=left><STRONG>Literature and Philosophy:&nbsp;More Trauma</STRONG> - Professor Avital Ronell</P>
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<P align=left><STRONG>Visual Culture - </STRONG>Taught by Prof. Elizabeth Bronfen<STRONG> </STRONG></P>
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<H4 align=left>Spring 2007</H4>
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<P align=left><STRONG>Origins of Critical thought II</STRONG> - Professor Paul Fleming<BR>In this continuation of Origins of Critical Thought, we follow two trajectories of critical thinking in Germany since Hegel.&nbsp; The first is the hermeneutic-interpretative tradition beginning with Schleiermacher, proceeding through Dilthey, Nietzsche, and Freud, and ending with Gadamer’s epochal work Truth and Method.&nbsp; The second trajectory addresses the differences and disputes of the two most influential critical directions in the 20<SUP>th</SUP> century:&nbsp; Heidegger and the Frankfurt School.&nbsp; Finally, we will look at critical thought today in Germany and its two most influential representatives: Kittler and Luhmann. Whenever possible, we will try to create a dialogue – at times friendly, at times antagonistic – between two thinkers for each session.</P>
<P align=left><STRONG>Postwar Modernism: Max Frisch &amp; Peter Weiss,</STRONG> - Professor Robert Cohen<BR>Though neither Max Frisch nor Peter Weiss was German, they were key figures in the reconstitution of (West-) German post-war litera&shy;ture. Their works are both paradigmatic of, and different from, the literature of their German contemporaries (Andersch, Böll, Köppen, Walser) which emerged out of the collapse of Germany. From vantage points located at the periphery of German culture (Switzerland in the case of Frisch, Sweden for Peter Weiss) the two authors functioned like seismographs reacting to post-war reality. Their use of innovative and avant-gardism forms in drama and prose reflects the problematic of recovering the recent past and decoding a complex present. After prose works exploring the immediate post-war trauma and reconstituting the (literary) subject both Frisch and Weiss turned to drama and produced works which focus on anti-Semitism and Auschwitz. These plays will be read against canonized texts by Sartre and Adorno. Frisch and Weiss's evolution from modernist into post-modernist writing will be traced through their later works which decenter and dissolve narrative certainty and signal a new kind of text with unstable and multiple meanings and uncertain chronologies. In order to situate these works in the aesthetic and literary context of the postwar period, two sessions will be devoted to theories of modernism, the avant-garde, and postmodernism. Beyond – and before – all the topical issues these works evoke, however, they need to be understood as literature. Discussions in class will be based on close readings, on the narrative and dramatic structures of these texts, and generally on the way meaning is produced in literary texts.</P>
<H4 align=left>Fall 2006</H4>
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<P align=left><STRONG>Theories of History</STRONG> - Professor Werner Hamacher<BR>In <I>Theories of History</I> we are going to discuss some of the classical texts from the history of thinking about history – in particular Kant´s "Idea for a Universal History" and "An Old Question Raised Again: Is the Human Race Constantly Progressing?", Hegel´s lecture course on "Philosophy of History", the relevant paragraphs from Heidegger´s "Being and Time" and Benjamin´s notes on the structure of history and cognition.</P>
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<P align=left><STRONG>Fascism &amp; Sexuality</STRONG> - Professor Christopher Clark<BR>This seminar will explore the relationships between fascism (primarily, but not exclusively in its German form) and sexuality. Primary topics of analysis in this course are the central importance of sexuality to fascism not only in historical practice but in theory, as well as the (dubiously) privileged status of sexuality in theories of fascism continuing through today. We will begin with the Nazi era, noting what constituted acceptable and forbidden expressions of gender and sexuality, in theory and in everyday life. We will proceed through the postwar era to the present, examining the ways in which artists, theorists, and historians have continually portrayed and analyzed fascism in sexual terms, paying particular attention to the recurring figure of “the gay Nazi.” We will also address such phenomena as gays and lesbians in the Holocaust (and debates over their memorialization), the intrinsic homophobia of much antifascist critique, the 1970s “Naziploitation film,” and contemporary queer skinheads, with an eye toward which of these are historically specific and which still determine the terms and framing of discourse on fascism today. Readings/viewings include Mann, Hitler, Genet, Sontag, Mosse, Theweleit, Fassbinder, Visconti, Cavani, Pasolini, LaBruce, and others. No expertise in spoken or written German is required for participation in the course. However, graduate students from the Department of German, as well as students from other departments who are concentrating in part on German literature, will be expected to read a number of the primary texts in the original German.</P>
