All Courses Spring 2018
GER 103 First Year German (5 credits)
CRN: 32478, 32479, 32480, 32481, 32482
This series is designed to provide you with a foundation in German language and culture: you will learn to communicate in German using the four skills: listening, speaking, writing and reading. Through videos, readings and class discussions you will be introduced to various aspects of culture in German-speaking countries. 101-103 are structured according to international standards (ACTFL and EFR proficiency guidelines) to provide you with transparency and clear goals and to signal to you, other universities, and employers around the world that you have mastered basic German.
SWED 103 First Year Swedish (5 credits) Mier-Cruz
CRN: 35494. Thorough grammatical foundation in idiomatic Swedish with emphasis on both reading and speaking.
GER 203 Second Year German (4 Credits)
CRN: 32483, 32484, 32485, 35818. This course fulfills the Arts and Letters (A&L) requirement. This is the sixth quarter of a two-year sequence designed to provide you with a foundation in German vocabulary, grammar, and culture. In German 203, you will have the chance to expand your vocabulary and your knowledge of structures in a unifying context with engaging cultural topics brought to you in authentic readings and engaging videos. You will learn to discuss in German and continue to prepare for participating in the larger academic and intellectual discourses at the University of Oregon and beyond.
SWED 203 Second Year Swedish (4 credits) Mier-Cruz
CRN: 35495. This course fulfills the Arts and Letters (A&L) requirement. Review of grammar, composition, and conversation. Readings from contemporary texts in Swedish.
GER 223 Germany: A Multicultural Society (4 credits) Vogel
CRN: 32486 + Discussion; taught in English. This course is a double dipper: it satisfies one Arts and Letters, and one Identity, Pluralism, and Tolerance requirement.
This course examines the multiethnic complexities of German, Austrian, and/or Swiss societies through the writings of African, Turkish, or Jewish Germans as well as contemporary films on the topic. This course introduces students to the political and social challenges faced by post-unification Germany. We will consider the historical, socioeconomic, political and cultural issues of minority populations. As we study the various groups, we will investigate the way in which they have helped to redefine what counts as “German” today. Period of focus varies.
GER 252 War, Violence, Trauma (4 credits) Boos
CRN: 32491; taught in English. Fulfills the Arts and Letters (A&L) as well as the International Cultures (IC) requirement.
Wars, violence, and their traumas have affected German and Austrian culture and society in drastic ways throughout their history, and particularly extreme proportions since early in the 20th century. In this course we will study major works of literature, thought, art, and film that deal with war, violence, and trauma since the early 1900s: moving from World War I, through the interwar period (where “war neuroses” or what we now call PTSD, was first discovered and theorized), across the Nazi period and World War II, including the Holocaust. We will look also at the processing of these events in films made during the Weimar Republic and the Cold War in the 1960s and 1970s, and in cultural materials since the unification of East and West Germany in 1989. We will look at novels, plays, essays, and films that treat these themes, along with supporting historical materials as necessary. Authors considered include, for example: Erich Maria Remarque, Hannah Arendt, Ingeborg Bachmann, Bertolt Brecht, and Franz Kafka.
GER 313 Intermediate Language Training (4 credits) Baumeister
CRN: 32492. This course satisfies one Arts and Letters requirement. Extensive practice in speaking and writing German, and complex grammatical structures in writing.
SCAN 315 Nordic Cinema: Ingmar Bergman – The Play of Light and Shadow (4 credits) Stern
CRN: 35948; taught in English. Fulfills the Arts and Letters (A&L) as well as the International Cultures (IC) requirement.
Nordic Cinema has contributed to the pantheon of great directors and has produced some of the more interesting avant-garde movements in film history. One only has to think of Carl Dreyer, Ingmar Bergman, Lars von Trier, Aki Kaurismäki, Susanna Bier and the Dogme 95 movement to understand that this region’s cinematic production offers a wide variety of aesthetic signatures. In honor of the 100th anniversary of his birth, this year’s course will focus on the career of Ingmar Bergman, perhaps the most famous of all Scandinavian film directors. Bergman’s cinematic career spanned nearly six decades. His engagement with the possibilities of cinematic representation and his fascination with the hidden recesses of the human psyche was expressed by an aesthetic strategy that can be compared to the play of light and shadow: illumination is always partial and given shape by that which blocks the light. In addition, Bergman was also engaged with post-war European existential philosophy and we will analyze his films with an eye open to his philosophical antecedents. It is my hope that this interdisciplinary approach, which keeps dramaturgy, philosophy, and the history of cinema in mind will open up a window to Bergman’s philosophical and aesthetic engagement with a variety of topics: education, romance, memory, religious belief, subjectivity, spectatorship, creativity, old age, and childhood.
