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Spring 2017 Courses

 

GER 532

Holocaust and Visual Culture

Sabine Doran

This seminar studies representations of the Holocaust in art, museums, literature, and film. We will examine theoretical questions involved in any attempt to capture what appears to be beyond our comprehension in terms of moral outrage and the sheer scale, inhumanity, and bureaucratic efficiency of the violence perpetrated by the Nazis. We will focus on the ways in which "trauma" has become a key analytical concept in these debates. We will discuss literary works, such as Primo Levi's Survival in Auschwitz, films such as Alain Resnais’ Night and Fog, The Pianist, The Tin Drum, The Photographer, A Film Unfinished, as well as photographs, poems, installations, and other artifacts. We will also confront questions of memorialization, national guilt, survivor's guilt, stigmatization, and the ethics of historical representation, in theoretical readings by Theodor Adorno, Giorgio Agamben, Hannah Arendt, Cathy Caruth, Jacques Derrida, Jean-François Lyotard, Hayden White and others.

 

GER591/CMLIT 570

“Mimesis”

Jonathan E. Abel

If recent musings about the anthropocene recast the scope and scale of the humanities, they also force reconsideration of one of the longest standing problems of humanistic inquiry, that of representation.  This course excavates layers of discourse on mimesis from the deep time of philosophy and criticism to answer a vital question about human transformation of the planet: how does art transform human and non-human interactions?
The study of representation has too often been taken at several layers of remove from the real world, and yet it is precisely through the mediation that art and artifice play among humans and between humans and the world that we are connected to each other and to our environment.  Representation matters as much for identity formation as it does for government, but do our creations reflect and refract the world or dictate and define it?  This course traces the long history of mimetic thinking and acting to articulate a vision of the power of critique at the ends of humanity. Depending on participants’ interests and backgrounds, readings may include work from: Plato, Aristotle, Confucius, Rousseau, Diderot, Zeami, Brecht, Heidegger, Lukacs, Benjamin, Adorno, Auerbach, Lacan, Derrida, Martin Jay, Taussig, Bhabha, Elin Diamond, Irigaray, Lacoue-Labarthe, Ming Dong Gu, and Luhman.

 

GER 593

Seminar in German Philology and German Linguistics:

Psycholinguistics in the foreign language classroom

Carrie Jackson

The primary goal of this course is to think critically about how recent advances in psycholinguistic research, and psycholinguistic research on bilingualism in particular, can inform foreign language instruction. We will approach this larger question from several perspectives, including:

-          exploring theories of second language learning that emphasize how online processing strategies facilitate or hinder learning (e.g., Processing Instruction by VanPatten and colleagues)

-          how the manipulation of language input impacts learning

-          how lab-based experimental methodologies may be adapted for classroom-based activities (e.g., syntactic priming)

Students will complete a variety of assignments over the course of the semester, most notably carrying out a pilot research project that revolves around the larger themes in the course. Students at all stages of their PhD program are welcome to sign up for this course. Previous work in linguistics not required.

GER/LING 597

Second Language Speech Perception

Katharina Schumann 

This course examines how adults learn to perceive sounds in a second/foreign language.

This course provides an overview of the major theories and accounts of non-native and second/foreign language (L2) speech perception in adults. In particular, we will focus on segmental aspects in L2 speech. To this end, we will investigate mainly, but not exclusively, data from non-native learners of German or Dutch, and data from native speakers of German or Dutch learning other languages (e.g., English). We will ask whether all non-native sounds and sound contrasts are equally difficult to perceive, and, if not, upon which phonetic and phonological factors this might depend. We will also ask whether phonetic training can lead to increased native-like L2 speech perception. Throughout the course, we will read overview chapters and original research articles in the areas of phonetics, phonology, and psycholinguistics, and we will discuss core methodologies for conducting research on L2 speech perception.

 

 

Fall 2016 Courses

 

GER 510 Literary Theory: An Introduction
Instructor: Samuel Frederick
Tuesdays and Thursdays, 4:35-5:50pm


This seminar is designed for both Literature/Culture and Linguistics track students. Its aims, broadly, are twofold: 1) to give an overview of various methodologies for literary/cinematic analysis, and 2) to learn how to teach German literature and culture at North American colleges and universities. To accomplish the first we will read short texts representative of various literary (and cinematic) theories falling under these broad categories: language, history, sexuality, technology. Students will read theoretical these texts alongside primary literary and filmic works as well as exemplary readings of these works that are carried out within the given methodological framework. The goal is to gain an understanding of and appreciation for theory via its applications; as well as to be able to articulate in our own language the stakes of the different theoretical interventions. The course’s (shorter) second, pedagogical component will involve learning how to create various kinds of syllabi and lesson plans for undergraduate instruction. We will also discuss what texts and films work well in these contexts, and the different methods for introducing them in the classroom.

 

GER 511 The Teaching of College German

Instructor: Donald Vosburg

Mondays & Wednesdays, 4:35-5:50pm

German 511 introduces students to the theory and methods of teaching German at the college level with further discussions centered on the Penn State curriculum (both face-to-face and online/World Campus). It deals not only with techniques, materials, and bibliography of the field but also evaluates the contributions of linguistics and psychology to college-level language pedagogy. German 511 familiarizes students with current theories of foreign language education as they relate to post-secondary language acquisition. This course further includes the practical aspects of college-level teaching with special reference to problems related specifically to the teaching and learning of German. Additionally we will discuss practical matters in the classroom, and create a teaching portfolio which includes lesson plans, and a teaching philosophy statement. Evaluation procedures include homework and discussion, research papers, and the preparation of sample teaching materials. German 511 is a required course for all German graduate students both at the M.A. and Ph.D. level. It is offered every year.


 

GER 513: German Phonetics and Phonology

Instructor: Richard Page

Tuesdays & Thursdays, 3:05 - 4:20 p.m.

 

This course is about the sounds and the sound system of the German language. The first part of the course will focus on German phonetics. Phonetics is the study of speech sounds, and we will pay particular attention to German speech sounds that native speakers of English find difficult.  We will use both articulatory and acoustic phonetics to describe German speech sounds and to compare them to corresponding English speech sounds.

The second part of the course will examine German phonology. Phonology is the study of speech sounds as a linguistic system. We will focus primarily on Standard German, but we will also address phonological aspects of dialectal variation, language change, and language acquisition. The course will also explore different theoretical models as they are applied to German phonology.

No prior knowledge of phonology or linguistics is assumed.

 


 

GER 591 The Frankfurt School & the Politics of Visual Aesthetics

Instructor: Daniel Purdy                                                     

Tuesdays, 6-9pm

The course will examine critical theories by members of the Frankfurt School regarding visual strategies for representing and challenging urban consumer culture. The course will center on German Marxist theories about how the rise of urban mass culture at the beginning of the twentieth century produced Modernist forms of visual representation. The course will examine how the spread of fashion-driven behavior had dramatic implications for aesthetic theory, film, architecture, and literature. The course will provide a survey of the most important works in the German critical tradition and the major thinkers associated with the Frankfurt School. These include Georg Simmel, Georg Lukacs, Siegfried Kracauer, Walter Benjamin, Theodor Adorno, and Jürgen Habermas, among others. Students will learn how these modern theories relate to the German Idealist tradition, particularly Kant, Hegel, and Nietzsche, as well as the history of German Marxism.

Topics include the psychology of the metropolitan individual, the commodification of culture, money, and interpersonal relationships, the architecture of shopping, visual advertising through posters and photography, and cinema as a means of understanding social relations, as well as the role of visual media in public debate. The course will consider how modernist architecture, particularly from the Bauhaus school, redefined urban spaces and introduced new functionalist designs. The course will examine how Frankfurt School thinkers responded to the provocative design proposals presented by modernist architects. Students will examine specific modernist designs for consumer products to examine the relationship between the appearance of a commodity and its use, in order to understand how appearance and function are interdependent within modernism. In broad terms, class discussions will focus on such questions as: How does the relationship between the visual image and society change under industrial capitalism? What political functions do visual images have in consumer culture? What visual mechanisms does the “culture industry” deploy to organize public consciousness? What critical responses are available to visual artists within a mass-market economy? The course will provide students an historical understanding of early twentieth-century German consumer culture and its visual representation, while also offering them critical intellectual tools to understand the social and economic implications of visual images within consumer culture. The course will be taught in English with readings available in both languages.

