Angl-Am - User contributions [en]

IT support

2009-05-17T13:24:49Z

Florian Gubisch: /* Need */

==Computer, Drucker, Video Projector + Laptop etc. des Seminars SOSE 2009==

*Betreuer am Seminar: [[User:John Alistair Kühne|John Alistair Kühne]]

===Ausleihe Geräte===

In der folgenden Tabelle bitte Bedarf anmelden (mit drei Tilden <nowiki>~~~</nowiki> unterzeichnen)

<center>
{| cellpadding=5 width=85%|
!bgcolor="#7DFFFF" valign="top" align="left"|Media/Whose?
!bgcolor="#c6ffff" valign="top" align="left"|Literature (blue tag) NEC NP20 + Samsung
!bgcolor="#c6ffff" valign="top" align="left"|Linguistics
!bgcolor="#c6ffff" valign="top" align="left"|Didactics
!bgcolor="#c6ffff" valign="top" align="left"|Cultural Studies
!bgcolor="#c6ffff" valign="top" align="left"|Language Practice (red tag) NEC NP40 + Dell
|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector + Laptop
(one set each group)
|bgcolor="#efefef" valign="top" align="left"|
====Need====
* Thu 8-10am, [[User:Daniel Sip|Daniel Sip]]

* Mo 12-14am Florian Gubisch [[User:Florian Gubisch|Florian Gubisch]]

----
* '''Located:''' A6 2-211
|bgcolor="#efefef" valign="top" align="left"|

====Need====
* date and name (write <nowiki>~~~</nowiki>)

----
* '''Located:''' [[User:Ronald Geluykens|Ronald Geluykens]]
* '''Located:''' [[User:Cornelia Hamann|Cornelia Hamann]]
|bgcolor="#efefef" valign="top" align="left"|
====Need====
* date and name (write <nowiki>~~~</nowiki>)

----
* '''Located:''' [[User:Wolfgang Gehring|Wolfgang Gehring]]
|bgcolor="#efefef" valign="top" align="left"|
====Need====
* Tue 12-14, summer 2009, Annika McPherson
* Tue 14-16, summer 2009, Christina Meyer
* Wed 10-14, summer 2009, Annika McPherson
* Wed 16-18, summer 2009, Annika McPherson

----
* '''Located:''' A6 2-212b Meyer/McPherson

|bgcolor="#efefef" valign="top" align="left"|

====Need====
* date and name (write <nowiki>~~~</nowiki>)

----
* '''Located:''' 
A6 2-211

|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector set 2
(located in A6 2-211; 
black trolley; Acer Laptop; green tag)
|bgcolor="#efefef" valign="top" align="left" colspan="5"|

====Need====
* Thu 4-6pm, [[User:Mirko Hanke|Mirko Hanke]]

|}
</center>

== Inks and Toner in stock (last update: 28 May 2008) ==
You will find the mentioned cartridges in my office A6 2-211 - the key is in the top safe. Please let me know if you should need any assistance! Best wishes, John Alistair Kühne
==== '''HP inks (quantity)''' ====
'''Duncan''' 
88 black (1)

88 cyan (1)

88 magenta (1)

88 yellow (1)

'''Schwarzkopf and Meyer''' 
20 black (0) - will be ordered asap

49 tricolor (0) - will be ordered asap

'''Zagratzki''' 
26 black (1)

'''old stock''' 
29 black (2)

15 black (1)

78 tri-colour (1)

==== '''Canon inks (quantity)''' ====
'''Mclaughlin''' 
3e black (1)

6 black (1)

6 magenta (1)

6 yellow (1)

6 cyan (1)

'''Graydon''' 
40 black (0)

41 colour (0)

==== '''Toner HP and Kyocera (quantity)''' ====
'''Graydon, Köhring and Simons''' 
Kyocera TK-17 (2)

'''Geluykens, Ogiermann, Carpenter, Stinshoff, Engelhardt and Schönenberger''' 
Kyocera TK-18 (2)

'''Limberg''' 
HP 10A (0)

'''Gehring and Kirchhofer''' 
HP 12A (2)

'''Hamann''' 
HP 13X (1)

'''Leinweber''' 
HP 15X (0)

'''Seminar Kyocera FS-C5025N''' 
TK-510K (black) (1)

==This Wiki==

*[[Angl-Am:About|Verantwortliche]]
*[[Help talk:Contents|Hilfe durch die betreuenden Administratoren]]

__NOTOC__

2009 BM2 Introduction to Anglophone Cultural Studies, Part 2

2009-05-17T13:20:48Z

Florian Gubisch: /* Tutorials */

*[[User:Annika McPherson|Annika McPherson]]
*[[User:Christina Meyer|Christina Meyer]]
*[[User:Julia Meier|Julia Meier]]
*[[User:Olaf Simons|Olaf Simons]]

See for part 1: [[2008-09 BM2 Introduction to Anglophone Cultural Studies, Part 1]]

__TOC__

==The individual Courses==
* Mo, 10:00 - 12:00, A06 0-001, Olaf Simons: 29 Participants
* Mo, 18:00 - 20:00, Raum: A10 1-121a, Julia Meier
* Tu, 12:00 - 14:00, A10 1-121, Annika McPherson
* Tu, 16:00 - 18:00, A10 1-121a, Christina Meyer
* We, 16:00 - 18:00, A11 1-101, Annika McPherson
* We, 18:00 - 20:00, A06 0-001, Christina Meyer
* We, 18:00 - 20:00, A10 1-121, Olaf Simons: 24 Participants

==General Course Outline==
Cultural studies have seen major developments over the last two decades. These developments have not only transformed approaches to research methodology, but are also questioning existing understandings of related matters such as disciplinary boundaries, academic topics, questions of periodization, epochs, and categorization.
This is part 2 of the introductory module “Introduction to Anglophone Cultural Studies.” The “Übung” will be conducted in smaller groups and is designed to lead into practical work with materials.
Reading suggestions and additional texts will be made available on the reserve shelf (“Handapparat”) in the library and/or on Stud-IP.

Objectives of this “Übung” are to prepare students for participation in critical debates surrounding the historical contexts and modes of analysis of different cultural products of the Anglophone world by
*developing an understanding of the issues and questions dealt with in cultural studies
*developing the necessary (practical) skills for historical contextualization and cultural analysis
*applying these skills to selected topic areas and cultural products/phenomena in the context of historical developments and current critical debates

Students will become familiar with
*a variety of discourses and different conceptions of ‘history’ and ‘culture’
*historical and present day socio-cultural and political debates
*critical schools of thought
*media-specific forms and methods of cultural analysis

Students will
*research and assess relevant database information
*produce and discuss outlines of different source material and critical debates
*apply media-specific approaches for contextualization and analysis
*situate critical debates and methodological approaches
*position a cultural product within its wider context and current relevance
*formulate discourse- and context-specific questions for further research

This “Übung” is mandatory for BA students in Anglistik/Amerikanistik
Prerequisites:
*regular attendance
*mandatory session for everybody: May 19, 2009!!!
*two written assignments (60% of the overall grade for the module)

Language in class: English

==Tutorials==
* Jasmin Bashale: Mo 10-12, S 2-204
* Florian Gubisch: Mo 12-14, A10 1-121a
* Manuel Saralidis: Mo 18 - 20, A01 0-009

Florian Gubisch's tutorial on Monday 18th will be in A 10 1-121a. See you there. Please print out film analysis handout.

==Session 1: Organisation and Introduction==
'''Handout'''
*[[Excerpt]]

*Methods and principles in Cultural Studies,
*explaining the outline of this course
*Text: Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano, Or Gustav Vassa, the African, Written By Himself''. 1789
*close reading of frontmatter & beginning of first chapter; structure of the book
* “Nationallizenzen” and ECCO

'''Homework'''
Read [[Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (1789)]] either Norton Critical edition or pdf-files given on the page
*Vol. I, Ch. V-VI, (better: at least up to VI)
*Vol. II, Chaps. IX-X
*close readings
*read the [[Excerpt]] handout, look through the pdf files of the original text, gather information.

==Session 2: Text Analysis==
*discussing the mandatory readings

==Session 3: Historical Contextualization==
*clarifying the frameworks
*group work (material distributed in class)

'''Materials to look at as course preparation'''

:'''Two Spiritual Autobiographies'''
::*John Bunyan, ''The pilgrim's progress from this world to that which is to come delivered under the similitude of a dream, wherein is discovered the manner of his setting out, his dangerous journey, and safe arrival at the desired countrey'' London: Printed for Nath. Ponder, 1678. [http://en.wikipedia.org/wiki/Pilgrim%27s_Progress Wikipedia] [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=9726052&FILE=../session/1240138419_1570&SEARCHSCREEN=CITATIONS&VID=44054&PAGENO=1&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD= EEBO]
::*''An Account of Some Remarkable Passages in the Life of a Private Gentleman'' [...] ''to be communicated to the publick after his decease'' [...] ''the second edition, with additions from the author's original papers'' London: N. Cliff/ D. Jackson, 1711. [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0320400500&srchtp=b&c=26&SU=All&d2=1&docNum=CW3301250241&b0=remarkable+passages&h2=1&vrsn=1.0&b1=KE&d6=1&ste=10&dc=tiPG&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]

:'''The three Parts of Robinson Crusoe'''
::*Daniel Defoe: ''Robinson Crusoe'' part 1: ''The life and strange surprizing adventures of Robinson Crusoe, of York, mariner: who lived eight and twenty years, all alone in an un-inhabited''. London: W. Taylor, 1719. [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0653600100&srchtp=b&c=6&SU=All&df=f&d2=1&docNum=CW3313746641&b0=Robinson+crusoe&h2=1&vrsn=1.0&b1=KE&d6=1&d3=1&ste=10&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]
::*Daniel Defoe: ''Robinson Crusoe'' part 2: ''The farther adventures of Robinson Crusoe; being the second and last part of his life, and of the strange surprizing accounts of his travels'' London: W. Taylor, 1719. [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=1293200400&srchtp=b&c=2&SU=All&d2=1&docNum=CW3317261405&b0=Robinson+crusoe&h2=1&vrsn=1.0&b1=KE&d6=1&ste=10&dc=tiPG&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]
::*Daniel Defoe: ''Robinson Crusoe'' part 3: ''Serious reflections during the life and surprising adventures of Robinson Crusoe: with his vision of the angelick world. Written by himself'' London, W. Taylor. 1720 [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0653600100&srchtp=b&c=6&SU=All&df=f&d2=1&docNum=CW3313746641&b0=Robinson+crusoe&h2=1&vrsn=1.0&b1=KE&d6=1&d3=1&ste=10&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]

'''Homework'''
*Get you share of the National license to access EEBO and ECCO. Click http://www.nationallizenzen.de to apply.
*Research – where can I find material?
:*Group 1: open access (e.g. the Internet),
:*Group 2: limited access (e.g. online databases),
:*Group 3: on campus library,
:*Group 4: inter-library loan

[[Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (1789)|Page for Equiano Research Results]]

==Session 4: Research Methods==
'''Handout'''
* [[Literary and Cultural Studies:Research guide]]

'''Exercises & Discussions'''
*Evaluating the quality of research methods and materials
*Research Exercise: GVK Plus

'''Homework'''
*read the following article: Carretta, Vincent. “Defining a Gentleman: The Status of Olaudah Equiano or Gustavus Vassa.” Language Sciences 22 (2000): 385-399. [http://www.angl-am.uni-oldenburg.de/intro-to-literature/d/2000-Carretta-Gentleman.pdf link]

==Session 5: How to Read Secondary Literature==
'''Handouts'''
* [[Understanding Research]]
* [[Literary and Cultural Studies:Writing academic texts]]

'''Exercises & Discussions'''
* Vincent Carretta's article
:# structure
:# argumentation
:# how does the text deal with primary text?
:# how does the article deal with a discussion that has evolved around the Equiano narrative?
:# how do I position myself with respect to the article

'''Assignment 1: DEADLINE: MAY 19, 2009'''
* Compile a Bibliography of secondary research on Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano, Or Gustav Vassa, the African, Written By Himself''. 1789
# Give a structured analysis of this bibliography:
#:*Are there noticeable temporal gaps - remarkable intervals of no research?
#:*Is it possible to connect topics of research to individual decades?
# Select and digest one article of this list
#:* Try to place the article in the overview you gave in question one
#:* Give a brief summary of its content and main argument

==Session 6: New Perspectives on Equiano==
'''Exercises & Discussions'''
* Embedding Equiano in the concepts and approaches of Postcolonial Studies, Diaspora (e.g. Paul Gilroy, The Black Atlantic)

==Session 7: ''9/11'' Naudet Brothers, Media Screening, May 19, 2009==
ATTENTION: mandatory for everybody
Room: A14, Hörsaal 2 ab 18 Uhr s.t.!

==Session 8: Documentary Film==
'''Handout'''
* [[Film Analysis]]

'''Exercises & Discussions'''
*Close analysis
*Medium “documentary film” – compared to “feature film”; finding a definition; narrative structure? art? fiction?

'''Homework'''
* Background reading

==Session 9: Representations of 9/11 ==
'''Handout'''
* Link

'''Exercises & Discussions'''
* Literature, film, artworks, photography…how does ‘culture’ deal with 9/11

'''Homework'''
* Probing research methods – what can I find out about critical discussions on these events?

==Session 10: Discourse==
'''Handout'''
* Link

'''Exercises & Discussions'''
* Roland Barthes and the Mythologies
* Reading and discussing 3 short articles
* 5 examples (e.g. photographic images)

==Session 11: Constructing/-edness of a Discourse==
'''Handout'''
* [[Discourse Analysis]]

'''Exercises & Discussions'''
* How is a discourse of terror(ism) formed? The terrorist themselves; media; reception
* Comparative analysis of British newspapers
* Goal of the discourse formation ?

'''Homework'''
* to be announced

==Session 12: From Public to Academic Debates==
'''Handout'''
* Link

'''Exercises & Discussions'''
* The terror attacks in the framework of multiculturalism
* Developing theses/statements
* Structure of an (argumentative) essay

'''Homework'''
* to be announced

==Session 13: Round-up==
'''Handout'''
* [[Literary and Cultural Studies:Writing academic texts]]

'''Exercises & Discussions'''
* Preparations for Assignment 2
* Evaluation, feedback

===Literature===

===Workload===
Assignment 2 (take-home):

Argumentative essay (approx. 4 computer-typed pages)

Your research essay has to state and develop a thesis/an argument based on a topic of your choice relating to either part 1 (Olaudah Equiano) or part 2 (9/11 and 7/7) of the "Übung." While developing a thesis/statement on a topic of your choice consider the following questions:
*What do you want to take issue with and why?
*What is your argument?
*How does your statement/thesis relate to the current scholarly debate? What is your position?
Based on your research of relevant primary and secondary sources, and with reference to the discussions and exercises during the semester you have to explain why it is important to take up one particular issue and how this issue relates to the current scholarly debate. Cite from the narrative to back up your answers.

Example: My contention is that in his autobiographical Narrative, Olaudah Equiano mimicks the voice of the colonized/other to subvert the British colonial – eurocentric – discourse. I agree with xyz, who claims that…However, I would go a step further an argue that Equiano’s Narrative is…

Format your essay according to the style sheet; you have to indicate quotations and give references, and you need to compile a bibliography at the end of your essay according to the style sheet.
For further reference: Aczel, Richard. How to Write an Essay. Stuttgart et al.: Klett, 2006.

'''Assignment 2: DEADLINE: August 01, 2009'''

IT support

2009-01-05T10:40:44Z

Florian Gubisch: /* Need */

==Computer, Drucker, Video Projector + Laptop etc. des Seminars==

*Betreuer am Seminar: [[User:John Alistair Kühne|John Alistair Kühne]]

===Ausleihe Geräte===

In der folgenden Tabelle bitte Bedarf anmelden (mit drei Tilden <nowiki>~~~</nowiki> unterzeichnen)

<center>
{| cellpadding=5 width=85%|
!bgcolor="#7DFFFF" valign="top" align="left"|Media/Whose?
!bgcolor="#c6ffff" valign="top" align="left"|Literature (blue tag) NEC NP20 + Samsung
!bgcolor="#c6ffff" valign="top" align="left"|Linguistics
!bgcolor="#c6ffff" valign="top" align="left"|Didactics
!bgcolor="#c6ffff" valign="top" align="left"|Cultural Studies
!bgcolor="#c6ffff" valign="top" align="left"|Language Practice (red tag) NEC NP40 + Dell
|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector + Laptop
(one set each group)
|bgcolor="#efefef" valign="top" align="left"|
====Need====
* Tue 10-12, Dec. 16, [[User:Anton Kirchhofer|Anton Kirchhofer]]
* Tue 14-16 and 16-18h - every week [[User:Christina Meyer|Christina Meyer]]
* Wed 12-14, every week [[User:Anna Auguscik|Anna Auguscik]]
* Wed 18-20, every week Cultural Studies
* Thu 08-10, Nov. 20, Room A01 0-004 [[User:Soerenk|Sören Koopmann]]
* Thu 12-14 and 14-16h - every week [[User:Christina Meyer|Christina Meyer]]
* Thu 16-18, Nov 13, [[User:Anton Kirchhofer|Anton Kirchhofer]] 16:08, 6 November 2008 (CET)
* Fri 12-18, every week [[User:Annika McPherson|Annika McPherson]]
----
* '''Located:''' A6 2-211
|bgcolor="#efefef" valign="top" align="left"|

====Need====
Thursday 16-18h, 30.10./13.11./27.11./18.12./22.01.
[[User:Rebecca Carroll|Rebecca Carroll]]

Wednesdays 12-14h (starting Dec. 3)
[[User:Holger Limberg|Holger Limberg]]

----
* '''Located:''' [[User:Ronald Geluykens|Ronald Geluykens]]
* '''Located:''' [[User:Cornelia Hamann|Cornelia Hamann]]
|bgcolor="#efefef" valign="top" align="left"|
Thursday 16-18h, 30.10./13.11./27.11./18.12./22.01.