SCAN 341 Revisions of the Scandinavian Dream: Scandinavia in Modernity – We Dreamt of Tomorrow Yesterday (4 credits) Stern
CRN: 35949; taught in English. This course satisfies the Arts and Letters (A&L) requirement as well as the International Cultures (IC) requirement.
European “Modernity” has most often been described as an age that ushered in new forms of human relations and the desire to dispense with tradition. Depending on the commentator’s ideological preference, the changes that we identify with the period came either too slowly or occurred too radically. Yet, everyone seems to agree that what we call the “modern” can be characterized by seemingly contrary characteristics. In other words, modernity brings the end of traditional modes of behavior and the invention of the concept of “tradition;” it brings democracy and dictatorship, industrial expansion and urban poverty; utopian hopes and dystopic fears, the rise of the natural sciences and the emergence of religious fundamentalisms, the promise of universal peace and the devastation of two world wars. The modern age also brought in an increased emphasis on historical thinking and with it, a new consciousness of the passing of time. In other words, for all its contradictions, the modern is marked by a critical self-consciousness and an increased awareness of one’s place in developing forms of human interaction. With this in mind, our course examines the cultural changes that occur in Scandinavia from the French Revolution to the beginning of the 21st century and the reactions of Scandinavian artists and intellectuals to these new ways of interaction. In order to come to an understanding of the historical trajectory of “modern” Scandinavia, we will examine a selection of literature and film and address the following topics: secularization, women’s rights, nihilism, and the rise of the bureaucratic state, war, class conflict, boredom, and globalization. Readings include works by Søren Kierkegaard, Victoria Benedictsson, Henrik Ibsen, August Strindberg, Knut Hamsun, Hjalmar Söderberg, Karin Boye, Pär Lagerkvist, Erland Loe, and Gunnhild Øyehaug. We will also view film clips from I am Curious Yellow and I am Curious Blue and watch the film Insomnia by Erik Skjoldbærg. Films are subtitled.
GER 350 Genres in German Literature: The Twilight of Seduction and the Limits of Consent
(4 credits) Marlan
CRN: 35945; taught in English. This course satisfies the Arts and Letters (A&L) requirement as well as the International Cultures (IC) requirement.
In the heyday of the seduction plot, in which rapes or attempted rapes were rectified by marriage, little distinction was made between seduction and rape. But by the end of the 18th century, the plot had clearer contours, ironically depicting power relationships whose defining feature was moral ambiguity, the very principle of uncertainty. The literary discourse of seduction is one that draws attention to the borders of consent, mediating between a juridical discourse and a philosophical one. With recent attention rightly directed on sexual violence, there is renewed interest in these borders. In this course, we will explore the relationship between power and eroticism by examining the seduction plot in canonical German and Scandinavian narratives in different genres, asking about the benefits and risks of legislating expressions of desire. Texts may include the following novels, plays, stories, philosophical treatises, and films: Sophie von La Roche’s The History of Lady Sophia Sternheim, Lessing’s Emilia Galeotti, Goethe’s Faust I, Kierkegaard’s The Seducer’s Diary, Thomas Mann’s “Tristan” and “Mario and the Magician,” Pabst’s Pandora’s Box, Herzog’s Nosferatu the Vampyre, and von Sternheim’s The Blue Angel.
SCAN 353 Scandinavian Women Writers: Razors and Dolls – Narrating the Body in Nordic Literature (4 credits) Mier-Cruz
CRN: 35947; taught in English. This course satisfies the Arts and Letters (A&L) requirement as well as the Identity, Pluralism, and Tolerance (IP) requirement.
This course offers an exploration of gender, sexuality, race, and class in classic and contemporary Scandinavian literature and film. The Scandinavian countries are widely considered to be some of the most gender-equal and queer-friendly in the world, but the norms of gender equality and the policies enforcing them are often structured by racialized heteronormative views of equality. This course will explore texts by women writers, including Scandinavian women of color, trans women, and gender queer writers.
GER 354 German Gender Studies: Representations of Women “Terrorists” in German Film, Literature, and Art (4 credits) Anderson
CRN: 35944; taught in English. Fulfills the Arts and Letters (A&L) as well as the Identity, Pluralism, and Tolerance (IP) requirement. This course also satisfies an upper division requirement of the Women’s, Gender and Sexuality Studies major/minor.