 

Spring 2016 Courses

CMLIT 570: Digital Humanities

Thomas Beebee

This seminar will function as a workshop and laboratory for sampling, exploring, and experimenting with a variety of computer-based technologies that are currently being applied to (typically) large corpuses for the purposes of algorithmic criticism. Our focus will be hands-on experimentation with software for network analysis (gephi); stylistics (R); topic modeling (mallet), and mapping, with attention paid to foundational ideas of information theory, visualization, spatial humanities, etc. Exploration of further topics and methods according to student interests, preparation, and usefulness for specific research agendas.

 

GER 592 / CMLIT 543: Romantic Spaces

Daniel Purdy

Once upon a time, it was common to subordinate spatial relations to temporality. Time was considered the more fundamental quality of modern consciousness, both in literature and philosophy. Modernist literature was seen as concerned foremostly with the passage of time, memory and the unstable cohesion of subjectivity; only post-modernist writing was considered spatially oriented with its interest in commodity relations, globalizing capitalism, simultaneity and description.

This course will take a step or two back to investigate how Romanticism (broadly defined) constructs space in order to 1) organize interior feelings, along the axes of knowledge, sexuality, and power ; 2) establish a domestic terrain and boundaries for the nation state; 3) define differences between home and foreign spaces. Along these lines we will read Romanticism in light of theories of subjectivity, nationalism and Orientalism.

These three areas will overlap so that we will readily interpret the Orient as a space allowing for alternate modes of identity or the nation as an arena that incorporates ethnic, sexual and cultural differences. This course will also examine how literary texts represent the subjective experience of space. Literary depictions of space have long served as external reflections of interior states of mind. Thus our readings will lead us through ancient Italian labyrinths, psychic caverns, neo-gothic ruins, cartographic landscapes, broad boulevards, dark alleys, and bureaucratic compartments. We will also ponder the difference between the beautiful and the sublime.

Romanticism stressed the unique qualities of place. The poetic descriptions of natural sites such as the Rhine, the Danube or the Alps will receive our particular attention. We will study how literary texts construct the borders between Europe and the Orient while simultaneously arranging sexualities into heteronormative and queer spaces. All along the way, we will be reading some of the most important canonical texts in the Romantic tradition, in order to provide you with an overview of cultural history. Students taking the class for a grade will be asked to give one in-class presentation and write a 20-page research paper.

 

GER/LING 593: The secret lives of verbs 

Michael Putnam

In this course we take a detailed look at the underlying structure of verbs. Here we explore the many domains of grammar that intersect in verbs; i.e., argument structure, event semantics, tense/mood/aspect distinctions, etc., from both descriptive and theoretical perspectives. The primary goal of this course is to improve our understanding of the interface between aspects of the structure (syntax & morphology) and meaning (semantic & pragmatic) of the grammatical properties of verbs cross-linguistically. In addition to building a solid foundation of previous research carried out on verbs, students will work to develop independent research projects focusing on under-researched topics in this area. Finally, we will also investigate what these cross-linguistically differences mean for language acquisition and language contact. Although German(ic) data will be a dominant empirical focus throughout the course, we will also consider data from a wide array of typologically diverse languages, so students from other departments are welcome to enroll. This course will be taught in English. 

 

 

GER 540 The Holocaust in Visual Culture and Theory

Sabine Doran

This seminar studies representations of the Holocaust in art, museums, literature, and film. We will examine theoretical questions involved in any attempt to capture what appears to be beyond our comprehension in terms of moral outrage and the sheer scale, inhumanity, and bureaucratic efficiency of the violence perpetrated by the Nazis.

We will focus on the ways in which "trauma" has become a key analytical concept in these debates. We will discuss literary works, such as Primo Levi's Survival in Auschwitz, films such as Alain Resnais’ Night and Fog and more recent films such as Paul Verhoeven’s Black Book, as well as photographs, poems, installations, and other artifacts. We will also confront questions of memorialization, national guilt, survivor's guilt, stigmatization, and the ethics of historical representation, in theoretical readings by Theodor Adorno, Giorgio Agamben, Hannah Arendt, Cathy Caruth, Jacques Derrida, Jean-François Lyotard, Hayden White and others.

Readings and discussion in English.

Fall 2015 Courses

GER 497A: Tendenzen der deutschen Gegenwartssprache (Trends in modern German) 

Michael Putnam

What's sorts of dialectal differences exist in German-speaking Europe today? How pervasive are they? Is there any stark contrast in the German spoken by young speakers? What are we to make of the L2 German spoken by immigrants in larger cities; i.e., can we classify this as a form of "German", or is it more apt to label this as a pidgin or creole? According to Heraclitus, "the only constant is change", and perhaps in no domain is this axiom more applicable than in the study of human language, i.e., linguistics. In this course we will closely examine the grammatical structure of modern German from different angles, paying particular attention to sociolinguistic, contact-induced, and internal language change. In addition to in-class discussions and readings on these related topics, students will have the opportunity to access digital corpora of spoken German (mostly from the Berlin-area) and to engage in Skype and video chats with students at die Gemeinschaftsschule auf dem Campus Rütli (in Neukölln). No background in linguistics is required. This course will be taught in German. 

 

GER 591 / CMLIT 580: Walter Benjamin

Samuel Frederick

This seminar investigates the intellectual development of Walter Benjamin, one of the twentieth century’s most important critics. It focuses on the writings Benjamin produced up to the mid-1930s, with special attention to his thought prior to his serious engagement with Western Marxism. In these early years Benjamin was deeply influenced by Jewish mysticism and the utopianism of the German Youth Movement, pushing back against positivist and Neo-Kantian epistemology with the help of esoteric theology and Romantic aesthetics. In the first part the semester we will attempt to get a grip on Benjamin’s conceptions of language, history, allegory vs. symbol, criticism, messianism and time, among other key concepts. We will also take a detour through some of his writings on children’s literature and collecting. Using his essay on Brecht, his experimental aphoristic collection One-Way Street, and his essay on surrealism as transitions we will then ask how Benjamin carried over his project of “redemptive criticism” as developed in these early works to his new interest (after about 1928) in historical materialism, technology, and commodity culture, looking to some of the representative writings from the later years, including his famous writings on art and reproducibility, Baudelaire and urban experience, and storytelling.

All readings and discussion in English. (Those who can read German are encouraged to read the original texts.)

Spring 2015 Courses

GER 510 Literary Theory: An Introduction
Sabine Doran
Tuesdays and Thursdays 1:00-2:15
210 Ferguson Building

This seminar will introduce students to contemporary literary and cultural theory in an effort to provide them with the methodological tools they need to undertake cutting-edge literary and cultural analysis themselves. German Studies in the U.S. has at least two defining characteristics. First, though, at least for those of us in German Departments, its emphasis is mainly on culture, it is genuinely interdisciplinary, attempting to explore how cultural products and practices (defined as extending far beyond the traditional canon of German literature) are constituted by and help to constitute history and politics. And, secondly, it advances its interdisciplinary analyses by drawing increasingly on new methodologies elaborated by Anglo-American and foreign cultural theorists.

GER 540 Seminar in German Culture and Civilization
Dennis Schmidt
Wednesdays 2:30-5:30
206 Hammond Building

Philosophy and the Arts in Germany
This course will look at the relationship between artists and philosophers who made an effort to engage in a dialogue of some.  To this end the semester will be divided into four sections during which we will read (or look at or listen to) works by artists and by the philosophers who shaped them or whose work they influenced.  The sections are as follows: 

  1. Wagner, Schopenhauer, and Nietzsche (3 weeks)
  2. Klee, Heidegger, Benjamin, Adorno (3 weeks)
  3. Hölderlin, Heidegger, Benjamin, Adorno (3 weeks)
  4. Celan, Heidegger, Gadamer, Derrida (3 weeks)

Two weeks will also be reserved at the end of the semester for discussions of artists/philosophers chosen by members of the seminar.  While the field here is rather open, some figures who might be especially interesting to consider would be Anselm Kiefer, Sigmund Freud, Ernst Jünger, Max Kommerell, Gustav Mahler, or Rainer Maria Rilke and Rodin – among so many others.