====Need====

----
* '''Located:''' [[User:Wolfgang Gehring|Wolfgang Gehring]]
|bgcolor="#efefef" valign="top" align="left"|

====Need====

----
* '''Located:''' [[User:Richard Stinshoff|Richard Stinshoff]]

|bgcolor="#efefef" valign="top" align="left"|
====Need====
* Tuesday 14-16, 2nd Dec. 2008, Kevin Carpenter
* Wednesdays 10-12, winter 08/09, Deidre Graydon
* Wednesdays 16-18, winter 08/09, Deidre Graydon
* Thursdays 10-12, winter 08/09, Deidre Graydon

----
* '''Located:''' 
A6 2-211

|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector set 2
(located in A6 2-211; 
black trolley; Acer Laptop; green tag)
|bgcolor="#efefef" valign="top" align="left" colspan="5"|

====Need====
*Monday 12-14, 05/01/2009, Florian Gubisch
*Tuesday 14-16, 2/9/16 December, Kirchhofer / Auguscik
*Tuesdays 16-18, winter 08/09, William Hathaway
*Wednesdays 12-14, winter 08/09, Cultural Studies, Annika McPherson
*Thursdays 10-12, winter 08/09, Kevin Carpenter + OHP
*Thursdays 12-14, winter 08/09, William Hathaway
*Fridays, 12-14, Maike Engelhardt

|}
</center>

== Inks and Toner in stock (last update: 28 May 2008) ==
You will find the mentioned cartridges in my office A6 2-211 - the key is in the top safe. Please let me know if you should need any assistance! Best wishes, John Alistair Kühne
==== '''HP inks (quantity)''' ====
'''Duncan''' 
88 black (1)

88 cyan (1)

88 magenta (1)

88 yellow (1)

'''Schwarzkopf and Meyer''' 
20 black (0) - will be ordered asap

49 tricolor (0) - will be ordered asap

'''Zagratzki''' 
26 black (1)

'''old stock''' 
29 black (2)

15 black (1)

78 tri-colour (1)

==== '''Canon inks (quantity)''' ====
'''Mclaughlin''' 
3e black (1)

6 black (1)

6 magenta (1)

6 yellow (1)

6 cyan (1)

'''Graydon''' 
40 black (0)

41 colour (0)

==== '''Toner HP and Kyocera (quantity)''' ====
'''Graydon, Köhring and Simons''' 
Kyocera TK-17 (2)

'''Geluykens, Ogiermann, Carpenter, Stinshoff, Engelhardt and Schönenberger''' 
Kyocera TK-18 (2)

'''Limberg''' 
HP 10A (0)

'''Gehring and Kirchhofer''' 
HP 12A (2)

'''Hamann''' 
HP 13X (1)

'''Leinweber''' 
HP 15X (0)

'''Seminar Kyocera FS-C5025N''' 
TK-510K (black) (1)

==This Wiki==

*[[Angl-Am:About|Verantwortliche]]
*[[Help talk:Contents|Hilfe durch die betreuenden Administratoren]]

__NOTOC__

IT support

2008-11-06T14:56:06Z

Florian Gubisch: /* Need */

==Computer, Drucker, Video Projector + Laptop etc. des Seminars==

*Betreuer am Seminar: [[User:John Alistair Kühne|John Alistair Kühne]]

===Ausleihe Geräte===

In der folgenden Tabelle bitte Bedarf anmelden (mit drei Tilden <nowiki>~~~</nowiki> unterzeichnen)

<center>
{| cellpadding=5 width=85%|
!bgcolor="#7DFFFF" valign="top" align="left"|Media/Whose?
!bgcolor="#c6ffff" valign="top" align="left"|Literature (blue tag) NEC NP20 + Samsung
!bgcolor="#c6ffff" valign="top" align="left"|Linguistics
!bgcolor="#c6ffff" valign="top" align="left"|Didactics
!bgcolor="#c6ffff" valign="top" align="left"|Cultural Studies
!bgcolor="#c6ffff" valign="top" align="left"|Language Practice (red tag) NEC NP40 + Dell
|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector + Laptop
(one set each group)
|bgcolor="#efefef" valign="top" align="left"|
====Need====
* Tue 8-10, Nov. 4, [[User:Hannah Treffert|Hannah Treffert]]
* Tue 14-16 and 16-18h - every week [[User:Christina Meyer|Christina Meyer]]
* Wed 12-14, every week [[User:Anna Auguscik|Anna Auguscik]]
* Wed 18-20, every week Cultural Studies
* Thu 08-10, Nov. 6 [[User:Soerenk|Sören Koopmann]]
* Thu 12-14 and 14-16h - every week [[User:Christina Meyer|Christina Meyer]]
* Fri 12-18, every week [[User:Annika McPherson|Annika McPherson]]
----
* '''Located:''' A6 2-211
|bgcolor="#efefef" valign="top" align="left"|

====Need====
Thursday 16-18h, 30.10./13.11./27.11./18.12./22.01.
[[User:Rebecca Carroll|Rebecca Carroll]]

Wednesdays 12-14h (starting Dec. 3)
[[User:Holger Limberg|Holger Limberg]]

----
* '''Located:''' [[User:Ronald Geluykens|Ronald Geluykens]]
* '''Located:''' [[User:Cornelia Hamann|Cornelia Hamann]]
|bgcolor="#efefef" valign="top" align="left"|
Thursday 16-18h, 30.10./13.11./27.11./18.12./22.01.

====Need====

----
* '''Located:''' [[User:Wolfgang Gehring|Wolfgang Gehring]]
|bgcolor="#efefef" valign="top" align="left"|

====Need====

----
* '''Located:''' [[User:Richard Stinshoff|Richard Stinshoff]]

|bgcolor="#efefef" valign="top" align="left"|
====Need====
* Wednesdays 10-12, winter 08/09, Deidre Graydon
* Wednesdays 16-18, winter 08/09, Deidre Graydon
* Thursdays 10-12, winter 08/09, Deidre Graydon

----
* '''Located:''' 
A6 2-211

|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector set 2
(located in A6 2-211; 
black trolley; Acer Laptop; green tag)
|bgcolor="#efefef" valign="top" align="left" colspan="5"|

====Need====
*Monday 12-14, 10th November, Florian Gubisch
*Monday 10-12, 20th October, Eva Ogiermann
*Tuesdays 16-18, winter 08/09, William Hathaway
*Wednesdays 12-14, winter 08/09, Cultural Studies, Annika McPherson
*Thursdays 10-12, winter 08/09, Kevin Carpenter + OHP
*Thursdays 12-14, winter 08/09, William Hathaway
*Fridays, 12-14, Maike Engelhardt
*Friday, 12-14, 7th November, Michaela Koch

|}
</center>

== Inks and Toner in stock (last update: 28 May 2008) ==
You will find the mentioned cartridges in my office A6 2-211 - the key is in the top safe. Please let me know if you should need any assistance! Best wishes, John Alistair Kühne
==== '''HP inks (quantity)''' ====
'''Duncan''' 
88 black (1)

88 cyan (1)

88 magenta (1)

88 yellow (1)

'''Schwarzkopf and Meyer''' 
20 black (0) - will be ordered asap

49 tricolor (0) - will be ordered asap

'''Zagratzki''' 
26 black (1)

'''old stock''' 
29 black (2)

15 black (1)

78 tri-colour (1)

==== '''Canon inks (quantity)''' ====
'''Mclaughlin''' 
3e black (1)

6 black (1)

6 magenta (1)

6 yellow (1)

6 cyan (1)

'''Graydon''' 
40 black (0)

41 colour (0)

==== '''Toner HP and Kyocera (quantity)''' ====
'''Graydon, Köhring and Simons''' 
Kyocera TK-17 (2)

'''Geluykens, Ogiermann, Carpenter, Stinshoff, Engelhardt and Schönenberger''' 
Kyocera TK-18 (2)

'''Limberg''' 
HP 10A (0)

'''Gehring and Kirchhofer''' 
HP 12A (2)

'''Hamann''' 
HP 13X (1)

'''Leinweber''' 
HP 15X (0)

'''Seminar Kyocera FS-C5025N''' 
TK-510K (black) (1)

==This Wiki==

*[[Angl-Am:About|Verantwortliche]]
*[[Help talk:Contents|Hilfe durch die betreuenden Administratoren]]

__NOTOC__

2008-09 BM2 Tutorials

2008-10-16T13:28:34Z

Florian Gubisch:

Tutorial Times:

Sorry there might be some confusion. Here are the official places and times.

Michaela Koch (starting on Friday 24th, October)

Fr 12 - 14, A10 1-121a

Florian Gubisch (starting on Monday 27th, October)

Mo 12 - 14, A01 0-004

Tutorials are optional. You don't have to sign up.

Tutorials following the lecture:

1 Oct. 15, 2008 Course Outline

2 Dec. 10, 2008 New Topic: Diasporas

3 Oct. 22, 2008 From Anglo Saxon Raids to Global Anglophone Culture

'''Maybe''': Julia Ward Howe's "The Battle Hymn of the Republic", set to William Steffe's already-existing music, was first published in the Atlantic Monthly in 1862 and quickly became one of the most popular songs of the Union during the American Civil War.
In 1870 Howe was the first to proclaim Mother's Day, with her Mother's Day Proclamation.
After the war Howe focused her activities on the causes of pacifism and women's suffrage. From 1872 to 1879, she assisted Lucy Stone and Henry Brown Blackwell in editing ''Woman's Journal''. [http://en.wikipedia.org/wiki/Julia_Ward_Howe]

4 Oct. 29, 2008 Harbingers of Freedom, Democracy and Civil Rights?

'''Material''': Sojourner Truth "Ain't I a Woman?" --> Intersectionality: Human Rights + Women's Rights + Afro-American Rights

another idea: colonialism in Oz (and NZ). treatment of Aboriginals (Maori). Who was counted as "human", given citizen status and right to vote? 1967 referendum in Oz.

5 Nov. 05, 2007 Religion

'''Maybe''': Intelligent design / creationism vs. Darwinism / evolutionary theory. Compare prominent examples. Methodology: devil's advocate

6 Nov. 13, 2008 An Economic History of the English speaking World

'''Material''' : maybe caricatures/posters etc. from different eras commenting on the economic development like [http://www.voiceoftheturtle.org/salutes/salute_images/forwhom.jpg] --> economic development for whom? And who's excluded? (Social) consequences of industrial revolution, globalization ...

7 Nov. 19, 2008 Technology and Knowledge

'''Maybe''' sth. on the emergence of natural sciences: L. Daston/K. Park (1998) "Wonders and the Order of Nature 1150-1750". Or a little different: L. Schiebinger "Why mammals are called mammals"

8 Nov. 26, 2008 Media and the Public

'''Maybe''' sth on sports? (We might not do it in the VL, but the tutorial could be a place...) Cricket?

or sth. related to music: Trumpet player Billy Tipton comes to mind. Hir story served as a background for "Trumpet" by British novelist Jackie Kay. Although Kay changed it considerably: Placed in GB not US, from white to black skin, from piano to trumpet. Full media attention: newspaper articles, songs, shows, a biography etc.

9 Dec. 03, 2008 Representations of Justice

'''Maybe''' a text by Angela Davis? (Against "prison-industrial complex" in the US, Black feminist, academic, communist, Civil Rights leader, "Free Angela Davis" campaign in early 1970's)

'''Maybe''' something on "Hate Crimes"?

e.g. Brandon Teena (see Sloop: Brandon Teena, Public Representation, and Normativity" in Disciplining Gender) --> documentary + Hollywood + print media: Which stories are told by whom? (Could also work for one of the Media sessions 7/8 or Academy Awards (2))
Media Audiences

'''Maybe''' something on theater actors and actresses: Who is when allowed to play which (gender) role. From all-men to all-women casts in English theatres in the 17th century (cp. Straub and Trumbach in Epstein/Straub: Guarded Bodies, also Greenblatt "Fiction and Friction")

10 Dec. 17, 2009 New Topic: Key Concepts in Cultural Studies (a) gender, race, class, ability etc. --> concepts as socially constructed and interdependent categories. b) What is a 'text'? --> movies, literature, art, clothing etc. as material in Cultural Studies)

ad a) Maybe sth. with Thomas Laqueur: Making sex. --> from one sex model to two sex model (and where it might or might not end...)
ad b) connected to a): medical, juridical, religious texts and documents

11 Jan. 07, 2009 The Construct(edness) of Traditions

12 Jan. 14, 2009 Written Test

13 Jan. 21, 2009 Cultural Icon(s)/Iconology

14 Jan. 28, 2009 Feedback on Test and Look Ahead

2008-09 BM2 Tutorials

2008-10-16T13:28:22Z

Florian Gubisch:

2008-09 BM2 Tutorials

2008-10-16T13:28:02Z

Florian Gubisch:

Tutorial Times:

Sorry there might be some confusion. Here are the official places and times.

Michaela Koch (starting on Friday 24th, October)
Fr 12 - 14, A10 1-121a

Florian Gubisch (starting on Monday 27th, October)

Mo 12 - 14, A01 0-004

Tutorials are optional. You don't have to sign up.

Tutorials following the lecture:

1 Oct. 15, 2008 Course Outline

2 Dec. 10, 2008 New Topic: Diasporas

3 Oct. 22, 2008 From Anglo Saxon Raids to Global Anglophone Culture

'''Maybe''': Julia Ward Howe's "The Battle Hymn of the Republic", set to William Steffe's already-existing music, was first published in the Atlantic Monthly in 1862 and quickly became one of the most popular songs of the Union during the American Civil War.
In 1870 Howe was the first to proclaim Mother's Day, with her Mother's Day Proclamation.
After the war Howe focused her activities on the causes of pacifism and women's suffrage. From 1872 to 1879, she assisted Lucy Stone and Henry Brown Blackwell in editing ''Woman's Journal''. [http://en.wikipedia.org/wiki/Julia_Ward_Howe]

4 Oct. 29, 2008 Harbingers of Freedom, Democracy and Civil Rights?

'''Material''': Sojourner Truth "Ain't I a Woman?" --> Intersectionality: Human Rights + Women's Rights + Afro-American Rights

another idea: colonialism in Oz (and NZ). treatment of Aboriginals (Maori). Who was counted as "human", given citizen status and right to vote? 1967 referendum in Oz.

5 Nov. 05, 2007 Religion

'''Maybe''': Intelligent design / creationism vs. Darwinism / evolutionary theory. Compare prominent examples. Methodology: devil's advocate

6 Nov. 13, 2008 An Economic History of the English speaking World

'''Material''' : maybe caricatures/posters etc. from different eras commenting on the economic development like [http://www.voiceoftheturtle.org/salutes/salute_images/forwhom.jpg] --> economic development for whom? And who's excluded? (Social) consequences of industrial revolution, globalization ...

7 Nov. 19, 2008 Technology and Knowledge

'''Maybe''' sth. on the emergence of natural sciences: L. Daston/K. Park (1998) "Wonders and the Order of Nature 1150-1750". Or a little different: L. Schiebinger "Why mammals are called mammals"

8 Nov. 26, 2008 Media and the Public

'''Maybe''' sth on sports? (We might not do it in the VL, but the tutorial could be a place...) Cricket?

or sth. related to music: Trumpet player Billy Tipton comes to mind. Hir story served as a background for "Trumpet" by British novelist Jackie Kay. Although Kay changed it considerably: Placed in GB not US, from white to black skin, from piano to trumpet. Full media attention: newspaper articles, songs, shows, a biography etc.

9 Dec. 03, 2008 Representations of Justice

'''Maybe''' a text by Angela Davis? (Against "prison-industrial complex" in the US, Black feminist, academic, communist, Civil Rights leader, "Free Angela Davis" campaign in early 1970's)

'''Maybe''' something on "Hate Crimes"?

e.g. Brandon Teena (see Sloop: Brandon Teena, Public Representation, and Normativity" in Disciplining Gender) --> documentary + Hollywood + print media: Which stories are told by whom? (Could also work for one of the Media sessions 7/8 or Academy Awards (2))
Media Audiences

'''Maybe''' something on theater actors and actresses: Who is when allowed to play which (gender) role. From all-men to all-women casts in English theatres in the 17th century (cp. Straub and Trumbach in Epstein/Straub: Guarded Bodies, also Greenblatt "Fiction and Friction")

10 Dec. 17, 2009 New Topic: Key Concepts in Cultural Studies (a) gender, race, class, ability etc. --> concepts as socially constructed and interdependent categories. b) What is a 'text'? --> movies, literature, art, clothing etc. as material in Cultural Studies)

ad a) Maybe sth. with Thomas Laqueur: Making sex. --> from one sex model to two sex model (and where it might or might not end...)
ad b) connected to a): medical, juridical, religious texts and documents

11 Jan. 07, 2009 The Construct(edness) of Traditions

12 Jan. 14, 2009 Written Test

13 Jan. 21, 2009 Cultural Icon(s)/Iconology

14 Jan. 28, 2009 Feedback on Test and Look Ahead

Talk:2008 BM1 Tutorials

2008-04-13T17:49:18Z

Florian Gubisch: /* Vorbesprechung SS 2008 */

(Beim Unterschreiben vier Tilden <nowiki>~~~~</nowiki> setzen, das System macht daraus Eure Unterschrift.)