In contrast to mainstream West German student-protest movements in the 1960s and 1970s, the leadership in radical protest groups included a high percentage of well-educated young women, such as Gudrun Ensslin and Ulrike Meinhof. Both became icons of the protest against what many Germans viewed as a patriarchal state in danger of reverting to its militaristic, totalitarian past. They and other women revolutionaries from that time continue to attract both scholarly and popular attention into the reasons for their transformation into “disorderly women.” This course will analyze attempts to give meaning to such women figures within a framework of films, stories, essays, photographs, fashion, and art that focus on gender and violence, on fears of forceful women and a fascination with their deaths, and on notions of the “terrorist” in contemporary culture.
GER 366 Themes in German Literature: Fantasy and Reality (4 credits) Librett
CRN: 35940; taught in German. This course satisfies the Arts and Letters (A&L) requirement.
The theme we will pursue in this course is that of “fantasy and reality.” To explore this theme, we will read literary and theoretical texts, listen to some music, and examine some visual art (including film) from romanticism through modernism to our own contemporary moment. We will consider such questions as: Why (i.e. in what context, for what reasons, and in what terms) does “fantasy” become such an important, positive notion in the age of romanticism? How is it, on the one hand, linked to the critique of (enlightenment era) “mechanical” rationalism? How, on the other hand, is it linked in this period with the recognition of the legitimate place of rationality and realism in human experience? And further, in what terms do the romantics—by an apparent paradox—recognize precisely the reality, the reasonableness, and the necessity of fantasy itself as a crucial dimension of the human? How does the notion of “fantasy” shift in the early twentieth century, the period of high modernism and the aesthetic avant-gardes (such as expressionism)? What places does “fantasy” occupy in contemporary (German-language) literature and culture? How does “fantasy” fare—and in what forms—in the age of digital technology?
GER 401 Research (1-16 credits) Staff CRN: 32495
SCAN 401 Research (1-16 credits) Staff CRN: 35210
GER 403 Thesis (1-12 credits) Staff CRN: 32496
SCAN 403 Thesis (1-12 credits) Staff CRN: 35211
GER 405 Reading (1-16 credits) Staff CRN: 32497
SCAN 405 Reading (1-16 credits) Staff CRN: 35212
SWED 405 Reading (1-16 credits) Staff CRN: 35496
GER 409 Practicum (1-4 credits) Staff CRN: 32499
SCAN 409 Practicum (1-3 credits) Staff CRN: 35214
GER 413 Advanced Language Training (4 credits) Vogel
CRN: 32501. This course is designed to improve your oral communication skills (listening and speaking). It is aimed at advanced non-native German majors who have successfully completed at least three years of college German or its equivalent. Through discussions of current topics, you will expand your vocabulary as you learn about contemporary German culture. Topics will be chosen by the students in tandem with the instructor. Small groups or pairs are the predominant forms of practicing oral communication skills in this class.
GER 440 German Culture & Society: Topic (4 credits) Calhoon
CRN: 36020; taught in German.
GER 503 Thesis (1-16 credits) Staff CRN: 32503
GER 540 German Culture and Society: Topic (4 credits) Calhoon
CRN: 36021; taught in German.
GER 601 Research (1-6 credits) Staff CRN: 32505
GER 603 Dissertation (1-16 credits) Staff CRN: 32506
GER 605 Reading (1-16 credits) Staff CRN: 32507
SCAN 605 Reading (1-16 credits) Staff CRN: 35215
GER 609 Practicum (1-16 credits) Staff CRN: 32511
GER 609 Practicum Language Teaching (1-16 credits) Vogel
SCAN 609 Practicum (1-16 credits) STAFF CRN: 35216
GER 623 Lyric: Poetry of the 20th Century and Contexts (4 credits) Ostmeier
CRN: 35946. Different poetic styles of this period reflect crises of, with, and in language. Selected poems, theoretical treatises and manifestos of the 20th Century will be discussed as condensed reflections and enactments of relations between aesthetic, philosophical and political discourses. These discussions will also be based on rhetorical and metrical analyses. In some cases, we will demonstrate how poems relate to other genres such as the visual arts, drama and film. Authors might include Jacob van Hoddis, Georg Heym, Ernst Stadler, Hugo von Hofmannstal, Rainer Maria Rilke, Else Lasker-Schueler, Bertolt Brecht, Gottfried Benn, Ingeborg Bachmann, Johannes Bobrowski, Paul Celan, Nelly Sachs, and Alexander Nitzberg.