Our intention will be to consider the wider cultural, political, and theoretical issues that emerge in the exchanges that go on among these figures.  Our efforts will be directed by the project of bringing different genre and forms of thinking into conversation with one another. 

The course will be run as a lecture/seminar combination.  Students will be required to do one presentation (about 15 minutes).  There are three options for the written requirement: you may write either 6 interpretive summaries (4-5 page each), or two shorter papers (10-15 pages each), or one term paper (20-25 pages).  Active participation in discussions is expected. 

GER 592 Seminar in German Literature 
Thomas Beebee
Tuesdays 6:00 - 9:00 p.m.
301 Willard Building

German Literature as World Literature
From the Germania of Tacitus to the Chinese studies of Leibniz, from the eastward gaze towards India of Friedrich Schlegel and Hermann Hesse to the emergence of Turkish-German literature and the presence of Russian-German
writers such as Wladimir Kaminer on the current scene, German literature has been imbricated in other cultural traditions. It has ventriloquized other cultures, taken them as mimetic objects, translated and transadapted their texts. Other cultures of the world have, of course, done the same with German literature. German literature has been
written in non-German-speaking countries, and by people for whom German is a second language. German authors have been of vital importance to people who encounter them for the first time in English, Japanese, Spanish, Urdu, and other translations. This course, (cross-listed with Comparative Literature) will convey an image of, and further the conversation about, German literature as world literature. We will examine theoretical pros and cons in the writings of
Goethe, Nietzsche, and Spengler, and a variety of primary texts from Goethe to Christa Wolf to Jonathan Franzen. Participants will help shape the reading list (as should happen in a seminar), as will also a series of
invited lecturers from other universities.

GER 593: Seminar in German Philology and German Linguistics - Research in German linguistics and applied linguistics
Carrie Jackson
Tuesdays and Thursdays 4:15-5:30
210 Ferguson Building

Research in German linguistics and applied linguistics
The primary goal of this course is to give students hands-on experience
with designing and carrying out linguistics and applied linguistics
research. Over the course of the semester students will work through all
stages of a research project, including finding an appropriate topic for
study and developing research questions, conducting a thorough search for
previous research on the topic, and designing, carrying out and reporting
on a pilot research project. Course readings will be chosen in conjunction
with students' interests, but will cover a range of research methodologies
in linguistics, including classroom-based SLA research, laboratory-based
L1 and L2 linguistics research, questionnaire-based studies, and
linguistics field research. Students at all stages of the PhD program are
welcome to sign up for this course. Previous work in linguistics not
required.

Fall 2014 Courses

GER 511: Teaching College German

Instructor: Michael Putnam

German 511 introduces students to the theory and methods of teaching German at the college level. It deals not only with techniques, materials, and bibliography of the field but also evaluates the contributions of linguistics and psychology to college-level language pedagogy. German 511 familiarizes students with current theories of foreign language education as they relate to post-secondary language acquisition. This course further includes the practical aspects of college-level teaching with special reference to problems related specifically to the teaching and learning of German. Evaluation procedures include examinations, research papers, and the preparation of sample teaching materials. 


GER 581: The Modern(ist) Austrian Novel

Instructor: Samuel Frederick

This graduate seminar explores varieties of modernism (in its classical, late, and post-modern incarnations) through the German-language novel of Austria. Despite its shifting politics and geography, Austria has a distinct literary tradition marked by stylistic idiosyncrasies, a proclivity for social critique, and a darkly comic sensibility. The modern Austrian novel in particular is the locus of formal experimentation, philosophical rumination, and political engagement, its malleable form serving as an experimental space for exploring key modernist preoccupations with the city, subjectivity, language, art, gender, the state or “homeland,” and the possibilities or limits of storytelling itself.

The seminar will consider eight works by important novelists from each of the three Austrias of the twentieth century: the Austro-Hungarian Empire (1867-1918); the first Austrian Republic (1919-1938); and the current Austrian state, which was formed at the end of the second World War. Primary readings will be supplemented with theoretical texts on narrative and the novel (with emphasis on the German tradition, e.g., Benjamin, Adorno, Lukács), as well as some secondary readings on specific works.

The tentative reading list includes novels by Robert Musil, Rainer Maria Rilke, Franz Kafka, Elias Canetti, Ingeborg Bachmann, Thomas Bernhard, Peter Handke, and Elfriede Jelinek. All readings will be available in English, and class will be conducted in English. Students who read German are strongly encouraged to seek out the original texts.


German 582: Kontaktdeutsch (German in Contact)

Instructor: Michael Putnam

The primary aim of this course is to gain deeper insight into the sociolinguistic and structural properties (e.g. phonological, morphological, syntactic, and semantic/pragmatic) of global varieties of German that continue to exist outside of continental German-speaking Europe (i.e. Sprachinseln). The primary focus group will be heritage speakers of varieties of German, i.e. those who have never resided in a German-speaking country who acquired (some variant of) German as their first-language, which is no longer their dominant language of use in daily life.

The first part of the course will discuss the challenges associated with interviewing heritage speakers and documenting one’s findings and will function as a workshop on techniques and tools to achieve optimal efficiency in these areas. The course will then progress into discussions and analyses of recorded data as well as documented studies of a selection of these German-language Sprachinseln. The final component of this course will touch upon other varieties of “German in contact”; namely, the emergence of L2 German in “natural contexts” (e.g. immigrants without formal instruction in German) as well as developing L2 grammars in a classroom setting.

 

German 597: Lost in Translation?  The Theory and Practice of Translating Poetry

Instructor: Adrian Wanner

Poetic form presents a particular conundrum to translation theory.  If, according to Robert Frost’s (in)famous dictum, poetry is “what is lost in translation,” the task of translating a poetic text seems doomed from the outset.  On the other hand, any translation of any text entails a creative rewriting.   This seminar will survey different approaches to translating poetry both from a theoretical and practical angle.  Students will be asked to critique existing translations of poetic texts as well as try a translation of their own.  Special attention will be devoted to the phenomenon of self-translation, which poses a challenge to the customary dichotomy between author and translator, “original” and “copy,” as well as the “domestic” and the “foreign.”  Concrete case studies will include the polemical debates triggered by Vladimir Nabokov’s controversial English rendering of Alexander Pushkin’s verse novel Eugene Onegin.  We will also study Joseph Br!odsky’s bilingual poetic oeuvre in Russian and English and/or Rainer Maria Rilke’s self-translations between German and French.  Other texts will be chosen in accordance with the linguistic background of the seminar participants.  The course will also include encounters with various PSU faculty members who are active translators of poetry.

Note: This course is not identical with CMLIT 510.  It can be taken in addition to CMLIT 510, or independently from it.


Spring 2014 Courses


German 514: German Syntax

Instructor: Mike Putnam

The focus of this course is the syntactic structure of modern German, with occasional discussion of and comparison with other related Germanic languages. The study of “syntax” in this course focuses on the basic clausal structure of languages as well as morphosyntactic agreement systems. In this course, students acquire and practice critical and analytic skills, while exploring some of the basic as well as more complex topics pertaining to German syntax.

In addition to this typological overview of the form and function associated with German syntax, students are also introduced to the formal analysis of syntax; namely, Head-driven Phrase Structure Grammar (HPSG). Throughout the course students have the opportunity to be involved in “hands on” analyses of data through (group) problem sets.

No prior knowledge of syntactic analysis (either formal or functional) is assumed.

Course materials:

Müller, Stefan. 2013. Head-driven Phrase Structure Grammar: Eine Einführung (3. überarbeitete Auflage). Stauffenberg: Tübingen.