==Termine für die Tutoren==
*Accounts anlegen (bitte mit Klarnamen), und Beiträge in Binnenkommunikation mit vier Tilden <nowiki>~~~~</nowiki> unterzeichnen.
===Tutorenqualifizierungsprogramm 8-12.10.2007===
*Frau Margit Ladenthin informierte über ein Tutorenqualifizierungsprogramm. Nähere Einzelheiten zu den Kursen finden sich unter [http://www.uni-oldenburg.de/studium/19028.html http://www.uni-oldenburg.de/studium/19028.html]. Sie ließ im selben Schreiben "im Auftrag der Vizepräsidentin Frau Doering" auf die "Verbindlichkeit zur Teilnahme an diesem Programm hinweisen". Was "natürlich nur für diejenigen TutorInnen [gelte], die bisher an keiner Qualifizierungsmaßnahme teilgenommen" hätten. Frau Ladenthin meinte, daß Teilnehmer ab zwei besuchten Kursen ein Zertifikat erhieltet, das sie bei Bewerbungen vorzeigen könnten.
:*Die Anmeldung für die Kurse hat zwischen dem 10. und dem 28.9. zu erfolgen
:*Die Kurse finden vom 8. bis 12. Oktober statt.
:::Mir ist selbst nicht klar, ob die "Verpflichtung" auch für TutorInnen besteht, die das Sem.f.Angl.Am. aus den von ihm verwalteten Studienbeiträgen finanziert. Jedenfalls bereiten wir unsere TutorInnen auf ihre spzifischen Aufgaben bei uns vor. Ich meine aber, dass von den bisherigen TutorInnen, die solche Kurse besucht haben, ein positives Feedback kam und dass m.W. eine Auswahlmöglichkeit nach je besonderer Interessenlage besteht. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
::::Eine kurze Anmerkung zum Tutorenprogramm: Aus eigener Erfahrung kann ich die Teilnahme am Tutorenprogramm empfehlen. Anton hat bereits darauf hingewiesen, dass es ein recht vielfältiges Angebot an Workshops gibt. Für mich waren die Workshops ein guter Einstieg. Sie haben dazu angeregt, das eigene Handeln auf vielfältige Weise zu reflektieren. Zudem boten die Workshops die Möglichkeit, sich mit anderen Tutoren auszutauschen und von deren Erfahrungen zu profitieren. Gruß, [[User:Christina Stindl|Christina Stindl]] 15:37, 6 September 2007 (CEST)

===Verträge 30.9.2007 / 15.10.2007===
*Bis zum 30.9.2007 müssen die Verträge bei [[User:Olaf Simons|Olaf Simons]] vorliegen, der sie unterschrieben an Brigitte Dau zurückleitet. Die Formulare - gibt es im Download:
:*[http://www.uni-oldenburg.de/dezernat1/download/vordrucke/D08_stuhi_antr.pdf Beschäftigung als studentische Hilfskraft - Bewerbung - Neueinstellung - Weiterbeschäftigung]
:* [http://www.uni-oldenburg.de/dezernat2/download/Besoldfrag.pdf Besoldungsfragebogen]
:* [http://www.uni-oldenburg.de/dezernat2/download/Versicherungspfl.pdf Angaben zur Sozialversicherungspflicht]

==Vorbesprechung SS 2008==
Wollte kurz mal nachfragen, wann und wo wir uns treffen? Viele Grüße [[User:Florian Gubisch|Florian Gubisch]] 19:35, 30 March 2008 (CEST)
:Wie wäre es mit einem regulären Termin Montag 16.15 oder Dienstag 16.15? --[[User:Olaf Simons|Olaf Simons]] 15:57, 7 April 2008 (CEST)
::Dienstag 16.15 würde mir sehr gut passen. --[[User:Anna Auguscik|Anna Auguscik]] 16:31, 7 April 2008 (CEST)
::: Ich kann dienstags zweiwöchig um 16:15 Uhr. Ansonsten ab 17:05 Uhr. [[User:Florian Gubisch|Florian Gubisch]]
::::Dienstag 16.15 würde mir auch passen. [[User:Katrin Ischebeck|Katrin Ischebeck]]
:::::Ich habe am Dienstag von 16-18 leider ein Seminar. Montag von 16-18 würde mir hingegen gut passen. Wie sieht es da zeitlich bei Euch aus? --[[User:Christina Stindl|Christina Stindl]] 09:56, 9 April 2008 (CEST)
Und ich habe am Dienstag Sprechstunde und vergaß das. 17.00 Dienstag - wenn ich bis 18.00 rauskomme? Alternative Donnerstag bei beliebiger Zeit.
::::: Dann schlage ich als Alternativtermin einfach noch einmal Donnerstag 10-12 vor. Falls Ihr schon zugegen sein solltet, ginge es bei mir am Donnerstag auch früher (beispielsweise 8:30-10:00) oder später, falls Euch dies nicht zu spät sein sollte (beispielsweise 18:00-19:30). Gruß,--[[User:Christina Stindl|Christina Stindl]] 09:14, 10 April 2008 (CEST)
:geht bei mir alles. 10.-12 ist ok. Dienstag 17-18 hätte vielleicht den Vorteil gehabt, daß wir es bei einer Stunde beließen (Zeit ist für alle knapp.... --[[User:Olaf Simons|Olaf Simons]] 13:26, 10 April 2008 (CEST)
::: Die Terminsuche erscheint sehr schwierig. Hier nochmals Optionen von mir.
Ich kann: Mo, Di und Do 13-14 Uhr. Mo 16-18 Uhr, Di ab 17 Uhr.
Mein Vorschlag wäre Di ab 18 Uhr. Ich hoffe wir finden einen Termin. Bis dann [[User:Florian Gubisch|Florian Gubisch]]
:Dienstag ab 18. geht gar nicht [[Kolloquium]], meine Dienstaufgabe. Die 13-14 Termine lassen sich mit mehr oder weniger Anstrengung machen. Diestags habe ich da sofort Seminar. Mo. 16-18 ist machbar. Jetzt sind schon so viele Termine genannt, vielleicht bringt sie mal einer in eine Liste und sagt, welcher demnach allen paßte. Ich überschaue das Durcheinander schon nicht mehr. (vielleicht machen wir auch einfach einen Termin für die Terminabsprache aus - wenn wir alle beisammen stehen haben wir das ganz flugs.) --[[User:Olaf Simons|Olaf Simons]] 10:15, 11 April 2008 (CEST)
Ich kann: Mo 14-16 Uhr, Di 12-14, oder ab 16 Uhr, und Do von 12-14 Uhr.
Gruß, --[[User:Katrin Ischebeck|Katrin Ischebeck]] 15:06, 11 April 2008 (CEST)
-----
neuer Anfang der verfahrenen Lage:

*Montag 16-18 kann Katrin nicht?
*Donnerstag 12-14 kann jeder?
*Dienstag 17-18 kann wer nicht?

::Ich versuche mal, Eure und meine Aussagen zu den Terminen zusammenzufassen:
::* Montag 16-18: Katrin kann nicht
::* Donnerstag 12-14: Christina kann nicht
::* Dienstag 17-18: Christina kann nicht

::weiterer Vorschlag, der vielleicht diskutiert werden könnte:
::* Dienstag 13-14 (wenn ich das richtig sehe, könnten auf jeden Fall Florian, Katrin, Christina; Wie sieht es bei Dir aus, Olaf? Oder wäre dieser Termin eher ungünstig?) Gruß, --[[User:Christina Stindl|Christina Stindl]] 17:06, 11 April 2008 (CEST) [Geht - wird für Anton und mich der Moment vor der Veranstaltung, doch werde ich nach dem Morgen vorbereitet sein. [[User:Olaf Simons|Olaf Simons]] 18:02, 11 April 2008 (CEST)]

::* Wenn ich das jetzt richtig verstanden habe, haben wir am Dienstag ein Date um 13 Uhr?[[User:Florian Gubisch|Florian Gubisch]]

==Termine und Räume für ergänzende Tutorien==

==Test letztes Jahr==
[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/test-bm1-2007.doc test]

Talk:2008 BM1 Tutorials

2008-04-13T17:48:02Z

Florian Gubisch: /* Vorbesprechung SS 2008 */

(Beim Unterschreiben vier Tilden <nowiki>~~~~</nowiki> setzen, das System macht daraus Eure Unterschrift.)

==Termine für die Tutoren==
*Accounts anlegen (bitte mit Klarnamen), und Beiträge in Binnenkommunikation mit vier Tilden <nowiki>~~~~</nowiki> unterzeichnen.
===Tutorenqualifizierungsprogramm 8-12.10.2007===
*Frau Margit Ladenthin informierte über ein Tutorenqualifizierungsprogramm. Nähere Einzelheiten zu den Kursen finden sich unter [http://www.uni-oldenburg.de/studium/19028.html http://www.uni-oldenburg.de/studium/19028.html]. Sie ließ im selben Schreiben "im Auftrag der Vizepräsidentin Frau Doering" auf die "Verbindlichkeit zur Teilnahme an diesem Programm hinweisen". Was "natürlich nur für diejenigen TutorInnen [gelte], die bisher an keiner Qualifizierungsmaßnahme teilgenommen" hätten. Frau Ladenthin meinte, daß Teilnehmer ab zwei besuchten Kursen ein Zertifikat erhieltet, das sie bei Bewerbungen vorzeigen könnten.
:*Die Anmeldung für die Kurse hat zwischen dem 10. und dem 28.9. zu erfolgen
:*Die Kurse finden vom 8. bis 12. Oktober statt.
:::Mir ist selbst nicht klar, ob die "Verpflichtung" auch für TutorInnen besteht, die das Sem.f.Angl.Am. aus den von ihm verwalteten Studienbeiträgen finanziert. Jedenfalls bereiten wir unsere TutorInnen auf ihre spzifischen Aufgaben bei uns vor. Ich meine aber, dass von den bisherigen TutorInnen, die solche Kurse besucht haben, ein positives Feedback kam und dass m.W. eine Auswahlmöglichkeit nach je besonderer Interessenlage besteht. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
::::Eine kurze Anmerkung zum Tutorenprogramm: Aus eigener Erfahrung kann ich die Teilnahme am Tutorenprogramm empfehlen. Anton hat bereits darauf hingewiesen, dass es ein recht vielfältiges Angebot an Workshops gibt. Für mich waren die Workshops ein guter Einstieg. Sie haben dazu angeregt, das eigene Handeln auf vielfältige Weise zu reflektieren. Zudem boten die Workshops die Möglichkeit, sich mit anderen Tutoren auszutauschen und von deren Erfahrungen zu profitieren. Gruß, [[User:Christina Stindl|Christina Stindl]] 15:37, 6 September 2007 (CEST)

===Verträge 30.9.2007 / 15.10.2007===
*Bis zum 30.9.2007 müssen die Verträge bei [[User:Olaf Simons|Olaf Simons]] vorliegen, der sie unterschrieben an Brigitte Dau zurückleitet. Die Formulare - gibt es im Download:
:*[http://www.uni-oldenburg.de/dezernat1/download/vordrucke/D08_stuhi_antr.pdf Beschäftigung als studentische Hilfskraft - Bewerbung - Neueinstellung - Weiterbeschäftigung]
:* [http://www.uni-oldenburg.de/dezernat2/download/Besoldfrag.pdf Besoldungsfragebogen]
:* [http://www.uni-oldenburg.de/dezernat2/download/Versicherungspfl.pdf Angaben zur Sozialversicherungspflicht]

==Vorbesprechung SS 2008==
Wollte kurz mal nachfragen, wann und wo wir uns treffen? Viele Grüße [[User:Florian Gubisch|Florian Gubisch]] 19:35, 30 March 2008 (CEST)
:Wie wäre es mit einem regulären Termin Montag 16.15 oder Dienstag 16.15? --[[User:Olaf Simons|Olaf Simons]] 15:57, 7 April 2008 (CEST)
::Dienstag 16.15 würde mir sehr gut passen. --[[User:Anna Auguscik|Anna Auguscik]] 16:31, 7 April 2008 (CEST)
::: Ich kann dienstags zweiwöchig um 16:15 Uhr. Ansonsten ab 17:05 Uhr. [[User:Florian Gubisch|Florian Gubisch]]
::::Dienstag 16.15 würde mir auch passen. [[User:Katrin Ischebeck|Katrin Ischebeck]]
:::::Ich habe am Dienstag von 16-18 leider ein Seminar. Montag von 16-18 würde mir hingegen gut passen. Wie sieht es da zeitlich bei Euch aus? --[[User:Christina Stindl|Christina Stindl]] 09:56, 9 April 2008 (CEST)
Und ich habe am Dienstag Sprechstunde und vergaß das. 17.00 Dienstag - wenn ich bis 18.00 rauskomme? Alternative Donnerstag bei beliebiger Zeit.
::::: Dann schlage ich als Alternativtermin einfach noch einmal Donnerstag 10-12 vor. Falls Ihr schon zugegen sein solltet, ginge es bei mir am Donnerstag auch früher (beispielsweise 8:30-10:00) oder später, falls Euch dies nicht zu spät sein sollte (beispielsweise 18:00-19:30). Gruß,--[[User:Christina Stindl|Christina Stindl]] 09:14, 10 April 2008 (CEST)
:geht bei mir alles. 10.-12 ist ok. Dienstag 17-18 hätte vielleicht den Vorteil gehabt, daß wir es bei einer Stunde beließen (Zeit ist für alle knapp.... --[[User:Olaf Simons|Olaf Simons]] 13:26, 10 April 2008 (CEST)
::: Die Terminsuche erscheint sehr schwierig. Hier nochmals Optionen von mir.
Ich kann: Mo, Di und Do 13-14 Uhr. Mo 16-18 Uhr, Di ab 17 Uhr.
Mein Vorschlag wäre Di ab 18 Uhr. Ich hoffe wir finden einen Termn. Bis dann [[User:Florian Gubisch|Florian Gubisch]]
:Dienstag ab 18. geht gar nicht [[Kolloquium]], meine Dienstaufgabe. Die 13-14 Termine lassen sich mit mehr oder weniger Anstrengung machen. Diestags habe ich da sofort Seminar. Mo. 16-18 ist machbar. Jetzt sind schon so viele Termine genannt, vielleicht bringt sie mal einer in eine Liste und sagt, welcher demnach allen paßte. Ich überschaue das Durcheinander schon nicht mehr. (vielleicht machen wir auch einfach einen Termin für die Terminabsprache aus - wenn wir alle beisammen stehen haben wir das ganz flugs.) --[[User:Olaf Simons|Olaf Simons]] 10:15, 11 April 2008 (CEST)
Ich kann: Mo 14-16 Uhr, Di 12-14, oder ab 16 Uhr, und Do von 12-14 Uhr.
Gruß, --[[User:Katrin Ischebeck|Katrin Ischebeck]] 15:06, 11 April 2008 (CEST)
-----
neuer Anfang der verfahrenen Lage:

*Montag 16-18 kann Katrin nicht?
*Donnerstag 12-14 kann jeder?
*Dienstag 17-18 kann wer nicht?

::Ich versuche mal, Eure und meine Aussagen zu den Terminen zusammenzufassen:
::* Montag 16-18: Katrin kann nicht
::* Donnerstag 12-14: Christina kann nicht
::* Dienstag 17-18: Christina kann nicht

::weiterer Vorschlag, der vielleicht diskutiert werden könnte:
::* Dienstag 13-14 (wenn ich das richtig sehe, könnten auf jeden Fall Florian, Katrin, Christina; Wie sieht es bei Dir aus, Olaf? Oder wäre dieser Termin eher ungünstig?) Gruß, --[[User:Christina Stindl|Christina Stindl]] 17:06, 11 April 2008 (CEST) [Geht - wird für Anton und mich der Moment vor der Veranstaltung, doch werde ich nach dem Morgen vorbereitet sein. [[User:Olaf Simons|Olaf Simons]] 18:02, 11 April 2008 (CEST)]
:: Wenn ich das jetzt richtig verstanden habe, haben wir am Dienstag ein Date um 13 Uhr?[[User:Florian Gubisch|Florian Gubisch]]

==Termine und Räume für ergänzende Tutorien==

==Test letztes Jahr==
[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/test-bm1-2007.doc test]

Talk:2008 BM1 Tutorials

2008-04-10T18:00:42Z

Florian Gubisch: /* Vorbesprechung SS 2008 */

(Beim Unterschreiben vier Tilden <nowiki>~~~~</nowiki> setzen, das System macht daraus Eure Unterschrift.)