<P align=left><STRONG>Der Mann ohne Eigenschaften</STRONG> - Professor Eckart Goebel</P>
<P align=left><STRONG>Torture and Authority</STRONG> - Professor Avital Ronell<BR>Led by an overriding concern with the concept of<B><I> legitimacy</I></B>, the course offers a wide ranging theoretical exploration of modalities of torture and the underpinnings of authority. Some topoi, ranging from the chain gang to the culture of bondage and national political behaviors, include penal styles, the disappearance and returns of torture as spectacle, the punishment-body, the right to punish, the punitive ceremony as an exercise of terror, forces of revenge, the final exam, and so forth. We will take recourse to key psychoanalytic, philosophical and literary texts that have established a lexicon of torture, gauging specific effects of authority, whether betrayed, corrupt, book-bound, or legitimate. The course will consider the status of minoritized, disenfranchized figures, those subjected to legal as well as institutional persecution. One starting point will be Adorno's thoughts on the "authoritarian personality," which gets profiled close by, in conjunction with Blanchot's pages in<U> The Infinite Conversation</U>, "The Indestructible."</P>
<H4 align=left>Spring 2006</H4>
<P align=left><STRONG>Photography &amp; the World </STRONG>- Professor Ulrich Baer<BR>An investigation into the ways photography has been conceptualized since its inception until its recent transformation brought about by the advent of digital imaging. Particular attention will be paid to the notion of the ‘world’ as it informs most theoretical attempts to grasp photography; the way in which the rise of photography is indissociably linked to the emergence of psychoanalysis and phenomenology; theories of perception; issues of veracity, mimesis, and aesthetics; and the relation between photography and its historical moment. </P>
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<P align=left><STRONG>Kafka</STRONG> - Professor Friedrich Ulfers<BR>The course will deal with Kafka’s work largely in the light of the author’s preoccupation with language particularly with the way this preoccupation affected his writing, indeed provided the theme of it. The point of departure will be the experience of “language crisis” among intellectuals and writers in turn of the century Austria, which led to the radical language criticism – already foreshadowed by Nietzsche – of Fritz Mauthner and Ludwig Wittgenstein among others. An interpretation of Kafka’s work aims to show not only the influences of this thinking on his writing, but also how Kafka radicalized it so as to make it “Kafkaesque.” Another aspect of the course will be to examine Kafka as anticipating a line of writing and thinking that could be described as deconstructive.&nbsp; In this context, undecidability, the breakdown of referential language, and irreducible allusiveness will be shown as constitutive of Kafka’s texts.&nbsp; This will also be the context to discuss the problematization of the real, of judgment, of justice, and the law that suffuses Kafka’s writing.</P>
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<P align=left><STRONG>Literature &amp; Depression: The Sickness to Death</STRONG> - Professor Eckart Goebel<BR>The seminar starts with an investigation of seminal theoretical texts on mourning and melancholia (Freud, Klein, Spielrein). It continues with close readings of canonical text of the philosophical and literary tradition from Kierkegaard to T. S. Eliot, and Heidegger. The course discusses the history of depression between mediation (language, art), meditation (religion), and medication (Prozac) and tries to reconstruct the role of art and poetry within this flexible scaffolding.</P>
<P align=left><STRONG>Brecht</STRONG> - Professor Robert Cohen<BR>Dialogical and intertextual in the extreme, Brecht's oeuvre can be seen as an endless critical conversation with readers and theatergoers, with collaborators, colleagues and lovers, as well as with philosophical, theoretical, political, economic, and aesthetic theories from Aristotle to Marx, Lukacs, and Benjamin. The result of these conversations is a work in progress, a collection of unstable and endlessly revised texts exploring the human experience in a time of class struggle, violence, and war. Within this framework the course is conceived as a general introduction to Brecht's work. Some of the topics the course will focus on are: the experience of the modern metropolis; the destruction of identity and the construction of a 'collective individuality;' the disintegration of social and sexual relations; Brecht's Marxism and his contribution to a new dialectics; Brecht's formal innovations in drama and poetry, and his theater theories. Beyond all the controversial issues which Brecht's oeuvre (and life) evoke, it needs to be understood as literature. Discussions in class will be based on close readings of the texts&nbsp;- poetry, plays, and theoretical works&nbsp;- and on the way meaning is produced through Brecht's performative use of language ("<I>Gestus</I>"), as well as through his use of modern&shy;&shy;ist literary techniques such as montage, frag&shy;men&shy;tation and repetition, and "Verfremdung".</P></p>
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