GER 561: Economies of the Thing (German Literature of the Nineteenth Century)  

Instructor: Samuel Frederick

In this seminar we will read a selection of literary and philosophical texts that engage with ‘The Thing,’ construed broadly as the material stuff of everyday life, the stubbornly non-human, or enigmatically opaque matter: tools, furniture, trash, toys, commodities, etc. The seminar will on the one hand serve as an overview of major (and some minor) works of the German nineteenth century; but these works will be read with an eye to uncovering their obsessions with material objects. In particular, following Walter Benjamin, we will look to how things that have been discarded or have outlived their usefulness can become important objects of historical and philosophical reflection.

Guiding questions will include: what does it mean when the material object disrupts or dethrones the human subject of a narrative? Are things aligned with the descriptive and people with narrative? If so, do things open up the spatial realm of a text? What is this realm and how does it echo new constructions of bourgeois identity? What is the redemptive potential of the Thing (if any)? How does the attention to things both support and undermine realism’s mimetic impulses? What happens when things seem to take on a life of their own, becoming menacing or threatening? Do we only see the “back of things” (Bloch), which might turn around to reveal a horrifying face?

We will cover the long nineteenth century (from Romanticism to the fin-de-siècle), but will focus on the aesthetics of Biedermeier and Poetic Realism.


GERMAN 593: Seminar in German Philology and German Linguistics: Psycholinguistic Research and Foreign Language Instruction

Instructor: Carrie Jackson 

The primary goal of this course is to think critically about how recent advances in psycholinguistic research, and psycholinguistic research on bilingualism in particular, can inform foreign language instruction. We will approach this larger question from several perspectives, including:

- exploring theories of second language learning that emphasize how online processing strategies facilitate or hinder learning (e.g.,
Processing Instruction by VanPatten and colleagues)

- how the manipulation of language input impacts learning

- how lab-based experimental methodologies may be adapted for classroom-based activities (e.g., syntactic priming)

Fall 2013 Courses


GER 511: Teaching College German

Instructor: Michael Putnam


German 511 introduces students to the theory and methods of teaching German at the college level. It deals not only with techniques, materials, and bibliography of the field but also evaluates the contributions of linguistics and psychology to college-level language pedagogy. German 511 familiarizes students with current theories of foreign language education as they relate to post-secondary language acquisition. This course further includes the practical aspects of college-level teaching with special reference to problems related specifically to the teaching and learning of German. Evaluation procedures include examinations, research papers, and the preparation of sample teaching materials.



GER 513: German Phonetics and Phonology

Instructor: Richard Page


This course is about the sounds and the sound system of the German language. The first part of the course will focus on German phonetics. Phonetics is the study of speech sounds, and we will pay particular attention to German speech sounds that native speakers of English find difficult. We will use both articulatory and acoustic phonetics to describe German speech sounds and to compare them to corresponding English speech sounds.

The second part of the course will examine German phonology. Phonology is the study of speech sounds as a linguistic system. We will focus primarily on Standard German, but we will also address phonological aspects of dialectal variation, language change and language acquisition. The course will also explore different theoretical models as they are applied to German phonology.

No prior knowledge of phonology or linguistics is assumed.

Course materials

Hall, Tracy Alan. Phonologie: Eine Einführung. 2d edition. Berlin & New York: Walter de Gruyter.

Selected articles.

Praat. Free speech analysis software available at http://www.fon.hum.uva.nl/praat/




GER 572: Post-War and Contemporary German Literature

Instructor: Bettina Brandt

1945, the defeat of the so-called Third Reich, and 1989, the collapse of communist Europe, were two geopolitical markers that still bear upon contemporary German culture, as many authors consider the imaginative contours of German worlds in flux by literary means. Additionally, the experience of exile, transnational migration and the struggles of minorities are powerful indicators of global change at the beginning of the 21st century as well. This graduate course examines how imaginative contours of German worlds have been reshaped in literature since 1945 through the lens of migration and minorities. Special attention will be paid to Jews, Turks, Arabs, Black Germans, and Eastern Europeans authors who have immigrated or travelled to Germany at various points after 1945. This course foregrounds the medium of literature to ask how worlds of fiction prompt readers to engage real and possible worlds in newly imaginative ways. Individual texts (mostly narrative fiction but also some poetry, plays and film) will be examined in detail within their specific aesthetic, historical, and geopolitical settings. The class will be taught in German and English 

Readings may include authors such as: Paul Celan, Anna Seghers, Jurek Becker, Barbara Honigmann, Inge Müller, Doron Rabinovici, Irene Dische, Maxim Biller, Aras Ören, Sinasi Dikman, Zafer Senocak/Berkan Karpat, Zehra Cirak, Emine Özdamar, TORKAN, May Ayim, Ika Hügel-Marshall, Hans Jürgen Massaquoi , Galsan Tschinang, Zé Do Rock, José Oliver, Hussain Al Mozany, Herta Müller, Oskar Pastior, Aglaja Veteranyi, Yoko Tawada and others. Literary readings will be accompanied by the study of theoretical contributions in the area of exile, migration, transnational and travel studies.




GER 591 / CMLIT 510: Literary Translation

Instructor: Thomas O. Beebee


Are literary translations inevitably doomed to being “belles infidèles” – beautiful because faithless (to the original); faithful only if unattractive (to readers)? What are we blinded to in the act of translation (including perhaps its gendered nature, as the first question hints) by the fact that it occurs between languages? Why do we always hear about things being “lost in translation” when in reality there is only increase (of text, of meaning, of language)? These and other unanswerable questions will preoccupy this seminar, which will be organized around three approaches to the topic of translation, namely: 1) the practical (what problems and questions arise in doing a translation?); 2) the theoretical (what issues do the encountered problems raise?); 3) the critical/historical/transmetic (what has translation meant to authors and for literary history and cultural survival?). We will begin the seminar by addressing #3 through readings of translational fictions. This will be following by workshop presentations of brief translations done by students. We will then examine the long tradition of translation theory, from St. Jerome to Bella Brodzki. Finally, participants will present an oral version of their final project, which may address translation from any of the perspectives mentioned above, or as yet unthought of.

Course Objectives
To examine the role of translation and the translator in the transmission of cultural texts and artifacts
To better understand what translation reveals about language and intepretation
To attempt to see inside the "black box" of translation through the reading of relevant theory and critifiction
To allow students to hone their skills as literary translators and to practice on a captive readership

Spring 2013 Courses


GER 540: Intellectual Life & Moral Responsibility: Philosophers & Writers in the Nazi Era

Instructor: Dennis Schmidt


This course will address the role, writings, and subsequent reflections of some of Germany's leading thinkers during the Nazi era. More precisely, the intention is to look closely at the very difficult cases of those whose work has been widely recognized as highly significant, but whose involvement with the Nazi regime is undeniably significant as well. How are we to understand the work of those whose work cannot be dismissed, but whose efforts to enlist that work in the service of Nazi agendas cannot be dismissed either? Sadly, the choices the number of figures who might well serve as case studies is large; however, for a number of reasons, we will restrict our discussions to the following: Martin Heidegger, Carl Schmitt, and Ernst Jünger.[1] In order to carry out this project, two other sets of readings and topics to discuss will need to be considered. First, we will consider the work of those whose fates were bound up with the Nazi rule, but who, rather than find themselves complicit with that regime, went into exile. Here works by Walter Benjamin, Hannah Arendt, Karl Jaspers, and Karl Löwith will be discussed. Second, we will need to be familiar with some larger cultural contexts within which these questions are to be addressed. To this end, we will look at some art exhibitions such as the celebrated Entartete Kunst exhibit (as well as Schultze-Naumburg's Kunst und Rasse), Leni Reifenstahl's films, and we will discuss the relation of the university system to the Nazi regime as well as the frequently invoked notion of an “inner migration”. Reference will also be made to Fichte's Address to the German Nation, to the role of Wagner's music, as well as the fate of Nietzsche's work in the Nazi era.