==Termine für die Tutoren==
*Accounts anlegen (bitte mit Klarnamen), und Beiträge in Binnenkommunikation mit vier Tilden <nowiki>~~~~</nowiki> unterzeichnen.
===Tutorenqualifizierungsprogramm 8-12.10.2007===
*Frau Margit Ladenthin informierte über ein Tutorenqualifizierungsprogramm. Nähere Einzelheiten zu den Kursen finden sich unter [http://www.uni-oldenburg.de/studium/19028.html http://www.uni-oldenburg.de/studium/19028.html]. Sie ließ im selben Schreiben "im Auftrag der Vizepräsidentin Frau Doering" auf die "Verbindlichkeit zur Teilnahme an diesem Programm hinweisen". Was "natürlich nur für diejenigen TutorInnen [gelte], die bisher an keiner Qualifizierungsmaßnahme teilgenommen" hätten. Frau Ladenthin meinte, daß Teilnehmer ab zwei besuchten Kursen ein Zertifikat erhieltet, das sie bei Bewerbungen vorzeigen könnten.
:*Die Anmeldung für die Kurse hat zwischen dem 10. und dem 28.9. zu erfolgen
:*Die Kurse finden vom 8. bis 12. Oktober statt.
:::Mir ist selbst nicht klar, ob die "Verpflichtung" auch für TutorInnen besteht, die das Sem.f.Angl.Am. aus den von ihm verwalteten Studienbeiträgen finanziert. Jedenfalls bereiten wir unsere TutorInnen auf ihre spzifischen Aufgaben bei uns vor. Ich meine aber, dass von den bisherigen TutorInnen, die solche Kurse besucht haben, ein positives Feedback kam und dass m.W. eine Auswahlmöglichkeit nach je besonderer Interessenlage besteht. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
::::Eine kurze Anmerkung zum Tutorenprogramm: Aus eigener Erfahrung kann ich die Teilnahme am Tutorenprogramm empfehlen. Anton hat bereits darauf hingewiesen, dass es ein recht vielfältiges Angebot an Workshops gibt. Für mich waren die Workshops ein guter Einstieg. Sie haben dazu angeregt, das eigene Handeln auf vielfältige Weise zu reflektieren. Zudem boten die Workshops die Möglichkeit, sich mit anderen Tutoren auszutauschen und von deren Erfahrungen zu profitieren. Gruß, [[User:Christina Stindl|Christina Stindl]] 15:37, 6 September 2007 (CEST)

===Verträge 30.9.2007 / 15.10.2007===
*Bis zum 30.9.2007 müssen die Verträge bei [[User:Olaf Simons|Olaf Simons]] vorliegen, der sie unterschrieben an Brigitte Dau zurückleitet. Die Formulare - gibt es im Download:
:*[http://www.uni-oldenburg.de/dezernat1/download/vordrucke/D08_stuhi_antr.pdf Beschäftigung als studentische Hilfskraft - Bewerbung - Neueinstellung - Weiterbeschäftigung]
:* [http://www.uni-oldenburg.de/dezernat2/download/Besoldfrag.pdf Besoldungsfragebogen]
:* [http://www.uni-oldenburg.de/dezernat2/download/Versicherungspfl.pdf Angaben zur Sozialversicherungspflicht]

==Vorbesprechung SS 2008==
Wollte kurz mal nachfragen, wann und wo wir uns treffen? Viele Grüße [[User:Florian Gubisch|Florian Gubisch]] 19:35, 30 March 2008 (CEST)
:Wie wäre es mit einem regulären Termin Montag 16.15 oder Dienstag 16.15? --[[User:Olaf Simons|Olaf Simons]] 15:57, 7 April 2008 (CEST)
::Dienstag 16.15 würde mir sehr gut passen. --[[User:Anna Auguscik|Anna Auguscik]] 16:31, 7 April 2008 (CEST)
::: Ich kann dienstags zweiwöchig um 16:15 Uhr. Ansonsten ab 17:05 Uhr. [[User:Florian Gubisch|Florian Gubisch]]
::::Dienstag 16.15 würde mir auch passen. [[User:Katrin Ischebeck|Katrin Ischebeck]]
:::::Ich habe am Dienstag von 16-18 leider ein Seminar. Montag von 16-18 würde mir hingegen gut passen. Wie sieht es da zeitlich bei Euch aus? --[[User:Christina Stindl|Christina Stindl]] 09:56, 9 April 2008 (CEST)
Und ich habe am Dienstag Sprechstunde und vergaß das. 17.00 Dienstag - wenn ich bis 18.00 rauskomme? Alternative Donnerstag bei beliebiger Zeit.
::::: Dann schlage ich als Alternativtermin einfach noch einmal Donnerstag 10-12 vor. Falls Ihr schon zugegen sein solltet, ginge es bei mir am Donnerstag auch früher (beispielsweise 8:30-10:00) oder später, falls Euch dies nicht zu spät sein sollte (beispielsweise 18:00-19:30). Gruß,--[[User:Christina Stindl|Christina Stindl]] 09:14, 10 April 2008 (CEST)
:geht bei mir alles. 10.-12 ist ok. Dienstag 17-18 hätte vielleicht den Vorteil gehabt, daß wir es bei einer Stunde beließen (Zeit ist für alle knapp.... --[[User:Olaf Simons|Olaf Simons]] 13:26, 10 April 2008 (CEST)
::: Die Terminsuche erscheint sehr schwierig. Hier nochmals Optionen von mir.
Ich kann: Mo, Di und Do 13-14 Uhr. Mo 16-18 Uhr, Di ab 17 Uhr.
Mein Vorschlag wäre Di ab 18 Uhr. Ich hoffe wir finden einen Termn. Bis dann [[User:Florian Gubisch|Florian Gubisch]]

==Termine und Räume für ergänzende Tutorien==

==Test letztes Jahr==
[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/test-bm1-2007.doc test]

Talk:2008 BM1 Tutorials

2008-04-08T07:32:26Z

Florian Gubisch: /* Vorbesprechung SS 2008 */

Talk:2008 BM1 Tutorials

2008-03-30T17:35:33Z

Florian Gubisch: /* Zwischenbesprechung, Do. 24.01.2008 */

Talk:2008 BM1 Tutorials

2008-03-30T17:34:27Z

Florian Gubisch: /* Termine und Räume für ergänzende Tutorien */

2007-08 BM1: Session 12

2008-01-28T11:52:36Z

Florian Gubisch: /* --1. Construct correct bibliographical entries for the following items. */

Back to [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1]]
<hr>

'''The Test'''

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/test-bm1-2008.doc 2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature]

'''Expectations'''

__TOC__

==--1. Construct correct bibliographical entries for the following items.==
*The paperback edition of J. M. Coetzee’s Booker Prize Winning novel Disgrace published in the year 2000 by the New York publisher Vintage. (5)

:*J. M. Coetzee, ''Disgrace'', New York: Vintage, 2000.
:::[points: 1 correct sequence, 1 title in italics, 2,5 (5 x 0,5) complete data, 0,5 plausible punctuation]

*An article entitled Speech-Manuscript-Print, published in the year 1990 by the historian D. F. McKenzie, and to be found on pages 87 to 109 in volume 22 of The Library Chronicle of the University of Texas at Austin. (7)

:*D. F. McKenzie, "Speech-Manuscript-Print", ''The Library Chronicle of the University of Texas at Austin'' 22 (1990): 87–109.
:::[points: 1 correct sequence, 1 article title in inverted commas, 1 Journal in italics, 3 (6 x 0,5) complete data, 1 plausible punctuation]

==--2. Knowledge about established notions on periods. ==
===a) Indicate roughly the dates usually associated with three of the following five periods. (6)===
:*Renaissance: 1350/1500-1640/1650
:*Restoration: 1660-1700/1720
:*Enlightenment: 1660/1680-1790
:*Romantic Age: 1770/1780-1830/1832
:*Victorian Age: 1832/1837-1900/1901

===b) For three periods of your choice, name at least one typical feature conventionally associated with it. (6)===
:*Renaissance: discovery of antiquity and Roman/Greek poetry, rejection of medieval period, discovery of the individual (Renaissance man), humanism, boom in drama (Shakespeare embodies it all), religious conflict: English reformation to Civil War, which establishes a puritan republic (1649-1660).
:*Restoration: under the special protection of the court, libertinistic, witty
:*Enlightenment: rationality, age of reason, sciences, philosophy, civil liberties, religious and political tolerance.
:*Romanticism: reacts to the deficits of enlightenment, radicalises emotions (and expresses them individually), turn to nature, individuality, heroism (outsiderdom), fragment and infinity, escapisms: exotism, medieval / pagan past, initially politically radical, then a conservative turn, -- turn to popular forms, rejection of poetic diction,
:*Victorian Era: period of British imperialism, duplicity of moral standards: an age of strict morals, suppression of sexuality, transgressive literature produced by an avantgarde of authors, aestheticism, strong class division reflected by literature: boom of commercial entertainments esp. melodrama.

===c) For three periods of your choice, name one writer who wrote during this period. (3)===
NOTE: other writers in English may be mentioned. These are the names of those dealt with or mentioned in the course of the lecture:
:*Renaissance: William Shakespeare, Sir Philip Sidney, Edmund Spenser, Christopher Marlowe, Sir Francis Bacon, Lady Mary Wroth, John Donne, George Herbert
:*Restoration: William Wycherley, William Congreve, Aphra Behn, George Etherege, John Dryden
:*Enlightenment: Daniel Defoe, Joseph Addison, Richard Steele, Alexander Pope, Jonathan Swift, Thomas Gray, Eliza Haywood, Samuel Richardson, Henry Fielding
:*Romantic Age: William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, John Keats, P. B. Shelley
:*Victorian Age: Charles Dickens, George Eliot, George Moore, Alfred Tennyson, Robert Browning, Algernon Charles Swinburne, Dante Gabriel Rossetti, Christian Rossetti

:::Es gibt halbe Punkte, wenn Folgefehler gemacht werden z.B.: Victorian age 14th century and Chaucer as poet.

===d) When were these periods 'invented'. Indicate roughly around what time scholars started constructing literary history as a succession of such periods. (3)===
::The present periodisation in histories of literature began in the course of the 19th century. Early indications exist after 1750, so roughly half points for answers which mention that date.

==--3. Some aspects of Salman Rushdie's Satanic Verses can be described as 'postmodern'. Other aspects of the text can be described as 'postcolonial'. Give an example for either a postcolonial or a postmodern feature of the text. (10)==

Reminder:
::Postcolonial key terms:
:::*identity, hybridity
:::*race and cultural difference
:::*hegemony - power
:::*challenging the centre
:::*challenging Western notions of progress vs. tradition

::Postmodern features:
:::*"The Linguistic Turn": our access to the world is never independent of our language; Language games (Ludwig Wittgenstein), Discourses (Michel Foucault)
:::*"The Death of the Author" (Roland Barthes, 1967); de-centered subjects.
:::*deconstruction; challenging notions of unity and consistency
:::*Intertextuality
:::*Breaking down barriers between ontological levels, between reality and fiction (cf. Brian McHale...)

*'''Invitations for Postcolonial Readings of ''Satanic Verses'':'''
:::*multicultural Britain, diaspora identities, racism.
:::*Saladin Chamcha's / Salahuddin Chamchawala's identity quest

*'''Invitations for Postmodernist Readings of ''Satanic Verses'':'''
:::*Closing the gap between the high and the popular – the use of contemporary popular culture (advertising; TV series; British, American and Indian Cinema)
:::*Strong Intertextuality: (numerous references to the European literary tradition: Ovid, Shakespeare [King Lear / Othello], Milton [Paradise Lost], Swift, Blake, Kafka, Joyce)
:::*the violation of ontological levels: Gibreel Farishta as actor and as Archangel Gibreel, his "dreaming" of the even-numbered books (cf. McHale, p. 85: "And what exactly is scandal? Ultimately, its source is ontological: boundaries between worlds have been violated.")
:::*the postmodern play with the (death of the) 'god-like' author

==--4. In the context of Shakespeare studies what is==
===a) a Quarto edition? (5)===
:*An edition of a single play (full points) -- additional information, which can yield some points if the central information is missing: only about half of Shakespeare's plays were published in quarto editions; some quarto editions were published already during Shakespeare's lifetime; Shakespeare editors divide quartos into good, bad and doubtful quartos; general explanation of the quarto format (2 points if something like the following criteria are mentioned: a quarto book results when, in the printing process, four leaves are created from each sheet of paper; the sheet is folded twice, and bound with threads on the longer side; each leaf usually has a printed page on each side, so a quarto signature usually represents eight pages of the book).
===b) the Folio edition? (5)===
:*The edition of Shakespeare's collected plays (full points) -- additional information, which can yield some points if the central information is missing: published in 1623, 7 years after Shakespeares death; general explanation of the folio format (2 points if something like the following criteria are mentioned: a folio book results when, in the printing process, two leaves are created from each sheet of paper; the sheet is folded once, and bound with threads on side where the fold is; each leaf usually has a printed page on each side, so a folio signature usually represents four pages of the book).

==--5. Briefly characterise the status of Shakespeare==
===a) around 1600. (5)===
*Shakespeare was mentioned and celebrated as the author of his plays (cf. title-page)
*But during his lifetime no one was interested in his personality.
*There were no manuscripts preserved.
*There was no contemporary interest in personal records, diaries, letters, etc.
*There were no literary reviews and periodicals, no theatre criticism.
*The interest in Shakespeare's person and the criticism of his work was retrospective.

===b) in the nineteenth century. (5)===
* The greatest English author if not the best author of all times, a genius; an author with insight into man's nature.
* From 1760s: Shakespeare cult, birthplace, Stratford.
* His works the object of popular editions
*"Victorian bardolatry"
*Permanent Shakespeare performances at Stratford.

==--6. The meaning of the term 'poetry' has changed over the past few centuries. Name one contrast between the meaning of 'poetry' around 1700 and around 1900.==
Possible contrasts are:

*1700: Poetry is defined as everything written in verse. - 1900: all beautiful language, the aesthetic production of texts
*1700: The opera and songs are poetic genres - 1900: the opera belongs into the field of music
*1700: The poetic genres can be defined according to Aristotle (including tragedy, comedy, heroic and comic epic, lyric productions), these genres may be higher or lower, greater or smaller, fashionable or unfashionable at any particular time - 1900: The term poetry itself was increasingly reduced in scope (only rarely used for dramatic or narrative texts), limited to a set of smaller poetic forms which had previously not been specifically labeled as a group
*1700 poetry is part of the belles lettres - 1900: poetry is a part of literature (all fictional texts)
*1700: Poetry has a widespread presence, as an almost everyday form of writing. (For funerals, weddings, for the expression of religious sentiments and beliefs. -- Scholars write poems as prefaces to other scholars' works), it is a part of the belles lettres - 1900: Poetry part of the production of literature (presented in histories of literature)
*1700: Poetry arranged with a perspective on the international production, periods: ancient and modern - 1900: poetry presented in national traditions under different (national) periodisations
*1700: Poets have an internal debate over qualities of their work, scholars interfere with a perspective on Aristotle and ancient poems - 1900: Critics are monitoring the progress of the nation’s poets - the poets interact with critics.
*1700: Poets are seen as individuals, with the exceptions of those who win the official "poet laureate" status - 1900: Poets can form groups / schools / movements which (may

::(10) points.

==--7. Formulate at least two different definitions of the term 'literature' and discuss what advantages and disadvantages each definition could have for the practice of literary studies.==

30 points max.

*0-7 points -- one or two definitions which do not gain any plausibility
*7,5-10,5 points -- two definitions, more or less incoherent or illogical consideration of consequences
*11-14,5 points -- two definitions plausibly stated, advantages and disadvantages discussed as a set of personal preferences or in contrast to an unstated and undiscussed yet supposedly true definition
*15-18 points -- two definitions plausibly stated, advantages and disadvantages discussed as "logical" consequences of the definitions
*18,5-21,5 points -- two definitions well stated, advantages and disadvantages discussed with a view to the scholarly debate
*22-30 points -- two definitions well stated, advantages and disadvantages discussed with a view to the scholarly debate and a discussion of more complex implications.

==--Notenskala:==

*73 – 100: 1
*61 – 72: 2
*49 – 60: 3
*37 – 48: 4
*25 – 36: 5
*0 – 24: 6

Talk:2008 BM1 Tutorials

2008-01-17T18:29:22Z

Florian Gubisch: /* Zwischenbesprechung, Do. 25.10.2007 */

Talk:2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1

2007-12-18T11:42:56Z

Florian Gubisch: /* National License */

== Style Sheet==

Wie werden mehrere Autoren eines Werkes aufgelistet?
Der erste Autor Nachname, Vorname, alle weiteren mit Vorname, Nachname - man trennt die Namen mittels Komma.
Vergleicht dazu nochmals das Style Sheet.
[[User:Florian Gubisch|Florian Gubisch]] 12:42, 18 December 2007 (CET)

== National License ==

I have just received my user name and password from Berlin but I am having difficulties accessing the information. When I click on the link for next week's materials and enter my information it says nevertheless that my access is denied due to server problems or my name is invalid. However, when I go to my account from the link www.nationallizenzen.de/einzelnutzer-anmeldung I can access the EBBO/ECCO site. BUT I cannot access the literature that is assigned. I type in the title of the literature but it says that it cannot be found.
I tried using the password and username which were given during the lecture but those are denied as well when I use the direct link on Wiki.
What can I do?
Thanks,

Kelly Jamison

:May be that is because the links I provided do already have the Oldenburg university access details in them - which might not match with your own log-in details. If you get into the EEBO or ECCO user-interface you should be able to find the titles with the regular search options.

:PS. As to accounts within our wiki - do please use real name accounts, i.e. [[User:Kelly Jamison|Kelly Jamison]] rather than [[User:KellyJ83|KellyJ83]] [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Talk:2007-08_BM1_Introduction_to_the_Critical_and_Scholarly_Discussion_of_Literature%2C_Part_1&curid=2047&diff=6903&oldid=6608&rcid=6075]

:best --[[User:Olaf Simons|Olaf Simons]] 15:11, 27 October 2007 (CEST)

==Können wir auch einen bekannten Text exzerpieren, anstatt zwei Bücher zu lesen?==

Ein Buch müsst ihr lesen, eins aus der [[Exzerpt eines primär- und eines Sekundärtexts (unbenotet)|Liste]] (und selbst da erlaubt Anton Kirchhofer Teillektüren). Das andere ist ein kurzer Aufsatz und sollte drin sein.

==Werden in den Tutorien Beispielaufgaben für den "written test" besprochen?==

Wir bereiten euch auf den "written test" vor, die genaue Form steht momentan noch nicht fest. Man kann jedoch den letzten Test einsehen unter: [http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/test-bm1-2007.doc Test]

==Gibt es noch ergänzende Literatur zur Vorlesung?==

Zur Frage Geschichte des Literaturbegriffs gibt es [[http://www.uni-oldenburg.de/anglistik/lit-wiss/simons/marteaus-europa/085-set.html ein Kapitel meiner Diss]], dem ich in VL3 strikt folgte, um die Sache nachvollziehbar zu machen. Die Überschrift müßt ihr nicht weiter bedenken, das Kapitel stand unter einer REihe grundsätzlicher Erwägungen zum Umgang mit vergangenen Konzepten - hier das Link für das [http://www.uni-oldenburg.de/anglistik/lit-wiss/simons/marteaus-europa/bausteine-set.html ganze Kapitel]:

==Können wir die Exzerpte handschriftlich verfassen? und auf Deutsch?==

Die Exzerpte sollen Euch nahelegen, grundsätzlich während des Lesens mitzuprotokollieren, was Ihr da gerade aufnehmt. UNsere eigenen, die wir auf [[Excerpt]] als Muster gaben, sind in ganz unterschiedlichen Formaten verfaßt. Mitunter liest man auf dem Sofa zusammengekauert, da hat man keinen Laptop um dauern notizen zu machen, aber vielleicht ein Klemmbrett, und notiert was passiert - kostet zwa etwas Zeit, die spielt sich aber wieder ein, wenn man zu dem Buch etwas sagen soll und nun Notizen hat.

Macht das also, wie es für Euch praktisch ist. Wir werden Euch Feedback geben, ob wir denken, daß Euch das später noch mal helfen könnte.

==Wo finden wir die Texte der Liste "Literary Criticism"?==

Diese Aufsätze findet ihr in der Bibliothek (--> Tipp: Sucht nach den Hrsg. Felicity Nussbaum bzw. Eric Hobsbawm).--[[User:Christina Stindl|Christina Stindl]] 20:06, 17 November 2007

:Wir werden versuchen an diese Textze zu kommen - die Bücher sind prompt verliehen - unser Fehler, wir werden versuchen, pdfs zu erstellen.

==Different Version of the Rise of the Novel==

“Three different versions of the rise of the novel”

Version 1: The "rise of the novel" has been completed in 1700. This opinion is based on the fact that courtly "romances" were replaced by works of authors like Cervantes and Madame de La Fayette. Whilst "romances" inspired emulation (Nachahmung) of great heroes or laughter about ridiculous heroes (such as Don Quixote) "novels" offer an instructive moral in a surprising point. The topics of novels are mostly intrigues and scandalous personal affairs. Novels (i.e. short stories or what we today call novellas) were a European production. Boccacio wrote the most famous collection in the mid 14th century. Cervantes ''Novelas Exemplares'' (1613) took the next step. They established the term "novela", novel as generic term of the short genre that defeated the heroic romance. Adultery was a fashionable theme, the heroes of novels were mostly upper middle class, lower aristocracy (not Knights and their Princesses).

Version 2: The "first novel" was not the “novella” but ''Robinson Crusoe'' (1719). This statement is based on the findings of Ian Watt, who was able to view ''Robinson Crusoe'' as the first modern novel - the one that lead to titles like ''Middlemarch''. DeFoe's book was - in 1719 - rather a romance, a true history which smelled of fiction than a novel, yet it lead to a reform of novels. Novels became long stories of entirely new adventures. Richardson's ''Pamela'' was a breakthrough with the story of a young servant who had to reform her master, an aristocratic libertine. Richardson's novel influenced other novelists and numerous dramatists. Lessing's Bürgerliches Trauerspiel is the successful attempt to create a dramatic equivalent. The new novel (now a long realistic yet fictional story) and the new drama shaped the new concept of literature created in the second half of the 18th century. Ian Watt recognized Daniel DeFoe as the first one, who introduced the typical (middle class bourgeois) hero. The individual as a member of the nation became a topic.

Version 3: Within the last thirty years, it has been realized that there existed novels before “Robinson Crusoe”. Scholars began to speak of "proto novels". This discovery gained momentum as it led to the discovery of female authors - like Aphra Behn, who wrote "novels" in the 1680s - in the 1970s and 1980s.

The three versions have different advantages:
*Version 1: Served (in the 17th century) as a justification of the European scandalous short story.
*Version 2: Turned “Robinson Crusoe” into the first modern novel (English literature became the leading force in European histories of literature).
*Version 3: Turned female authors into “mothers of the modern novel” - an attack against male research brought forth by scholars like Ian Watt and J. J. Richetti (read his ''Popular Fictions'' 1968...)
It has to be taken into account that:
*these versions did not develop by chance
*all three versions are true (depending on the definitions of the terms)
*different versions pursue different goals
*you (can) define what you consider to be a novel or a romance (you can also critically write about the definitions others gave)
*there is no stability in the field of definitions

----

The text above is my revision of a version I found here before. You can take a look at my changes: [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Talk:2007-08_BM1_Introduction_to_the_Critical_and_Scholarly_Discussion_of_Literature%2C_Part_1&curid=2047&diff=8528&oldid=8527&rcid=7706 compare] --[[User:Olaf Simons|Olaf Simons]] 18:28, 27 November 2007 (CET)

:oh my god.. I am sorry!! Considering to what you corrected, I guess it has not been the best idea to edit the "versions of the rise of the novel". I thought I got what you explained in the lecture but obviously I should look at it again. [[User:Gesa.draeger|Gesa.draeger]] 12:21, 29 November 2007 (CET)

::You should not be sorry at all! How can I see how much you understand of I lecture I give. Once you summarize it I see where I created problems, and then I can solve it. It would be the very best thing to do collectively: produce a common Vorlesungs-Skript, we read and correct it. You learn and we learn where we failed. This exchange is very much appreciated and I think it is useful to all the others. --[[User:Olaf Simons|Olaf Simons]] 15:31, 29 November 2007 (CET)

==Summary of the first Lecture on Periodisation==

With this text I try to summarize the ideas of the first lecture.

At first there were some generally known historical dates and facts presented in the lecture:

The English periods and their ideas (Middle Ages, Renaissance…) and some indications for the history of periodisation, which is mostly created in hindsight. These indications refer to the time before 1500 (a sense of unbroken continuity with Roman empire and society), from 1500 to 1650 (introduction of a three phased model: ancient-medieval-modern), from 1650 to 1750 (battle of the ancients and the moderns: proponents of the "modern age" claim to have gotten further than the ancients ever dremed they could get) and from 1750 to today (the Middle Ages are turned from a period of "gothic" barbarism and rotten monkish knowledge into a past Germany and the northern countreys can be proud of; modernity becomes a phase of intensified period-formation).

Looking for general tendencies in recent periodisations of the Anglo-Saxon canon the following three options can be noted:

* The early modern period is stretched back into the period other nations will note as their respective middle ages in order to include Chaucer, i.e. the period around 1350 as an early European renaissance (Boccacio and Dante become protagonists of the parallel Italian movement),
* to create long periods (like the “Early Modern Period”); and
* to create subdivisions under political headings (e.g. the “Tudors”).

After getting to know these “basics” we are invited to think about the sense and the effects of periodisations.

At first we wonder if structuring the past into periods really creates an accurate picture of the past, because there are some difficulties concerning periodisation.

To begin with there are different histories of literature which offer different periodisations so there is a continuous debate of how to properly understand and define different periods. Secondly a period’s definition predetermines which materials of a period are explored in which way. To make things even more difficult: periods can refer to periods of time and to styles and ideas at the same time. Once we speak of styles and ideas as the true essence of a period we can exclude materials which would fit into the time frame as being not typical of the period (or even as still belonging to the last or as already belonging to the next period). What happens for example to materials produced between 1680-1800 if they do not fit into a history of the enlightenment?

A special problem of any discourse about periods is its potential to provide ad hoc answers: An artifact has certain qualities? They can be immediately explained as qualities of the period. Does a chapter on the Elizabethan Age, however, actually “explain” Shakespeare’s “Hamlet”?

So all in all you can say that periodisation may narrow one’s view; it is possible that really interesting things which are not typical of a period will be forgotten and that you are hindered in exploring a new sense of things because you just search for typical features of the period; and all that although the structuring of the past in periods is not even stable and clear but varies all the time.
The consequence of all this is that you have to look further and that you may not be totally influenced of ideas of periodisation. Instead of this you should develop your own opinion and ideas and even crate your own periods. You should challenge the received notions and always think about what these notions are supposed to reach, why they are created in a certain way - so do not stop thinking about this and do not simply accept the given ideas.

I would be very pleased if my attempt to summarize the text would be commented. :-)

:I read through it and tried to clarify things here and there. All in all your summary proved, however, that you got the main messages. --[[User:Olaf Simons|Olaf Simons]] 17:53, 16 December 2007 (CET)

==Summary of the third lecture: The Rise of Literature, Part I==

'''Look back:'''

*History is no certain place but it is reconstructed
See:
#picture of the nine greatest heroes: Middle ages created the past in their own image
#16th century academic world created a past in which they put people into the newest fashion #19th century then tried to revive the middle ages

Conclusion: Re-invention of History is an arbitrary act, just as the setting of periods. The arbitrariness of periods can be best perceived in our own culture. We have created a debate in which we constantly label ourselves and others as proponents of ongoing, upcoming or past movements and periods. This has begun in the 1750s with the Enlightenment, the age of sensibility and romanticism as labels produced among contemporaries in order to play such roles as mainstream, the avantgarde, the defenders of traditional views etc. under all these ever changing labels.

*The construction and discussion of modern periods began around 1500
*The game of placing oneself or others under the label of a period, generation, or movement did not start until the second half of the 18th century

''Simple notion:'' Time changes, that`s why we speak of periods. The greater the historical distance, the greater is the chance that we arrive at an objective understanding of a period.

''Complex notion:'' The definition of periods is always an arbitrary act. Its purpose is to position others and ourselves in historical developments.''

'''New topic:'''

“What is literature?”

''Simple notion:'' Literature is the body of all written materials; we are naturally most interested in those texts which show a timeless power to fascinate mankind.

Literature is Everything written:
*Problem: we don't deal with everything written (ex. Phone books)

Literature is a smaller field of beautiful fictional texts
*Problem: what is beautiful? There are different views about what is beautiful

Literature is the body of all texts a culture primarily discusses, the body of all controversial texts, especially: of all texts with a deeper meaning (all those texts "which will always fascinate mankind" (and thereby create the "canon")
*Main problem of these definitions of literature: their circularaity: Once you discuss a text (as worthy to be discussed) it is a text discussed and hence literature according to the said definition.

Should not we look for a non-controversial definition?

The Answer ight be "no"
*The non- controversial definition is not of any interest!! It is exactly the controversy that characterizes literature as such.
*Different people with different intentions define literature completely differently: :*19th century Nationalists: most important works a nation honors as its text base :*Formalists: Texts which work on literary patterns :*Marxists: Texts which lead to the rise of the working class :*Proponents of the school of "New Criticism" (1920s): masterpieces of language composition :*Structuralists: the complex work
:*Postculturalists: works which resound in the universe of literary texts

''Complex notion:'' Literature is a body of materials we place into the centre of the literary debate- the discussion of “poetical” and “fictional” materials as “literature” is an invention of the last two centuries!

Literature therefore can only be defined in an evasive way as: *the nature of the literary text that is never fully understood *being too sublime in its beauty to be defined by words and concepts *being too complex in its construction to be easily understood *being to essential in its themes to be reclaimed and exhausted by any interest group

development of Literature as a science that cannot be clearly defined

'''2: Second Thoughts:'''
*we have to take into account that the materials we discuss as literature have not always been discussed as literature and have not always interested mankind!
*central terms:“literature”, “poesy”, Belletristik (german), fiction (English) can`t be used in the same context
:*yet are no synonyms / how do this different words of “literature” relate to each other? *materials we call literature could not be called literature before the 1750s *sciences were “literature”
*“poesy” comprised a number of now “literary” genres – novel was not among them and opera and ballet were ascribed to the “poetical” genres
*“belles letters” comprised a huge field of fashionable books ( Belletristik)

'''2.2: The production of the poetical genres:''' Aristotle’s ''Art of poetry''
*Aristotle was the first one who wrote about what we today conceive as "literary" genres. He himself spoke of poetical genres and did not include prose fiction (the novel) in his spectrum. The situation got more complex with the modern period. The opera became the most important poetical genre in the 17th century. Our presnt notion of "literary genres" is to a good extend based on an 18th century attempt to return to the Aristotlian pattern (and to exclude the opera). Unlike Aristotle the novel got, however, accepted as the modern epic. The whole concept of art Aristotle produced got lost. Fictionality became a far more important criterion of the poetical, now "literary" genres.

'''2.3: Fiction: Works with a deeper meaning:'''
*interpretations of literature began during the history of Romances (Pierre Daniel Huet)

'''2.4: Belles Lettres: the elegant market
*around 1760 there emerged a clash between the terms literature and belles letters *belles letters was seen as the elegant field of literature and dealing with the French market

'''2.5: Literature was the field of the sciences right into the 19th century:'''

The meaning of the terms “literature” and “art” changed tremendously over the past 300 years
*"literature" used to be the word for "learning", the sciences, scientific publications, "art" the word for human inventions and practical knowledge, man-made instruments

How can this change be explained?

Those who published literary journals and histories of literature found a wider audience for their works once they shifted the focus from the sciences and latest technical to works we today perceive as works of art and literature

The debate of Literature (initially the debate of the sciences) adopted ongoing debates of texts, their beauty, they controversial aspects, their deeper meaning and thus created a field of materials we today recognise as "literature" in the proper sense of the word. The new field needed a history the 19th century had to produce: it came to be produced as a variety of national histories serving the national school systems and the national audiences with a subject matter of intense debate

Consequences: When coming across materials published before the 1750s you have to be aware that *other discussions such as discussions abou religion were of far greater importance *“literature” as what we picture it today wasn`t the same before 1750 *materials published before 1750 might have had a far more controversial status

:again, I tried to clarify things here and there. Read the articles
:*http://de.wikipedia.org/wiki/Literatur
:*http://de.wikipedia.org/wiki/Literaturgeschichte

for more detailed information --[[User:Olaf Simons|Olaf Simons]] 17:53, 16 December 2007 (CET)

IT support

2007-12-12T07:23:54Z

Florian Gubisch: /* Need */

==Computer, Drucker, Video Projector + Laptop etc. des Seminars==

*Betreuer am Seminar: [[User:John Alistair Kühne|John Alistair Kühne]]

===Ausleihe Geräte===

In der folgenden Tabelle bitte Bedarf anmelden (mit drei Tilden <nowiki>~~~</nowiki> unterzeichnen)

<center>
{| cellpadding=5 width=85%|
!bgcolor="#7DFFFF" valign="top" align="left"|Media/Whose?
!bgcolor="#c6ffff" valign="top" align="left"|Literature
!bgcolor="#c6ffff" valign="top" align="left"|Linguistics
!bgcolor="#c6ffff" valign="top" align="left"|Didactics
!bgcolor="#c6ffff" valign="top" align="left"|Cultural Studies
|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector + Laptop
(one set each group)
|bgcolor="#efefef" valign="top" align="left"|
====Need====
*Mo 14-16: 26.Nov.; 3.Dec; 10. Dec.; 17. Dec.; 4. Febr. 2008 --[[User:Christina Meyer|Christina Meyer]]
*Mo 18-19:30: 19.Nov.; NEW: 26.Nov.; 7. Jan. 2008; 28. Jan. 2008. --[[User:Christina Meyer|Christina Meyer]]
*Tu 12-14: 20.Nov.; 27.Nov.; 8.Jan. 2008 --[[User:Christina Meyer|Christina Meyer]]
*Tu 18-19:30: 20. Nov.; 27.Nov.; NEW: 4.Dec.!! 15.Jan. 2008; 29.Jan. 2008 --[[User:Christina Meyer|Christina Meyer]]
*We 16-18 every week. --[[User:Olaf Simons|Olaf Simons]]
*Fr 12-14 every week --[[User:Anna Auguscik|Anna Auguscik]]
*Fr 20-22 every week --[[User:Olaf Simons|Olaf Simons]]
*Do 13.Dezember 14-16 just once - thank you [[User:Florian Gubisch|Florian Gubisch]] 08:23, 12 December 2007 (CET)
----
* '''Located:''' A6 2-211
|bgcolor="#efefef" valign="top" align="left"|

====Need====

----
* '''Located:''' [[User:Ronald Geluykens|Ronald Geluykens]]
|bgcolor="#efefef" valign="top" align="left"|
====Need====

----
* '''Located:''' [[User:Wolfgang Gehring|Wolfgang Gehring]]
|bgcolor="#efefef" valign="top" align="left"|

====Need====

----
* '''Located:''' [[User:Richard Stinshoff|Richard Stinshoff]]
|-
!bgcolor="#c6ffff" valign="top" align="left"|Video Projector 2
(one projector for all groups located at A-2-211)
|bgcolor="#efefef" valign="top" align="left" colspan="4"|
====Need====
*Tu 18-20 --[[User:Katrin Ischebeck|Katrin Ischebeck]]
*Fr 14-16 - Eva Ogiermann

|}
</center>

== Inks and Toner in stock (last update: 05 December 2007) ==
You will find the mentioned cartridges in my office A6 2-211 - the key is in the top safe. Please let me know if you should need any assistance! Best wishes, John Alistair Kühne
==== '''HP inks (quantity)''' ====
'''Duncan''' 
88 black (1)

88 cyan (1)

88 magenta (1)

88 yellow (1)

'''Schwarzkopf and Meyer''' 
20 black (1)

49 tricolor (0)

'''Zagratzki''' 
26 black (1)

'''old stock''' 
29 black (1)

15 black (1)

78 tri-colour (1)

==== '''Canon inks (quantity)''' ====
'''Mclaughlin''' 
3e black (2)

6 black (1)

6 magenta (1)

6 yellow (1)

6 cyan (1)

'''Graydon''' 
40 black (2)

41 colour (1)

==== '''Toner HP and Kyocera (quantity)''' ====
'''Graydon, Köhring and Simons''' 
Kyocera TK-17 (2)

'''Geluykens, Ogiermann, Carpenter, Stinshoff, Engelhardt and Schönenberger''' 
Kyocera TK-18 (5)

'''Limberg''' 
HP 10A (0)

'''Gehring and Kirchhofer''' 
HP 12A (1)

'''Hamann''' 
HP 13X (1)

'''Leinweber''' 
HP 15A (0)

==This Wiki==

*[[Angl-Am:About|Verantwortliche]]
*[[Help talk:Contents|Hilfe durch die betreuenden Administratoren]]

__NOTOC__

Talk:2008 BM1 Tutorials

2007-12-12T07:20:52Z

Florian Gubisch: /* Vorbesprechung 11.10.2007 */

Talk:2008 BM1 Tutorials

2007-12-12T07:20:27Z

Florian Gubisch: /* Zwischenbesprechung, Do. 18.10.2007 */

(Beim Unterschreiben vier Tilden <nowiki>~~~~</nowiki> setzen, das System macht daraus Eure Unterschrift.)