[1] Doctors, businesspeople, inventors, and scientists committed their skills to the Holocaust and the war as well and need special investigations of their own. However, our interest in this course will be restricted to those whose work is primarily theoretical and aimed at a more academic audience.




GER 581: Romantic Spaces

Instructor: Daniel Purdy


Once upon a time, it was common to subordinate spatial relations to temporality. Time was considered the more fundamental quality of modern consciousness, both in literature and philosophy. Modernist literature was seen as concerned foremostly with the passage of time, memory and the unstable cohesion of subjectivity; only post-modernist writing was considered spatially oriented with its interest in commodity relations, globalizing capitalism, simultaneity and description.

This course will take a step or two back to investigate how Romanticism (broadly defined) constructs space in order to 1) organize interior feelings, along the axes of knowledge, sexuality, and power ; 2) establish a domestic terrain and boundaries for the nation state; 3) define differences between home and foreign spaces. Along these lines we will read Romanticism in light of theories of subjectivity, nationalism and Orientalism.

These three areas will overlap so that we will readily interpret the Orient as a space allowing for alternate modes of identity or the nation as an arena that incorporates ethnic, sexual and cultural differences. This course will also examine how literary texts represent the subjective experience of space. Literary depictions of space have long served as external reflections of interior states of mind. Thus our readings will lead us through ancient Italian labyrinths, psychic caverns, neo-gothic ruins, cartographic landscapes, broad boulevards, dark alleys, and bureaucratic compartments. We will also ponder the difference between the beautiful and the sublime.

Romanticism stressed the unique qualities of place. The poetic descriptions of natural sites such as the Rhine, the Danube or the Alps will receive our particular attention. We will study how literary texts construct the borders between Europe and the Orient while simultaneously arranging sexualities into heteronormative and queer spaces. All along the way, we will be reading some of the most important canonical texts in the Romantic tradition, in order to provide you with an overview of cultural history. We will also take a peek at key post-Romantic texts in order to understand better the contours of Romanticism.




GER 593/LING 597: Learnability and Linguistic Theory

Instructor: Michael Putnam

A central guiding principle of modern linguistic theorizing has been the pursuit of formalisms that are both descriptively adequate (i.e., able to describe structural patterns attested in languages) and explanatorily adequate (i.e., able to describe how human beings acquire language). Despite fundamental differences across contemporary formalisms, all pay close attention to these core axioms. This course examines the notion of "learnability" from a variety of different perspectives to see how these findings align with and challenge models of language competence (and performance). Special attention will be directed to "non-ideal speaker-hearers" (contra Chomsky 1965) such as L2 learners, code-switching speakers, and heritage speakers to investigate how longstanding assumptions in generative traditions can be integrated with current research in psychology and cognitive science.

Topics include:

- The notion of Universal Grammar (UG): What is it? Is it an essential component of (all) linguistic theories? Defenses and criticisms

- Input, cues, and grammar: Are they the same thing?

- Input frequency vs. activation

- Grammar and Parser: Are they similar or different entities?

- How does linguistic competence emerge differently across different populations?

- Parallel vs. modular approaches to grammar production, comprehension, and production

- Overview of generative and cognitive models of linguistic theory and their relation to learnability

- The (dis)connection between competence and performance

Through these discussions, we will explore proposals, criticisms, and solutions on how to improve and revise theories of linguistic competence in order to enhance their accuracy and usefulness across disciplines.