==Termine für die Tutoren==
*Accounts anlegen (bitte mit Klarnamen), und Beiträge in Binnenkommunikation mit vier Tilden <nowiki>~~~~</nowiki> unterzeichnen.
===Tutorenqualifizierungsprogramm 8-12.10.2007===
*Frau Margit Ladenthin informierte über ein Tutorenqualifizierungsprogramm. Nähere Einzelheiten zu den Kursen finden sich unter [http://www.uni-oldenburg.de/studium/19028.html http://www.uni-oldenburg.de/studium/19028.html]. Sie ließ im selben Schreiben "im Auftrag der Vizepräsidentin Frau Doering" auf die "Verbindlichkeit zur Teilnahme an diesem Programm hinweisen". Was "natürlich nur für diejenigen TutorInnen [gelte], die bisher an keiner Qualifizierungsmaßnahme teilgenommen" hätten. Frau Ladenthin meinte, daß Teilnehmer ab zwei besuchten Kursen ein Zertifikat erhieltet, das sie bei Bewerbungen vorzeigen könnten.
:*Die Anmeldung für die Kurse hat zwischen dem 10. und dem 28.9. zu erfolgen
:*Die Kurse finden vom 8. bis 12. Oktober statt.
:::Mir ist selbst nicht klar, ob die "Verpflichtung" auch für TutorInnen besteht, die das Sem.f.Angl.Am. aus den von ihm verwalteten Studienbeiträgen finanziert. Jedenfalls bereiten wir unsere TutorInnen auf ihre spzifischen Aufgaben bei uns vor. Ich meine aber, dass von den bisherigen TutorInnen, die solche Kurse besucht haben, ein positives Feedback kam und dass m.W. eine Auswahlmöglichkeit nach je besonderer Interessenlage besteht. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
::::Eine kurze Anmerkung zum Tutorenprogramm: Aus eigener Erfahrung kann ich die Teilnahme am Tutorenprogramm empfehlen. Anton hat bereits darauf hingewiesen, dass es ein recht vielfältiges Angebot an Workshops gibt. Für mich waren die Workshops ein guter Einstieg. Sie haben dazu angeregt, das eigene Handeln auf vielfältige Weise zu reflektieren. Zudem boten die Workshops die Möglichkeit, sich mit anderen Tutoren auszutauschen und von deren Erfahrungen zu profitieren. Gruß, [[User:Christina Stindl|Christina Stindl]] 15:37, 6 September 2007 (CEST)

===Verträge 30.9.2007 / 15.10.2007===
*Bis zum 30.9.2007 müssen die Verträge bei [[User:Olaf Simons|Olaf Simons]] vorliegen, der sie unterschrieben an Brigitte Dau zurückleitet. Die Formulare - gibt es im Download:
:*[http://www.uni-oldenburg.de/dezernat1/download/vordrucke/D08_stuhi_antr.pdf Beschäftigung als studentische Hilfskraft - Bewerbung - Neueinstellung - Weiterbeschäftigung]
:* [http://www.uni-oldenburg.de/dezernat2/download/Besoldfrag.pdf Besoldungsfragebogen]
:* [http://www.uni-oldenburg.de/dezernat2/download/Versicherungspfl.pdf Angaben zur Sozialversicherungspflicht]

===Vorbesprechung 11.10.2007===
*Am 11.10.2007, 10:30 treffen wir uns zu einer Vorbesprechung. Da Antons Raumnummer noch nicht feststeht, ist der Ort im Moment mein Büro - Ab Mitte September A6 2-209. Rückmeldung dazu:
:::#[[User:Katrin Ischebeck|Katrin Ischebeck]] bat per e-mail um den 11.10 (im Vorgespräch war auch der 9.10. bereits)
:::#11.10. geht für mich --[[User:Olaf Simons|Olaf Simons]] 11:25, 6 September 2007 (CEST)
:::#11.10. ist für mich genausogut. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
:::#Der Termin am 11.10. passt mir auch gut.[[User:Christina Stindl|Christina Stindl]] 15:34, 6 September 2007 (CEST)
:::#Beide Termine sind bei mir möglich. Bitte aber um frühzeitige Festlegung. [[User:Katharina Schneider|Katharina Schneider]]
:::#Von [[User:Florian Gubisch|Florian Gubisch]] erhielt ich positive Rückmeldung für den 11.10. per e-mail, der Termin steht damit. --[[User:Olaf Simons|Olaf Simons]] 13:35, 11 September 2007 (CEST)
Für mich passt dies ebenso (Florian Gubisch) till then farewell

==Zwischenbesprechung, Do. 25.10.2007==
Ich gehe jetzt einfach mal davon aus, dass wir uns um 16:45 Uhr treffen.
Bis morgen
[[User:Florian Gubisch|Florian Gubisch]] 20:34, 24 October 2007 (CEST)
:Ist auch von mir so notiert. --[[User:Olaf Simons|Olaf Simons]] 08:34, 25 October 2007 (CEST)

==Termine und Räume für ergänzende Tutorien==

Frau Taute bietet folgende Räume und Zeiten an. Bitte greift Euch einen in dem Ihr euren Namen daneben schreibt.

Mo 08-10 (vom 12.11. - 17.12.07) Raum A4 4-411 Florian Gubisch 
Do 08-10 (vom 15.11. - 20.12.07) Raum A4 4-414 Christina Stindl 
Fr 08-10 (vom 16.11. - 21.12.07) Raum A4 4-414 Christina Stindl evtl. für Part II 

Dazu steht, wie gesagt, noch Di 18-20, Aquarium zur Verfügung (für Christina gebucht?) [[User:Anton Kirchhofer|Anton Kirchhofer]] 13:33, 11 October 2007 (CEST)
Katrin würde ihr Tutorium gern am Di 18-20 anbieten --[[User:Christina Stindl|Christina Stindl]] 22:30, 14 October 2007 (CEST)

==Test letztes Jahr==
[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/test-bm1-2007.doc test]

2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries

2007-12-08T08:20:17Z

Florian Gubisch: /* 13.12.2007 */

* '''Time:''' Thursdays 2-4 pm

==25.10.2007==
Introduction. Technicalities.

==01.11.2007==
[meeting postponed, Akkreditierung]

==08.11.2007==
Nineteenth-Century Concepts of Criticism: Oscar Wilde, “The Critic as Artist” (1889)

'''Questions for next week's discussion (15.11.07):'''

Wilde: ''The Critic as Artist''

How does Wilde arrive at the position in the final paragraph?

What are the implications of this essay for public society? (For example, do they participate or not?)

Arnold: ''The Function of Criticism at the Present Time''

What is Arnold's definition of literature in this essay?

What is his definition of criticism?

What other definitions of criticism are there? What is he against?

What does Arnold say about the relation of criticism to the public, politics, practice, and creativity?

What differences are there between England and the continent?

p.s.. My comments for each session can be found on stud-ip under "discussion".--[[User:Lindsay|Lindsay]] 21:58, 12 November 2007 (CET)

==15.11.2007==
Nineteenth-Century Concepts of Criticism: Matthew Arnold,
“The Function of Criticism at the Present Time” (1864)

'''Genreral questions for session on 29.11.07:'''

How does this poem try to address a public event and discussion? What kind of effect does it hope to create? Is it successful? If so, how is this effect achieved?

==22.11.2007==
[meeting postponed, Conference]
==29.11.2007==
Public Poetry:
Alfred Tennyson, “The Charge of the Light Brigade.” (1854)
(presented by Andreas Sprenkel & Gordon Barnard)

Secondary Reading:
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_13_Times_p6-10.pdf ''The Times'', November 13, 1854. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_15_Times_p6-8.pdf ''The Times'', November 15, 1854. ]

The handout can be downloaded following this link:

[https://elearning.uni-oldenburg.de/sendfile.php?force_download=1&type=0&file_id=c41f107deda7224ca387460c03bc7e7b&file_name=Handout_-_The_Charge_Of_The_Light_Brigade.pdf Handout to the presentation "The Charge of the Light Brigade"]

==06.12.2007==
Public Poetry: W. B. Yeats, "Easter 1916." (1919)

Questions for our discussion (Dec.06.2007)

1. What impression do the rhyme and the metre create?

2. What is the main theme of the poem? Can you explain how it develops?

3. Can you describe the speaker's position on the event "The Easter Rising"?

IJ

==13.12.2007==

Public Poetry: W. H. Auden, [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1937_auden_spain_1937.pdf "Spain 1937". ] / [http://www.poets.org/viewmedia.php/prmMID/15545 "September 1, 1939". ]

[[Etexts and Other Links on Auden]]

'''Questions: Spain - Spain 1937'''

1) "Yesterday, Today, Tomorrow" do structure the poem. What perception of time does Auden have? Does it differ from mankind`s perception?

2) The poem can also be read as a call to action. What`s your opinion?

3) How does the poem discuss the ethics of killing?

Secondary Reading:

[http://www.blackwell-synergy.com/doi/pdf/10.1111/j.1467-6478.2004.00279.x?cookieSet=1 Melanie Williams, 2004]

---- the following item needs to be re-scheduled.

Poets as Critics: Political Journalism by T.S.Eliot and Ezra Pound;
[alternatively/ additionally]: Eliot and the Poetics of Modernism: T. S. Eliot, “Tradition and the Individual Talent” vs. Wordsworth, “Preface to the Lyrical Ballads”

==20.12.2007==
Writers as Critics:

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. ''Mr. Bennett and Mrs. Brown'' (1924) ]

Presentation by Julia Jung, Ann-Katrin Ahlers

Virginia Woolf, ''The Common Reader'' (1925)

Virginia Woolf’s contributions to the Times Literary Supplement

==10.01.2008==
Exclusionist Writing? V. Woolf. Selected Texts from Monday and Tuesday (1921) <http://ebooks.adelaide.edu.au/w/woolf/virginia/w91m/>
==17.01.2008==
Implicit and Explicit Politics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==24.01.2008==
Implicit and Explicit Poetics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==31.01.2008==
Course Evaluation. – Final Discussion.
==07.02.2008==
Feedback on Course Evaluation. – Discussion of Term Paper Projects.

==Texts==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. ''The Critic as Artist''. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. "The Function of Criticism at the Present Time". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_tennyson_the_charge_of_the_light_brigade.pdf Tennyson, Alfred. "The Charge of the Light Brigade". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1916_yeats_easter_1916.pdf Yeats, W.B. "Easter 1916". ]

[[Category:Winter 2007-2008]]
[[Category:Aufbaumodul]]

2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries

2007-12-08T08:18:14Z

Florian Gubisch: /* 13.12.2007 */

* '''Time:''' Thursdays 2-4 pm

==25.10.2007==
Introduction. Technicalities.

==01.11.2007==
[meeting postponed, Akkreditierung]

==08.11.2007==
Nineteenth-Century Concepts of Criticism: Oscar Wilde, “The Critic as Artist” (1889)

'''Questions for next week's discussion (15.11.07):'''

Wilde: ''The Critic as Artist''

How does Wilde arrive at the position in the final paragraph?

What are the implications of this essay for public society? (For example, do they participate or not?)

Arnold: ''The Function of Criticism at the Present Time''

What is Arnold's definition of literature in this essay?

What is his definition of criticism?

What other definitions of criticism are there? What is he against?

What does Arnold say about the relation of criticism to the public, politics, practice, and creativity?

What differences are there between England and the continent?

p.s.. My comments for each session can be found on stud-ip under "discussion".--[[User:Lindsay|Lindsay]] 21:58, 12 November 2007 (CET)

==15.11.2007==
Nineteenth-Century Concepts of Criticism: Matthew Arnold,
“The Function of Criticism at the Present Time” (1864)

'''Genreral questions for session on 29.11.07:'''

How does this poem try to address a public event and discussion? What kind of effect does it hope to create? Is it successful? If so, how is this effect achieved?

==22.11.2007==
[meeting postponed, Conference]
==29.11.2007==
Public Poetry:
Alfred Tennyson, “The Charge of the Light Brigade.” (1854)
(presented by Andreas Sprenkel & Gordon Barnard)

Secondary Reading:
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_13_Times_p6-10.pdf ''The Times'', November 13, 1854. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_15_Times_p6-8.pdf ''The Times'', November 15, 1854. ]

The handout can be downloaded following this link:

[https://elearning.uni-oldenburg.de/sendfile.php?force_download=1&type=0&file_id=c41f107deda7224ca387460c03bc7e7b&file_name=Handout_-_The_Charge_Of_The_Light_Brigade.pdf Handout to the presentation "The Charge of the Light Brigade"]

==06.12.2007==
Public Poetry: W. B. Yeats, "Easter 1916." (1919)

Questions for our discussion (Dec.06.2007)

1. What impression do the rhyme and the metre create?

2. What is the main theme of the poem? Can you explain how it develops?

3. Can you describe the speaker's position on the event "The Easter Rising"?

IJ

==13.12.2007==

Public Poetry: W. H. Auden, [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1937_auden_spain_1937.pdf "Spain 1937". ] / [http://www.poets.org/viewmedia.php/prmMID/15545 "September 1, 1939". ]

[[Etexts and Other Links on Auden]]

'''Questions: Spain - Spain 1937'''

1) "Yesterday, Today, Tomorrow" structure the poem. What perception of time does Auden have?

2) The poem can also be read as a call to action. What`s your opinion?

3) How does the poem discuss the ethics of killing?

Secondary Reading:

[http://www.blackwell-synergy.com/doi/pdf/10.1111/j.1467-6478.2004.00279.x?cookieSet=1 Melanie Williams, 2004]

---- the following item needs to be re-scheduled.

Poets as Critics: Political Journalism by T.S.Eliot and Ezra Pound;
[alternatively/ additionally]: Eliot and the Poetics of Modernism: T. S. Eliot, “Tradition and the Individual Talent” vs. Wordsworth, “Preface to the Lyrical Ballads”

==20.12.2007==
Writers as Critics:

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. ''Mr. Bennett and Mrs. Brown'' (1924) ]

Presentation by Julia Jung, Ann-Katrin Ahlers

Virginia Woolf, ''The Common Reader'' (1925)

Virginia Woolf’s contributions to the Times Literary Supplement

==10.01.2008==
Exclusionist Writing? V. Woolf. Selected Texts from Monday and Tuesday (1921) <http://ebooks.adelaide.edu.au/w/woolf/virginia/w91m/>
==17.01.2008==
Implicit and Explicit Politics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==24.01.2008==
Implicit and Explicit Poetics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==31.01.2008==
Course Evaluation. – Final Discussion.
==07.02.2008==
Feedback on Course Evaluation. – Discussion of Term Paper Projects.

==Texts==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. ''The Critic as Artist''. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. "The Function of Criticism at the Present Time". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_tennyson_the_charge_of_the_light_brigade.pdf Tennyson, Alfred. "The Charge of the Light Brigade". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1916_yeats_easter_1916.pdf Yeats, W.B. "Easter 1916". ]

[[Category:Winter 2007-2008]]
[[Category:Aufbaumodul]]

2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries

2007-12-08T08:17:44Z

Florian Gubisch: /* Questions: Spain - Spain 1937 */

* '''Time:''' Thursdays 2-4 pm

==25.10.2007==
Introduction. Technicalities.