Spring 2017 Courses

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	font-size:12.0pt;
	mso-bidi-font-size:10.0pt;
	font-family:Times;
	mso-fareast-font-family:Times;
	mso-bidi-font-family:"Times New Roman";
	mso-fareast-language:ZH-CN;}
p.MsoCommentSubject, li.MsoCommentSubject, div.MsoCommentSubject
	{mso-style-noshow:yes;
	mso-style-priority:99;
	mso-style-parent:"Comment Text";
	mso-style-link:"Comment Subject Char";
	mso-style-next:"Comment Text";
	margin:0in;
	margin-bottom:.0001pt;
	mso-pagination:widow-orphan;
	font-size:10.0pt;
	font-family:Times;
	mso-fareast-font-family:Times;
	mso-bidi-font-family:"Times New Roman";
	mso-fareast-language:ZH-CN;
	font-weight:bold;}
p.MsoAcetate, li.MsoAcetate, div.MsoAcetate
	{mso-style-noshow:yes;
	mso-style-priority:99;
	mso-style-link:"Balloon Text Char";
	margin:0in;
	margin-bottom:.0001pt;
	mso-pagination:widow-orphan;
	font-size:8.0pt;
	font-family:"Tahoma",sans-serif;
	mso-fareast-font-family:Times;
	mso-fareast-language:ZH-CN;}
p.MsoListParagraph, li.MsoListParagraph, div.MsoListParagraph
	{mso-style-priority:34;
	mso-style-unhide:no;
	mso-style-qformat:yes;
	margin-top:0in;
	margin-right:0in;
	margin-bottom:0in;
	margin-left:.5in;
	margin-bottom:.0001pt;
	mso-add-space:auto;
	mso-pagination:widow-orphan;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:SimSun;
	mso-fareast-language:ZH-CN;}
p.MsoListParagraphCxSpFirst, li.MsoListParagraphCxSpFirst, div.MsoListParagraphCxSpFirst
	{mso-style-priority:34;
	mso-style-unhide:no;
	mso-style-qformat:yes;
	mso-style-type:export-only;
	margin-top:0in;
	margin-right:0in;
	margin-bottom:0in;
	margin-left:.5in;
	margin-bottom:.0001pt;
	mso-add-space:auto;
	mso-pagination:widow-orphan;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:SimSun;
	mso-fareast-language:ZH-CN;}
p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle
	{mso-style-priority:34;
	mso-style-unhide:no;
	mso-style-qformat:yes;
	mso-style-type:export-only;
	margin-top:0in;
	margin-right:0in;
	margin-bottom:0in;
	margin-left:.5in;
	margin-bottom:.0001pt;
	mso-add-space:auto;
	mso-pagination:widow-orphan;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:SimSun;
	mso-fareast-language:ZH-CN;}
p.MsoListParagraphCxSpLast, li.MsoListParagraphCxSpLast, div.MsoListParagraphCxSpLast
	{mso-style-priority:34;
	mso-style-unhide:no;
	mso-style-qformat:yes;
	mso-style-type:export-only;
	margin-top:0in;
	margin-right:0in;
	margin-bottom:0in;
	margin-left:.5in;
	margin-bottom:.0001pt;
	mso-add-space:auto;
	mso-pagination:widow-orphan;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:SimSun;
	mso-fareast-language:ZH-CN;}
span.Heading1Char
	{mso-style-name:"Heading 1 Char";
	mso-style-unhide:no;
	mso-style-locked:yes;
	mso-style-parent:"";
	mso-style-link:"Heading 1";
	mso-ansi-font-size:12.0pt;
	mso-bidi-font-size:10.0pt;
	font-family:Times;
	mso-ascii-font-family:Times;
	mso-fareast-font-family:Times;
	mso-hansi-font-family:Times;
	mso-bidi-font-family:"Times New Roman";
	mso-fareast-language:ZH-CN;
	font-style:italic;
	mso-bidi-font-style:normal;}
span.BodyTextIndentChar
	{mso-style-name:"Body Text Indent Char";
	mso-style-unhide:no;
	mso-style-locked:yes;
	mso-style-parent:"";
	mso-style-link:"Body Text Indent";
	mso-ansi-font-size:12.0pt;
	mso-bidi-font-size:10.0pt;
	font-family:Times;
	mso-ascii-font-family:Times;
	mso-fareast-font-family:Times;
	mso-hansi-font-family:Times;
	mso-bidi-font-family:"Times New Roman";
	mso-fareast-language:ZH-CN;}
span.CommentTextChar
	{mso-style-name:"Comment Text Char";
	mso-style-unhide:no;
	mso-style-locked:yes;
	mso-style-parent:"";
	mso-style-link:"Comment Text";
	font-family:Times;
	mso-ascii-font-family:Times;
	mso-fareast-font-family:Times;
	mso-hansi-font-family:Times;}
span.BalloonTextChar
	{mso-style-name:"Balloon Text Char";
	mso-style-noshow:yes;
	mso-style-priority:99;
	mso-style-unhide:no;
	mso-style-locked:yes;
	mso-style-parent:"";
	mso-style-link:"Balloon Text";
	mso-ansi-font-size:8.0pt;
	mso-bidi-font-size:8.0pt;
	font-family:"Tahoma",sans-serif;
	mso-ascii-font-family:Tahoma;
	mso-fareast-font-family:Times;
	mso-hansi-font-family:Tahoma;
	mso-bidi-font-family:Tahoma;}
span.CommentSubjectChar
	{mso-style-name:"Comment Subject Char";
	mso-style-noshow:yes;
	mso-style-priority:99;
	mso-style-unhide:no;
	mso-style-locked:yes;
	mso-style-parent:"";
	mso-style-link:"Comment Subject";
	font-family:Times;
	mso-ascii-font-family:Times;
	mso-fareast-font-family:Times;
	mso-hansi-font-family:Times;
	font-weight:bold;}
span.style3
	{mso-style-name:style3;
	mso-style-unhide:no;}
span.SpellE
	{mso-style-name:"";
	mso-spl-e:yes;}
.MsoChpDefault
	{mso-style-type:export-only;
	mso-default-props:yes;
	mso-ascii-font-family:Calibri;
	mso-fareast-font-family:PMingLiU;
	mso-hansi-font-family:Calibri;}
@page WordSection1
	{size:8.5in 11.0in;
	margin:1.0in 1.0in 1.0in 1.0in;
	mso-header-margin:.5in;
	mso-footer-margin:.5in;
	mso-paper-source:0;}
div.WordSection1
	{page:WordSection1;}
 /* List Definitions */
 @list l0
	{mso-list-id:168253226;
	mso-list-type:hybrid;
	mso-list-template-ids:-592294654 67698705 67698713 67698715 67698703 67698713 67698715 67698703 67698713 67698715;}
@list l0:level1
	{mso-level-text:"%1\)";
	mso-level-tab-stop:.5in;
	mso-level-number-position:left;
	text-indent:-.25in;}
@list l0:level2
	{mso-level-number-format:alpha-lower;
	mso-level-tab-stop:1.0in;
	mso-level-number-position:left;
	text-indent:-.25in;}
@list l0:level3
	{mso-level-number-format:roman-lower;
	mso-level-tab-stop:1.5in;
	mso-level-number-position:right;
	text-indent:-9.0pt;}
@list l0:level4
	{mso-level-tab-stop:2.0in;
	mso-level-number-position:left;
	text-indent:-.25in;}
@list l0:level5
	{mso-level-number-format:alpha-lower;
	mso-level-tab-stop:2.5in;
	mso-level-number-position:left;
	text-indent:-.25in;}
@list l0:level6
	{mso-level-number-format:roman-lower;
	mso-level-tab-stop:3.0in;
	mso-level-number-position:right;
	text-indent:-9.0pt;}
@list l0:level7
	{mso-level-tab-stop:3.5in;
	mso-level-number-position:left;
	text-indent:-.25in;}
@list l0:level8
	{mso-level-number-format:alpha-lower;
	mso-level-tab-stop:4.0in;
	mso-level-number-position:left;
	text-indent:-.25in;}
@list l0:level9
	{mso-level-number-format:roman-lower;
	mso-level-tab-stop:4.5in;
	mso-level-number-position:right;
	text-indent:-9.0pt;}
@list l1
	{mso-list-id:338236847;
	mso-list-type:hybrid;
	mso-list-template-ids:-1447915012 -1942821774 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;}
@list l1:level1
	{mso-level-start-at:209;
	mso-level-number-format:bullet;
	mso-level-text:-;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:"Times New Roman";}
@list l1:level2
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l1:level3
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l1:level4
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l1:level5
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l1:level6
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l1:level7
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l1:level8
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l1:level9
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l2
	{mso-list-id:377823898;
	mso-list-type:hybrid;
	mso-list-template-ids:1801496340 -1746619696 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;}
@list l2:level1
	{mso-level-start-at:214;
	mso-level-number-format:bullet;
	mso-level-text:-;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:Times;}
@list l2:level2
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l2:level3
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l2:level4
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l2:level5
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l2:level6
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l2:level7
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l2:level8
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l2:level9
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l3
	{mso-list-id:379790408;
	mso-list-type:hybrid;
	mso-list-template-ids:1656126514 1070869972 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;}
@list l3:level1
	{mso-level-start-at:0;
	mso-level-number-format:bullet;
	mso-level-text:-;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Times;
	mso-fareast-font-family:Times;
	mso-bidi-font-family:Times;}
@list l3:level2
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l3:level3
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l3:level4
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l3:level5
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l3:level6
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l3:level7
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l3:level8
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l3:level9
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l4
	{mso-list-id:464933162;
	mso-list-type:hybrid;
	mso-list-template-ids:-1845220510 -1130699108 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;}
@list l4:level1
	{mso-level-start-at:0;
	mso-level-number-format:bullet;
	mso-level-text:-;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:SimSun;}
@list l4:level2
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l4:level3
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l4:level4
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l4:level5
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l4:level6
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l4:level7
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Symbol;}
@list l4:level8
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l4:level9
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l5
	{mso-list-id:904417448;
	mso-list-type:hybrid;
	mso-list-template-ids:703997270 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;}
@list l5:level1
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:.25in;
	mso-level-number-position:left;
	margin-left:.25in;
	text-indent:-.25in;
	font-family:Symbol;}
@list l5:level2
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:.75in;
	mso-level-number-position:left;
	margin-left:.75in;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l5:level3
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:1.25in;
	mso-level-number-position:left;
	margin-left:1.25in;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l5:level4
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:1.75in;
	mso-level-number-position:left;
	margin-left:1.75in;
	text-indent:-.25in;
	font-family:Symbol;}
@list l5:level5
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:2.25in;
	mso-level-number-position:left;
	margin-left:2.25in;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l5:level6
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:2.75in;
	mso-level-number-position:left;
	margin-left:2.75in;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l5:level7
	{mso-level-number-format:bullet;
	mso-level-text:\F0B7;
	mso-level-tab-stop:3.25in;
	mso-level-number-position:left;
	margin-left:3.25in;
	text-indent:-.25in;
	font-family:Symbol;}
@list l5:level8
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:3.75in;
	mso-level-number-position:left;
	margin-left:3.75in;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l5:level9
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:4.25in;
	mso-level-number-position:left;
	margin-left:4.25in;
	text-indent:-.25in;
	font-family:Wingdings;}
@list l6
	{mso-list-id:1000306562;
	mso-list-type:hybrid;
	mso-list-template-ids:1650487330 -584676518 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;}
@list l6:level1
	{mso-level-start-at:0;
	mso-level-number-format:bullet;
	mso-level-text:-;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Times;
	mso-fareast-font-family:Times;
	mso-bidi-font-family:Times;}
@list l6:level2
	{mso-level-number-format:bullet;
	mso-level-text:o;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:"Courier New";}
@list l6:level3
	{mso-level-number-format:bullet;
	mso-level-text:\F0A7;
	mso-level-tab-stop:none;
	mso-level-number-position:left;
	text-indent:-.25in;
	font-family:Wingdings;}
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<div class=WordSection1>

<p class=MsoNormal align=right style='text-align:right;mso-pagination:none'><b
style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt;
text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal align=right style='text-align:right;mso-pagination:none'><b
style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt;
text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal align=right style='text-align:right;mso-pagination:none'><b
style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt;
text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='margin-left:.5in;text-indent:.5in;mso-pagination:
none;mso-outline-level:1'><b style='mso-bidi-font-weight:normal'><span
style='font-size:18.0pt;font-family:"Times New Roman",serif'>Graduate Seminars in
German Studies <o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-left:1.5in;text-indent:.5in;mso-pagination:
none;mso-outline-level:1'><b style='mso-bidi-font-weight:normal'><span
style='font-size:18.0pt;font-family:"Times New Roman",serif'>Spring Semester
2017<o:p></o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'>GER
532 <o:p></o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'>Holocaust
and Visual Culture<o:p></o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'>Sabine
Doran<o:p></o:p></span></b></p>