==01.11.2007==
[meeting postponed, Akkreditierung]

==08.11.2007==
Nineteenth-Century Concepts of Criticism: Oscar Wilde, “The Critic as Artist” (1889)

'''Questions for next week's discussion (15.11.07):'''

Wilde: ''The Critic as Artist''

How does Wilde arrive at the position in the final paragraph?

What are the implications of this essay for public society? (For example, do they participate or not?)

Arnold: ''The Function of Criticism at the Present Time''

What is Arnold's definition of literature in this essay?

What is his definition of criticism?

What other definitions of criticism are there? What is he against?

What does Arnold say about the relation of criticism to the public, politics, practice, and creativity?

What differences are there between England and the continent?

p.s.. My comments for each session can be found on stud-ip under "discussion".--[[User:Lindsay|Lindsay]] 21:58, 12 November 2007 (CET)

==15.11.2007==
Nineteenth-Century Concepts of Criticism: Matthew Arnold,
“The Function of Criticism at the Present Time” (1864)

'''Genreral questions for session on 29.11.07:'''

How does this poem try to address a public event and discussion? What kind of effect does it hope to create? Is it successful? If so, how is this effect achieved?

==22.11.2007==
[meeting postponed, Conference]
==29.11.2007==
Public Poetry:
Alfred Tennyson, “The Charge of the Light Brigade.” (1854)
(presented by Andreas Sprenkel & Gordon Barnard)

Secondary Reading:
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_13_Times_p6-10.pdf ''The Times'', November 13, 1854. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_15_Times_p6-8.pdf ''The Times'', November 15, 1854. ]

The handout can be downloaded following this link:

[https://elearning.uni-oldenburg.de/sendfile.php?force_download=1&type=0&file_id=c41f107deda7224ca387460c03bc7e7b&file_name=Handout_-_The_Charge_Of_The_Light_Brigade.pdf Handout to the presentation "The Charge of the Light Brigade"]

==06.12.2007==
Public Poetry: W. B. Yeats, "Easter 1916." (1919)

Questions for our discussion (Dec.06.2007)

1. What impression do the rhyme and the metre create?

2. What is the main theme of the poem? Can you explain how it develops?

3. Can you describe the speaker's position on the event "The Easter Rising"?

IJ

==13.12.2007==

Public Poetry: W. H. Auden, [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1937_auden_spain_1937.pdf "Spain 1937". ] / [http://www.poets.org/viewmedia.php/prmMID/15545 "September 1, 1939". ]

[[Etexts and Other Links on Auden]]

'''Questions: Spain - Spain 1937'''Bold''' text'''

1) "Yesterday, Today, Tomorrow" structure the poem. What perception of time does Auden have?

2) The poem can also be read as a call to action. What`s your opinion?

3) How does the poem discuss the ethics of killing?

Secondary Reading:

[http://www.blackwell-synergy.com/doi/pdf/10.1111/j.1467-6478.2004.00279.x?cookieSet=1 Melanie Williams, 2004]

---- the following item needs to be re-scheduled.

Poets as Critics: Political Journalism by T.S.Eliot and Ezra Pound;
[alternatively/ additionally]: Eliot and the Poetics of Modernism: T. S. Eliot, “Tradition and the Individual Talent” vs. Wordsworth, “Preface to the Lyrical Ballads”

==20.12.2007==
Writers as Critics:

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. ''Mr. Bennett and Mrs. Brown'' (1924) ]

Presentation by Julia Jung, Ann-Katrin Ahlers

Virginia Woolf, ''The Common Reader'' (1925)

Virginia Woolf’s contributions to the Times Literary Supplement

==10.01.2008==
Exclusionist Writing? V. Woolf. Selected Texts from Monday and Tuesday (1921) <http://ebooks.adelaide.edu.au/w/woolf/virginia/w91m/>
==17.01.2008==
Implicit and Explicit Politics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==24.01.2008==
Implicit and Explicit Poetics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==31.01.2008==
Course Evaluation. – Final Discussion.
==07.02.2008==
Feedback on Course Evaluation. – Discussion of Term Paper Projects.

==Texts==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. ''The Critic as Artist''. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. "The Function of Criticism at the Present Time". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_tennyson_the_charge_of_the_light_brigade.pdf Tennyson, Alfred. "The Charge of the Light Brigade". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1916_yeats_easter_1916.pdf Yeats, W.B. "Easter 1916". ]

[[Category:Winter 2007-2008]]
[[Category:Aufbaumodul]]

2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries

2007-12-08T08:12:56Z

Florian Gubisch: /* 13.12.2007 */

* '''Time:''' Thursdays 2-4 pm

==25.10.2007==
Introduction. Technicalities.

==01.11.2007==
[meeting postponed, Akkreditierung]

==08.11.2007==
Nineteenth-Century Concepts of Criticism: Oscar Wilde, “The Critic as Artist” (1889)

'''Questions for next week's discussion (15.11.07):'''

Wilde: ''The Critic as Artist''

How does Wilde arrive at the position in the final paragraph?

What are the implications of this essay for public society? (For example, do they participate or not?)

Arnold: ''The Function of Criticism at the Present Time''

What is Arnold's definition of literature in this essay?

What is his definition of criticism?

What other definitions of criticism are there? What is he against?

What does Arnold say about the relation of criticism to the public, politics, practice, and creativity?

What differences are there between England and the continent?

p.s.. My comments for each session can be found on stud-ip under "discussion".--[[User:Lindsay|Lindsay]] 21:58, 12 November 2007 (CET)

==15.11.2007==
Nineteenth-Century Concepts of Criticism: Matthew Arnold,
“The Function of Criticism at the Present Time” (1864)

'''Genreral questions for session on 29.11.07:'''

How does this poem try to address a public event and discussion? What kind of effect does it hope to create? Is it successful? If so, how is this effect achieved?

==22.11.2007==
[meeting postponed, Conference]
==29.11.2007==
Public Poetry:
Alfred Tennyson, “The Charge of the Light Brigade.” (1854)
(presented by Andreas Sprenkel & Gordon Barnard)

Secondary Reading:
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_13_Times_p6-10.pdf ''The Times'', November 13, 1854. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_11_15_Times_p6-8.pdf ''The Times'', November 15, 1854. ]

The handout can be downloaded following this link:

[https://elearning.uni-oldenburg.de/sendfile.php?force_download=1&type=0&file_id=c41f107deda7224ca387460c03bc7e7b&file_name=Handout_-_The_Charge_Of_The_Light_Brigade.pdf Handout to the presentation "The Charge of the Light Brigade"]

==06.12.2007==
Public Poetry: W. B. Yeats, "Easter 1916." (1919)

Questions for our discussion (Dec.06.2007)

1. What impression do the rhyme and the metre create?

2. What is the main theme of the poem? Can you explain how it develops?

3. Can you describe the speaker's position on the event "The Easter Rising"?

IJ

==13.12.2007==

Public Poetry: W. H. Auden, [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1937_auden_spain_1937.pdf "Spain 1937". ] / [http://www.poets.org/viewmedia.php/prmMID/15545 "September 1, 1939". ]

[[Etexts and Other Links on Auden]]

== Questions: Spain - Spain 1937==

1) "Yesterday, Today, Tomorrow" structure the poem. What perception of time does Auden have?

2) The poem can also be read as a call to action. What`s your opinion?

3) How does the poem discuss the ethics of killing?

Secondary Reading:

[http://www.blackwell-synergy.com/doi/pdf/10.1111/j.1467-6478.2004.00279.x?cookieSet=1 Melanie Williams, 2004]

---- the following item needs to be re-scheduled.

Poets as Critics: Political Journalism by T.S.Eliot and Ezra Pound;
[alternatively/ additionally]: Eliot and the Poetics of Modernism: T. S. Eliot, “Tradition and the Individual Talent” vs. Wordsworth, “Preface to the Lyrical Ballads”

==20.12.2007==
Writers as Critics:

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1924_woolf_mr_bennett_and_mrs_brown.pdf Woolf, Virginia. ''Mr. Bennett and Mrs. Brown'' (1924) ]

Presentation by Julia Jung, Ann-Katrin Ahlers

Virginia Woolf, ''The Common Reader'' (1925)

Virginia Woolf’s contributions to the Times Literary Supplement

==10.01.2008==
Exclusionist Writing? V. Woolf. Selected Texts from Monday and Tuesday (1921) <http://ebooks.adelaide.edu.au/w/woolf/virginia/w91m/>
==17.01.2008==
Implicit and Explicit Politics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==24.01.2008==
Implicit and Explicit Poetics in James Joyce, A Portrait of the Artist as a Young Man (1916)
==31.01.2008==
Course Evaluation. – Final Discussion.
==07.02.2008==
Feedback on Course Evaluation. – Discussion of Term Paper Projects.

==Texts==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1856_wilde_the_critic_as_artist.pdf Wilde, Oscar. ''The Critic as Artist''. ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_arnold_the-function_of_criticism.pdf Arnold, Matthew. "The Function of Criticism at the Present Time". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_tennyson_the_charge_of_the_light_brigade.pdf Tennyson, Alfred. "The Charge of the Light Brigade". ]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1916_yeats_easter_1916.pdf Yeats, W.B. "Easter 1916". ]

[[Category:Winter 2007-2008]]
[[Category:Aufbaumodul]]

2007-08 BM1 Tutorials

2007-11-19T12:55:34Z

Florian Gubisch:

Ergänzende Tutorien für das [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|BM1, Introduction to the Critical and Scholarly Discussion of Literature, Teil 1]]:

*Mo 08-10 (vom 12.11. - 17.12.07) Raum A4 4-411 [[User:Florian Gubisch|Florian Gubisch]] New room right next door.
*Di 18-20 (vom 13.11. - 16.12.07) Raum A10 1-121a [[User:Katrin Ischebeck|Katrin Ischebeck]]
*Do 08-10 (vom 15.11. - 20.12.07) Raum A4 4-414 [[User:Christina Stindl|Christina Stindl]]

User:Florian Gubisch

2007-11-19T12:54:43Z

Florian Gubisch:

Tutor im [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|BM 1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1]]

Hello,

important notice. We changed the room. We meet in A4-4-411 (tight next door)

Tutorial: Mon 8:00-10:00 in A4-4-411 starting on November 12th.
Hope to see you there. Bring a cup of tea and we shall have a jolly good time.

My favourite quote:

"Life is neither black nor white.
It`s just grey.
Our task is to find out what sort of grey."

Enjoy.

In case you want to know more.

You can find me on studivz or mail me at
florian.gubisch@uni-oldenburg.de

[[User:Florian Gubisch|Florian Gubisch]] 20:21, 23 October 2007 (CEST)

2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1

2007-11-13T20:31:37Z

Florian Gubisch: /* Fragen und Antworten aus dem Tutorium */

* '''Time:''' Di 14-16
* '''Place:''' A14 1-102 (Hörsaal 2)
* '''Lecturers:''' [[User:Anton Kirchhofer|Anton Kirchhofer]], [[User:Olaf Simons|Olaf Simons]]
:*'''Tutors:''' [[User:Florian Gubisch|Florian Gubisch]], [[User:Katrin Ischebeck|Katrin Ischebeck]], [[User:Christina Stindl|Christina Stindl]]

==Schedule==
*To get through to the EEBO and ECCO-links on this page you have to either use a campus login or your ''national license'' - if you have not got one you can get your registration at the Göttingen SUB. Click [http://www.sub.uni-goettingen.de/ssg-nl-reg/ here] to register.

 
<center>
{| cellpadding=5 width=85%|
!bgcolor="#C6FFFF" valign="top" align="right"|Session
!bgcolor="#C6FFFF" valign="top" align="left" nowrap|Date
!bgcolor="#C6FFFF" valign="top" align="left"|Topic
!bgcolor="#C6FFFF" valign="top" align="left"|Reading
!bgcolor="#C6FFFF" valign="top" align="left" nowrap|Presentation
|-
|bgcolor="#efefef" valign="top" align="center"|1
|bgcolor="#efefef" valign="top" align="left" nowrap|Oct. 23, 2007
|bgcolor="#efefef" valign="top" align="left"|Course Outline.
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 1|Session 1]]
|-
|bgcolor="#efefef" valign="top" align="center"|2
|bgcolor="#efefef" valign="top" align="left" nowrap|Oct. 30, 2007
|bgcolor="#efefef" valign="top" align="left"|The Invention of History 
— Different views on the periodization of literature.
|bgcolor="#efefef" valign="top" align="left"|
[[Pat Rogers (ed.), The Oxford Illustrated History of English Literature (1987)|Pat Rogers (ed.), ''The Oxford Illustrated History of English Literature'' (1987)]]<hr>
[[William Salmon, The London almanack for the year of our Lord 1694 (1694)|William Salmon, ''The London almanack for the year of our Lord 1694'' (1694).]]<hr>
[[John Goldsmith, An almanack for the year of our Lord God, M.DCCC. (1800)|John Goldsmith, ''An almanack for the year of our Lord God, M.DCCC.'' (1800).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 2|Session 2]]
|-
|bgcolor="#efefef" valign="top" align="center"|3
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 6, 2007
|bgcolor="#efefef" valign="top" align="left"|The Rise of Literature, Part I 
— What the term literature meant in Defoe's days and how our modern meaning of the word developed.
|bgcolor="#efefef" valign="top" align="left"|[[Aristotle, Poetics (350 BC)|Aristotle, ''The Art of Poetry'' [c. 350 BC] (1705)]]<hr>
[[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Pierre-Daniel Huet, ''The history of romances'' (1670)]]<hr>
[[The modern dictionary of arts and sciences; or, complete system of literature (1774)|''The modern dictionary of arts and sciences; or, complete system of literature'' (1774).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 3|Session 3]]
|-
|bgcolor="#efefef" valign="top" align="center"|4
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 13, 2007
|bgcolor="#efefef" valign="top" align="left"|The Rise of Literature, Part II 
— The complex discourse about literature: literary histories, national philologies and an exchange supported by the media.
|bgcolor="#efefef" valign="top" align="left"|[[Hippolyte Taine, Histoire de la littérature anglaise (1863)|Hippolyte Taine, ''Introduction to the History of English Literature'' (1863).]]<hr>
[[Sir Thomas Malory, Le Morte Darthur (1485)|Sir Thomas Malory, ''Le Morte Darthur'' [1471] (1485).]] Esp.: Caxton's preface and book 5
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 4|Session 4]]
|-
|bgcolor="#efefef" valign="top" align="center"|5
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 20, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part I 
— The "rise of the novel".
|bgcolor="#efefef" valign="top" align="left"|[[Geoffrey Chaucer, Canterbury Tales (1387-1400)|Geoffrey Chaucer, ''Canterbury Tales'' (1387-1400).]] Esp.: General Prologue and Shipman's Tale<hr>
[[Daniel DeFoe, Robinson Crusoe (1719)|Daniel DeFoe, ''Robinson Crusoe'' (1719).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 5|Session 5]]
|-
|bgcolor="#efefef" valign="top" align="center"|6
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 27, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part II 
— The order of Fictions
|bgcolor="#efefef" valign="top" align="left"|[[George Eliot, Middlemarch (1871-1872)|George Eliot, ''Middlemarch'' (1871-1872).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 6|Session 6]]
|-
|bgcolor="#efefef" valign="top" align="center"|7
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 4, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part III 
— The modern novel, a field of intense debate
|bgcolor="#efefef" valign="top" align="left"|[[Salman Rushdie, Satanic Verses (1988)|Salman Rushdie, ''Satanic Verses'' (1988).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 7|Session 7]]
|-
|bgcolor="#efefef" valign="top" align="center"|8
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 11, 2007
|bgcolor="#efefef" valign="top" align="left"|Drama, Part I 
— From the middle ages to Shakespeare
|bgcolor="#efefef" valign="top" align="left"|[[William Shakespeare, King Lear (1606)|William Shakespeare, ''King Lear'' (1606).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 8|Session 8]]
|-
|bgcolor="#efefef" valign="top" align="center"|9
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 18, 2007
|bgcolor="#efefef" valign="top" align="left"|Drama, Part II 
— From the restoration to the present.
|bgcolor="#efefef" valign="top" align="left"|[[William Wycherley, The Country Wife (1675)|William Wycherley, ''The Country Wife'' (1675).]]<hr>
[[Edward Bond, Saved (1965)|Edward Bond, ''Saved'' (1965)]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 9|Session 9]]
|-
|bgcolor="#efefef" valign="top" align="center"|10
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 8, 2008
|bgcolor="#efefef" valign="top" align="left"|Poetry 
— Once a broad field comprising epic, drama and smaller genres, today a subsection of literature.
|bgcolor="#efefef" valign="top" align="left"|[[William Blake, Jerusalem (1804)|William Blake, ''Jerusalem'' (1804).]]<hr>
[[T. S. Eliot, The Waste Land (1922)|T. S. Eliot, ''The Waste Land'' (1922).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 10|Session 10]]
|-
|bgcolor="#efefef" valign="top" align="center"|11
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 15, 2008
|bgcolor="#efefef" valign="top" align="left"|Literary Theory, Part I 
— What is literature? Different debates and different answers.
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 11|Session 11]]
|-
|bgcolor="#efefef" valign="top" align="center"|12
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 22, 2008
|bgcolor="#efefef" valign="top" align="left"|Written Test
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 12|Session 12]]
|-
|bgcolor="#efefef" valign="top" align="center"|13
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 29, 2008
|bgcolor="#efefef" valign="top" align="left"|Feedback on Test and Look Ahead
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 13|Session 13]]
|-
|bgcolor="#efefef" valign="top" align="center"|14
|bgcolor="#efefef" valign="top" align="left" nowrap|Feb. 5, 2008
|bgcolor="#efefef" valign="top" align="left"|Literary Theory, Part II 
— Debate or field of learning?
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 14|Session 14]]
|}
</center>

==Portfolio Requirements==

The Portfolio for the entire module (parts 1 and 2) includes 6 items:

*Portfolio requirements for BM1, Teil 1 -- 3 KP:
:*1 Übungsblatt mit [[Exzerpt eines primär- und eines Sekundärtexts (unbenotet)]] -- date due: January 15, 2008
:*1 Written Test (benotet, 40% der Modulnote) -- January 22, 2008.