<p class=MsoNormal>This seminar studies representations of the Holocaust
in&nbsp;art, museums, literature, and film. We will examine theoretical
questions involved in any attempt to capture what appears to be beyond our
comprehension in terms of moral outrage and the sheer scale, inhumanity, and
bureaucratic efficiency of the violence perpetrated by the Nazis. We will focus
on the ways in which &quot;trauma&quot; has become a key analytical concept in
these debates. We will discuss literary works, such as Primo Levi's&nbsp;<i>Survival
in&nbsp;Auschwitz,&nbsp;</i>films such as Alain <span class=SpellE>Resnais</span>�
<i style='mso-bidi-font-style:normal'>Night and Fog, The Pianist, The Tin Drum,
The Photographer</i>, <i style='mso-bidi-font-style:normal'>A Film Unfinished</i>,
as well as photographs, poems, installations, and other artifacts. We will also
confront questions of memorialization, national guilt, survivor's guilt,
stigmatization, and the ethics of historical representation, in theoretical
readings by Theodor Adorno, Giorgio <span class=SpellE>Agamben</span>, Hannah
Arendt, Cathy <span class=SpellE>Caruth</span>, Jacques Derrida, Jean-Fran�ois <span
class=SpellE>Lyotard</span>, Hayden White and others.<span style='font-family:
"Cambria",serif;mso-fareast-font-family:"MS Mincho";mso-fareast-language:AR-SA'><o:p></o:p></span></p>

<p class=MsoNormal style='background:white'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='background:white'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='background:white'><b><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>GER591/CMLIT 570</span></b><span style='mso-bidi-font-size:12.0pt;
font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'><o:p></o:p></span></p>

<p class=MsoNormal style='background:white'><b><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>�Mimesis�</span></b><span style='mso-bidi-font-size:12.0pt;
font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:33.85pt;background:white'><b
style='mso-bidi-font-weight:normal'><span style='mso-bidi-font-size:12.0pt;
font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:black'>Jonathan E. Abel</span></b><b style='mso-bidi-font-weight:normal'><span
style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif;
mso-fareast-font-family:"Times New Roman";color:#222222'><o:p></o:p></span></b></p>

<p class=MsoNormal style='background:white'><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>If recent musings about the <span class=SpellE>anthropocene</span>
recast the scope and scale of the humanities, they also force reconsideration
of one of the longest standing problems of humanistic inquiry, that of
representation. &nbsp;This&nbsp;course&nbsp;excavates layers of discourse on
mimesis from the deep time of philosophy and criticism to answer a vital
question about human transformation of the planet: how does art transform human
and non-human interactions?<br>
The study of representation has too often been taken at several layers of
remove from the real world, and yet it is precisely through the mediation that
art and artifice play among humans and between humans and the world that we are
connected to each other and to our environment. &nbsp;Representation matters as
much for identity formation as it does for government, but do our creations
reflect and refract the world or dictate and define it? &nbsp;This&nbsp;course&nbsp;traces
the long history of mimetic thinking and acting to articulate a vision of the
power of critique at the ends of humanity. Depending on participants� interests
and backgrounds, readings may include work from: Plato, Aristotle, Confucius,
Rousseau, Diderot, <span class=SpellE>Zeami</span>, Brecht, Heidegger, <span
class=SpellE>Lukacs</span>, Benjamin, Adorno, <span class=SpellE>Auerbach</span>,
<span class=SpellE>Lacan</span>, Derrida, Martin Jay, <span class=SpellE>Taussig</span>,
<span class=SpellE>Bhabha</span>, Elin Diamond, <span class=SpellE>Irigaray</span>,
<span class=SpellE>Lacoue-Labarthe</span>, Ming Dong <span class=SpellE>Gu</span>,
and <span class=SpellE>Luhman</span>.<o:p></o:p></span></p>

<p class=MsoNormal style='background:white'><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif;
text-transform:uppercase'>GER 593<o:p></o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'>Seminar
in German Philology and German Linguistics: <o:p></o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'>Psycholinguistics
in the foreign language classroom<o:p></o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;text-transform:uppercase'>Carrie
Jackson<o:p></o:p></span></b></p>

<p class=MsoNormal><span style='mso-bidi-font-size:12.0pt'>The primary goal of
this course is to think critically about how recent advances in
psycholinguistic research, and psycholinguistic research on bilingualism in
particular, can inform foreign language instruction. We will approach this
larger question from several perspectives, including:<o:p></o:p></span></p>

<p class=MsoListParagraphCxSpFirst style='text-indent:-.25in;mso-list:l4 level1 lfo9'><![if !supportLists]><span
style='mso-fareast-font-family:"Times New Roman"'><span style='mso-list:Ignore'>-<span
style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><![endif]>exploring theories of second language learning
that emphasize how online processing strategies facilitate or hinder learning
(e.g., Processing Instruction by VanPatten and colleagues)</p>

<p class=MsoListParagraphCxSpMiddle style='text-indent:-.25in;mso-list:l4 level1 lfo9'><![if !supportLists]><span
style='mso-fareast-font-family:"Times New Roman"'><span style='mso-list:Ignore'>-<span
style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><![endif]>how the manipulation of language input impacts
learning</p>

<p class=MsoListParagraphCxSpLast style='text-indent:-.25in;mso-list:l4 level1 lfo9'><![if !supportLists]><span
style='mso-fareast-font-family:"Times New Roman"'><span style='mso-list:Ignore'>-<span
style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><![endif]>how lab-based experimental methodologies may be
adapted for classroom-based activities (e.g., syntactic priming)</p>

<p class=MsoNormal style='mso-pagination:none'><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif'>Students will complete a variety of
assignments over the course of the semester, most notably carrying out a pilot
research project that revolves around the larger themes in the course. </span><span
style='mso-bidi-font-size:12.0pt'>Students at all stages of their PhD program
are welcome to sign up for this course. Previous work in linguistics not
required.</span><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='background:white'><span style='font-size:9.5pt;
font-family:"Arial",sans-serif;mso-fareast-font-family:"Times New Roman";
color:#222222'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='background:white'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif;
mso-fareast-font-family:"Times New Roman";color:#222222'>GER/LING 597<o:p></o:p></span></b></p>

<p class=MsoNormal style='background:white'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif;
mso-fareast-font-family:"Times New Roman";color:#222222'>Second Language Speech
Perception<o:p></o:p></span></b></p>

<p class=MsoNormal style='background:white'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif;
mso-fareast-font-family:"Times New Roman";color:#222222'>Katharina Schumann&nbsp;<o:p></o:p></span></b></p>

<p class=MsoNormal style='background:white'><i><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>This course examines how adults learn to perceive sounds in a
second/foreign language.</span></i><span style='mso-bidi-font-size:12.0pt;
font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'><o:p></o:p></span></p>

<p class=MsoNormal style='background:white'><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>&nbsp;<o:p></o:p></span></p>

<p class=MsoNormal style='background:white'><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>This course provides an overview of the major theories and
accounts of non-native and second/foreign language (L2) speech perception in
adults. In particular, we will focus on segmental aspects in L2 speech. To this
end, we will investigate mainly, but not exclusively, data from non-native
learners of German or Dutch, and data from native speakers of German or Dutch
learning other languages (e.g., English). We will ask whether all non-native
sounds and sound contrasts are equally difficult to perceive, and, if not, upon
which phonetic and phonological factors this might depend. We will also ask
whether phonetic training can lead to increased native-like L2 speech
perception. Throughout the course, we will read overview chapters and original
research articles in the areas of phonetics, phonology, and psycholinguistics,
and we will discuss core methodologies for conducting research on L2 speech
perception.<o:p></o:p></span></p>

<p class=MsoNormal style='background:white'><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>The class will be conducted in English. No knowledge of German
is required.<o:p></o:p></span></p>

<p class=MsoNormal style='background:white'><span style='mso-bidi-font-size:
12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";
color:#222222'>Evaluation will be based on written assignments/problem sets,
class presentations, and a final research paper.<o:p></o:p></span></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='mso-pagination:none'><b style='mso-bidi-font-weight:
normal'><span style='mso-bidi-font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

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Fall 2017 German Graduate Seminars

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<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:18.0pt;font-family:"Times New Roman",serif'>Graduate
Seminars in Fall 2017<o:p></o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'>GER
511 The Teaching of College German and French<o:p></o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'>Dr.
Donald <span class=SpellE>Vosburg</span> (dmv154@psu.edu)<o:p></o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'>This course is designed to foster an
informed professional outlook on the teaching and learning of foreign languages
in general and German in particular. There are three main goals for this
course:<o:p></o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'>�&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;First,
both during and outside of class, time will be devoted to the practical side of
foreign language teaching within a largely communicative-language-teaching
approach, with an additional focus on the continuum between SLA research and
pedagogical practice. Assignments and readings with this goal in mind will
focus on the nuts and bolts of teaching, including developing lesson plans,
writing and grading quizzes and exams, creating a teaching profile, and
evaluating oneself as a teacher.<o:p></o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'>�&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Second,
as noted above, certain readings and class discussions will provide a broader
background about the field of second language acquisition in general. Although
one semester-long course can by no means cover everything there is to know
about second language acquisition, this course will provide at least a general
overview of this field. This portion of the course will help students become
more familiar with common concepts and terminology within the field of second
language acquisition, and how this area of research informs foreign language
pedagogy and <span class=SpellE>vise</span> versa. In addition to gaining
further insights into the second language acquisition concept, we will spend
addition time discussing the learner language more generally.<o:p></o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'>�&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The
final goal of this course is for students to become more aware of their own
teaching style, and how they, as teachers, fit into the larger foreign language
teaching community.<o:p></o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:
"Times New Roman";color:black'>GER 514 German(<span class=SpellE>ic</span>) syntax<o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:
"Times New Roman";color:black'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:
"Times New Roman"'>Professor Michael Putnam (</span></b><a
href="mailto:mtp12@psu.edu"><span style='font-size:12.0pt;font-family:"Times New Roman",serif;
color:windowtext;background:white;text-decoration:none;text-underline:none'>mtp12@psu.edu</span></a><span
style='font-size:12.0pt;font-family:"Times New Roman",serif;background:white'>)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:
"Times New Roman";color:black'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='margin-bottom:0in;margin-bottom:.0001pt;line-height:
normal;background:white'><span style='font-size:12.0pt;font-family:"Times New Roman",serif;
mso-fareast-font-family:"Times New Roman";color:black'>In this course we survey
the syntactic structure&nbsp;of German in comparison with typologically related
(e.g., Dutch, Icelandic, Norwegian, etc.) and non-related languages.
Empirically we investigate and gain a deeper knowledge of topics&nbsp;such as
argument structure, word order variation, <span class=SpellE>morphosyntactic</span>
agreement, and displacement. In addition to this empirical overview, students
will also receive an introduction into the basics of theoretical analysis and
its connection with experimental studies.&nbsp;&nbsp;<o:p></o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'>GER
572 Nation, Migration and Contemporary German Literature<i style='mso-bidi-font-style:
normal'> </i><o:p></o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'>Professor
Bettina Brandt (ubb2@psu.edu)<o:p></o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'>This course, open to both advanced majors
and graduate students, examines how the imaginative contours of German worlds
have been reshaped in contemporary literature in German since 1945. It does so
through the lens of migration and minorities.&nbsp; In contrast to the United
States, Germany, did not consider itself a country of immigration, despite
evidence to the contrary, until recently. The complicated German past marked by
the holocaust and the German East-West division also produced a unique
situation in which minorities in Germany find themselves, to which they
respond, and which they alter with their own textual and visual narratives.
Considering the German writings of both so-called <span class=SpellE><i
style='mso-bidi-font-style:normal'>Biodeutsche</i></span> and by authors of
Italian, Jewish, Turkish, Arab, African, Eastern European or Russian background
we will look at how they critically reimagine Cold War as well as post-<span
class=SpellE>Wende</span> German identities in specific aesthetic, historical
and geopolitical settings.&nbsp;Along with our literary readings we will watch
documentaries and films, visit virtual museums, look at paintings and collages,
and think about issues of cultural politics including literary prizes, memory
culture and issues of translation.<o:p></o:p></span></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p style='margin:0in;margin-bottom:.0001pt;background:white'><b
style='mso-bidi-font-weight:normal'><span style='color:black'>GER 597 Media and
Romanticism <o:p></o:p></span></b></p>

<p style='margin:0in;margin-bottom:.0001pt;background:white'><b
style='mso-bidi-font-weight:normal'><span style='color:black'><o:p>&nbsp;</o:p></span></b></p>

<p style='margin:0in;margin-bottom:.0001pt;background:white'><b
style='mso-bidi-font-weight:normal'><span style='color:black'>Professor Daniel
Purdy (<span style='background:white'>dlp14@psu.edu)</span><o:p></o:p></span></b></p>

<p style='margin:0in;margin-bottom:.0001pt;background:white'><span
style='color:black'>&nbsp;<o:p></o:p></span></p>

<p style='margin:0in;margin-bottom:.0001pt;background:white'><span
style='color:black'>This course will examine the juxtaposition between the
deterministic claims of contemporary German media theory and the poetic
inwardness of Romantic writing. The course readings will commence with the
early poetry of Goethe and Wordsworth, in order to consider how these authors
struggle with the media technology of their own era as they seek to establish
an autonomous poetic voice. The class will examine canonical Romantic
literature to consider whether subjectivity is largely determined by cultural
techniques and media technology? The course will also consider how late
Romantics used media technologies in their own construction of poetic
experience. How did communications media around 1800 address the Romantic
desire for immediate sensations? Central to our discussions will be the concept
of the �Romantic image.� Why did Romantics place such great importance on
visual images as their ideal form of aesthetic perception? What is the
relationship between the image and tone in Romantic writing about Beethoven�s
music? To enhance our reflections, we will read recent media theories by
Friedrich Kittler, <span class=SpellE>Jochen</span> <span class=SpellE>H�risch</span>,
Bernhard <span class=SpellE>Siegert</span>, Wolfgang Ernst, and Willem <span
class=SpellE>Flusser</span> in relation to some of the most important literary
works of German Romanticism (broadly defined): J.W. Goethe, E. T. A. Hoffmann,
and Bettina von <span class=SpellE>Arnim</span>, among others.<o:p></o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'>GER
597 Recent Issues in Instructed Second Language Acquisition<o:p></o:p></span></b></p>

<p class=MsoNormal style='line-height:normal'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt;font-family:"Times New Roman",serif'>Professor
Carrie Jackson (<span style='background:white'>cnj1@psu.edu)</span><o:p></o:p></span></b></p>

<p class=MsoListParagraph style='margin-left:0in;mso-add-space:auto'>In this
course we will explore recent topics in instructed SLA research. Topics to
cover include debates over the effectiveness of explicit versus implicit
instruction (and related discussions of deductive instruction vs. inductive
instruction vs. guided induction), the role of corrective feedback, and the
impact of attention and awareness on learning processes and outcomes. Students
will also have the opportunity to propose additional topics to discuss based on
their own interests. Students will complete a variety of assignments over the
course of the semester to help them become more familiar with seminal areas of
research in this area. Students will also be expected to carry out a
small-scale pilot study (or propose a larger scale study) that revolves around
the larger themes in the course. Students at all stages of their PhD program or
qualified undergrads are welcome to sign up for this course. Previous work in
linguistics not required. No knowledge of German is required.</p>

<p class=MsoNormal style='line-height:normal'><span style='font-size:12.0pt;
font-family:"Times New Roman",serif'><o:p>&nbsp;</o:p></span></p>

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