*Portfolio requirements for BM1, Teil 2 -- 3 KP:
:*3 textanalytische Aufgaben (benotet, 40% der Modulnote) (Week 4, 7, and 10 of term)
:*1 Research Paper Outline (benotet, 20% der Modulnote) (date due: August 15, 2008 [Winter Term: March 1, 2008].

Click [[2007-08 BM1: Session 1|here]] for further information about the structure of this course and the portfolio requirements.

We created a [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature:Curriculum|special page]] to reflect what we are aiming at - with this course and the studies in literature we offer at the university of Oldenburg.

==Tutorials==
The tutorials have their own page at [[2007-08 BM1 Tutorials]]

[[Category:Basismodul]]
[[Category:Winter 2007-2008|2008-1]]

==Fragen und Antworten aus dem Tutorium==

Frage 1: Können wir auch einen bekannten Text exzerpieren, anstatt zwei Bücher zu lesen?

Antwort 1: Ein Buch müsst ihr lesen, eins
aus der Liste (und selbst da erlaubt Anton Kirchhofer Teillektüren).
Das andere ist ein kurzer Aufsatz und sollte drin sein.

Frage 2: Werden in den Tutorien Beispielaufgaben für den "written test" besprochen?

Antwort 2: Wir bereiten euch auf den "written test" vor, die genaue Form steht momentan noch nicht fest.

Frage 3: Gibt es noch ergänzende Literatur zur Vorlesung?

Antwort 3: Zur heutigen Vorlesung (13.11)steht ein Aufsatz von Olaf Simons auf der Wikipage gleich neben der Präsentation. [[User:Florian Gubisch|Florian Gubisch]]

2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1

2007-11-13T20:31:23Z

Florian Gubisch: /* Fragen und Antworten aus dem Tutorium */

* '''Time:''' Di 14-16
* '''Place:''' A14 1-102 (Hörsaal 2)
* '''Lecturers:''' [[User:Anton Kirchhofer|Anton Kirchhofer]], [[User:Olaf Simons|Olaf Simons]]
:*'''Tutors:''' [[User:Florian Gubisch|Florian Gubisch]], [[User:Katrin Ischebeck|Katrin Ischebeck]], [[User:Christina Stindl|Christina Stindl]]

==Schedule==
*To get through to the EEBO and ECCO-links on this page you have to either use a campus login or your ''national license'' - if you have not got one you can get your registration at the Göttingen SUB. Click [http://www.sub.uni-goettingen.de/ssg-nl-reg/ here] to register.

 
<center>
{| cellpadding=5 width=85%|
!bgcolor="#C6FFFF" valign="top" align="right"|Session
!bgcolor="#C6FFFF" valign="top" align="left" nowrap|Date
!bgcolor="#C6FFFF" valign="top" align="left"|Topic
!bgcolor="#C6FFFF" valign="top" align="left"|Reading
!bgcolor="#C6FFFF" valign="top" align="left" nowrap|Presentation
|-
|bgcolor="#efefef" valign="top" align="center"|1
|bgcolor="#efefef" valign="top" align="left" nowrap|Oct. 23, 2007
|bgcolor="#efefef" valign="top" align="left"|Course Outline.
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 1|Session 1]]
|-
|bgcolor="#efefef" valign="top" align="center"|2
|bgcolor="#efefef" valign="top" align="left" nowrap|Oct. 30, 2007
|bgcolor="#efefef" valign="top" align="left"|The Invention of History 
— Different views on the periodization of literature.
|bgcolor="#efefef" valign="top" align="left"|
[[Pat Rogers (ed.), The Oxford Illustrated History of English Literature (1987)|Pat Rogers (ed.), ''The Oxford Illustrated History of English Literature'' (1987)]]<hr>
[[William Salmon, The London almanack for the year of our Lord 1694 (1694)|William Salmon, ''The London almanack for the year of our Lord 1694'' (1694).]]<hr>
[[John Goldsmith, An almanack for the year of our Lord God, M.DCCC. (1800)|John Goldsmith, ''An almanack for the year of our Lord God, M.DCCC.'' (1800).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 2|Session 2]]
|-
|bgcolor="#efefef" valign="top" align="center"|3
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 6, 2007
|bgcolor="#efefef" valign="top" align="left"|The Rise of Literature, Part I 
— What the term literature meant in Defoe's days and how our modern meaning of the word developed.
|bgcolor="#efefef" valign="top" align="left"|[[Aristotle, Poetics (350 BC)|Aristotle, ''The Art of Poetry'' [c. 350 BC] (1705)]]<hr>
[[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Pierre-Daniel Huet, ''The history of romances'' (1670)]]<hr>
[[The modern dictionary of arts and sciences; or, complete system of literature (1774)|''The modern dictionary of arts and sciences; or, complete system of literature'' (1774).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 3|Session 3]]
|-
|bgcolor="#efefef" valign="top" align="center"|4
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 13, 2007
|bgcolor="#efefef" valign="top" align="left"|The Rise of Literature, Part II 
— The complex discourse about literature: literary histories, national philologies and an exchange supported by the media.
|bgcolor="#efefef" valign="top" align="left"|[[Hippolyte Taine, Histoire de la littérature anglaise (1863)|Hippolyte Taine, ''Introduction to the History of English Literature'' (1863).]]<hr>
[[Sir Thomas Malory, Le Morte Darthur (1485)|Sir Thomas Malory, ''Le Morte Darthur'' [1471] (1485).]] Esp.: Caxton's preface and book 5
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 4|Session 4]]
|-
|bgcolor="#efefef" valign="top" align="center"|5
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 20, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part I 
— The "rise of the novel".
|bgcolor="#efefef" valign="top" align="left"|[[Geoffrey Chaucer, Canterbury Tales (1387-1400)|Geoffrey Chaucer, ''Canterbury Tales'' (1387-1400).]] Esp.: General Prologue and Shipman's Tale<hr>
[[Daniel DeFoe, Robinson Crusoe (1719)|Daniel DeFoe, ''Robinson Crusoe'' (1719).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 5|Session 5]]
|-
|bgcolor="#efefef" valign="top" align="center"|6
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 27, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part II 
— The order of Fictions
|bgcolor="#efefef" valign="top" align="left"|[[George Eliot, Middlemarch (1871-1872)|George Eliot, ''Middlemarch'' (1871-1872).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 6|Session 6]]
|-
|bgcolor="#efefef" valign="top" align="center"|7
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 4, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part III 
— The modern novel, a field of intense debate
|bgcolor="#efefef" valign="top" align="left"|[[Salman Rushdie, Satanic Verses (1988)|Salman Rushdie, ''Satanic Verses'' (1988).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 7|Session 7]]
|-
|bgcolor="#efefef" valign="top" align="center"|8
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 11, 2007
|bgcolor="#efefef" valign="top" align="left"|Drama, Part I 
— From the middle ages to Shakespeare
|bgcolor="#efefef" valign="top" align="left"|[[William Shakespeare, King Lear (1606)|William Shakespeare, ''King Lear'' (1606).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 8|Session 8]]
|-
|bgcolor="#efefef" valign="top" align="center"|9
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 18, 2007
|bgcolor="#efefef" valign="top" align="left"|Drama, Part II 
— From the restoration to the present.
|bgcolor="#efefef" valign="top" align="left"|[[William Wycherley, The Country Wife (1675)|William Wycherley, ''The Country Wife'' (1675).]]<hr>
[[Edward Bond, Saved (1965)|Edward Bond, ''Saved'' (1965)]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 9|Session 9]]
|-
|bgcolor="#efefef" valign="top" align="center"|10
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 8, 2008
|bgcolor="#efefef" valign="top" align="left"|Poetry 
— Once a broad field comprising epic, drama and smaller genres, today a subsection of literature.
|bgcolor="#efefef" valign="top" align="left"|[[William Blake, Jerusalem (1804)|William Blake, ''Jerusalem'' (1804).]]<hr>
[[T. S. Eliot, The Waste Land (1922)|T. S. Eliot, ''The Waste Land'' (1922).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 10|Session 10]]
|-
|bgcolor="#efefef" valign="top" align="center"|11
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 15, 2008
|bgcolor="#efefef" valign="top" align="left"|Literary Theory, Part I 
— What is literature? Different debates and different answers.
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 11|Session 11]]
|-
|bgcolor="#efefef" valign="top" align="center"|12
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 22, 2008
|bgcolor="#efefef" valign="top" align="left"|Written Test
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 12|Session 12]]
|-
|bgcolor="#efefef" valign="top" align="center"|13
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 29, 2008
|bgcolor="#efefef" valign="top" align="left"|Feedback on Test and Look Ahead
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 13|Session 13]]
|-
|bgcolor="#efefef" valign="top" align="center"|14
|bgcolor="#efefef" valign="top" align="left" nowrap|Feb. 5, 2008
|bgcolor="#efefef" valign="top" align="left"|Literary Theory, Part II 
— Debate or field of learning?
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 14|Session 14]]
|}
</center>

==Portfolio Requirements==

The Portfolio for the entire module (parts 1 and 2) includes 6 items:

*Portfolio requirements for BM1, Teil 1 -- 3 KP:
:*1 Übungsblatt mit [[Exzerpt eines primär- und eines Sekundärtexts (unbenotet)]] -- date due: January 15, 2008
:*1 Written Test (benotet, 40% der Modulnote) -- January 22, 2008.

*Portfolio requirements for BM1, Teil 2 -- 3 KP:
:*3 textanalytische Aufgaben (benotet, 40% der Modulnote) (Week 4, 7, and 10 of term)
:*1 Research Paper Outline (benotet, 20% der Modulnote) (date due: August 15, 2008 [Winter Term: March 1, 2008].

Click [[2007-08 BM1: Session 1|here]] for further information about the structure of this course and the portfolio requirements.

We created a [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature:Curriculum|special page]] to reflect what we are aiming at - with this course and the studies in literature we offer at the university of Oldenburg.

==Tutorials==
The tutorials have their own page at [[2007-08 BM1 Tutorials]]

[[Category:Basismodul]]
[[Category:Winter 2007-2008|2008-1]]

==Fragen und Antworten aus dem Tutorium==

Frage 1: Können wir auch einen bekannten Text exzerpieren, anstatt zwei Bücher zu lesen?

Antwort 1: Ein Buch müsst ihr lesen, eins
aus der Liste (und selbst da erlaubt Anton Kirchhofer Teillektüren).
Das andere ist ein kurzer Aufsatz und sollte drin sein.

Frage 2: Werden in den Tutorien Beispielaufgaben für den "written test" besprochen?

Antwort 2: Wir bereiten euch auf den "written test" vor, die genaue Form steht momentan noch nicht fest.

Frage 3: Gibt es noch ergänzende Literatur zur Vorlesung?

Antwort3: Zur heutigen Vorlesung (13.11)steht ein Aufsatz von Olaf Simons auf der Wikipage gleich neben der Präsentation. [[User:Florian Gubisch|Florian Gubisch]]

2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1

2007-11-13T20:28:40Z

Florian Gubisch: /* Fragen und Antworten aus dem Tutorium */

2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1

2007-11-13T20:27:48Z

Florian Gubisch: /* Tutorials */

* '''Time:''' Di 14-16
* '''Place:''' A14 1-102 (Hörsaal 2)
* '''Lecturers:''' [[User:Anton Kirchhofer|Anton Kirchhofer]], [[User:Olaf Simons|Olaf Simons]]
:*'''Tutors:''' [[User:Florian Gubisch|Florian Gubisch]], [[User:Katrin Ischebeck|Katrin Ischebeck]], [[User:Christina Stindl|Christina Stindl]]

==Schedule==
*To get through to the EEBO and ECCO-links on this page you have to either use a campus login or your ''national license'' - if you have not got one you can get your registration at the Göttingen SUB. Click [http://www.sub.uni-goettingen.de/ssg-nl-reg/ here] to register.

 
<center>
{| cellpadding=5 width=85%|
!bgcolor="#C6FFFF" valign="top" align="right"|Session
!bgcolor="#C6FFFF" valign="top" align="left" nowrap|Date
!bgcolor="#C6FFFF" valign="top" align="left"|Topic
!bgcolor="#C6FFFF" valign="top" align="left"|Reading
!bgcolor="#C6FFFF" valign="top" align="left" nowrap|Presentation
|-
|bgcolor="#efefef" valign="top" align="center"|1
|bgcolor="#efefef" valign="top" align="left" nowrap|Oct. 23, 2007
|bgcolor="#efefef" valign="top" align="left"|Course Outline.
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 1|Session 1]]
|-
|bgcolor="#efefef" valign="top" align="center"|2
|bgcolor="#efefef" valign="top" align="left" nowrap|Oct. 30, 2007
|bgcolor="#efefef" valign="top" align="left"|The Invention of History 
— Different views on the periodization of literature.
|bgcolor="#efefef" valign="top" align="left"|
[[Pat Rogers (ed.), The Oxford Illustrated History of English Literature (1987)|Pat Rogers (ed.), ''The Oxford Illustrated History of English Literature'' (1987)]]<hr>
[[William Salmon, The London almanack for the year of our Lord 1694 (1694)|William Salmon, ''The London almanack for the year of our Lord 1694'' (1694).]]<hr>
[[John Goldsmith, An almanack for the year of our Lord God, M.DCCC. (1800)|John Goldsmith, ''An almanack for the year of our Lord God, M.DCCC.'' (1800).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 2|Session 2]]
|-
|bgcolor="#efefef" valign="top" align="center"|3
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 6, 2007
|bgcolor="#efefef" valign="top" align="left"|The Rise of Literature, Part I 
— What the term literature meant in Defoe's days and how our modern meaning of the word developed.
|bgcolor="#efefef" valign="top" align="left"|[[Aristotle, Poetics (350 BC)|Aristotle, ''The Art of Poetry'' [c. 350 BC] (1705)]]<hr>
[[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Pierre-Daniel Huet, ''The history of romances'' (1670)]]<hr>
[[The modern dictionary of arts and sciences; or, complete system of literature (1774)|''The modern dictionary of arts and sciences; or, complete system of literature'' (1774).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 3|Session 3]]
|-
|bgcolor="#efefef" valign="top" align="center"|4
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 13, 2007
|bgcolor="#efefef" valign="top" align="left"|The Rise of Literature, Part II 
— The complex discourse about literature: literary histories, national philologies and an exchange supported by the media.
|bgcolor="#efefef" valign="top" align="left"|[[Hippolyte Taine, Histoire de la littérature anglaise (1863)|Hippolyte Taine, ''Introduction to the History of English Literature'' (1863).]]<hr>
[[Sir Thomas Malory, Le Morte Darthur (1485)|Sir Thomas Malory, ''Le Morte Darthur'' [1471] (1485).]] Esp.: Caxton's preface and book 5
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 4|Session 4]]
|-
|bgcolor="#efefef" valign="top" align="center"|5
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 20, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part I 
— The "rise of the novel".
|bgcolor="#efefef" valign="top" align="left"|[[Geoffrey Chaucer, Canterbury Tales (1387-1400)|Geoffrey Chaucer, ''Canterbury Tales'' (1387-1400).]] Esp.: General Prologue and Shipman's Tale<hr>
[[Daniel DeFoe, Robinson Crusoe (1719)|Daniel DeFoe, ''Robinson Crusoe'' (1719).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 5|Session 5]]
|-
|bgcolor="#efefef" valign="top" align="center"|6
|bgcolor="#efefef" valign="top" align="left" nowrap|Nov. 27, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part II 
— The order of Fictions
|bgcolor="#efefef" valign="top" align="left"|[[George Eliot, Middlemarch (1871-1872)|George Eliot, ''Middlemarch'' (1871-1872).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 6|Session 6]]
|-
|bgcolor="#efefef" valign="top" align="center"|7
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 4, 2007
|bgcolor="#efefef" valign="top" align="left"|Epic Poetry, Dubious History and the Novel, Part III 
— The modern novel, a field of intense debate
|bgcolor="#efefef" valign="top" align="left"|[[Salman Rushdie, Satanic Verses (1988)|Salman Rushdie, ''Satanic Verses'' (1988).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 7|Session 7]]
|-
|bgcolor="#efefef" valign="top" align="center"|8
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 11, 2007
|bgcolor="#efefef" valign="top" align="left"|Drama, Part I 
— From the middle ages to Shakespeare
|bgcolor="#efefef" valign="top" align="left"|[[William Shakespeare, King Lear (1606)|William Shakespeare, ''King Lear'' (1606).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 8|Session 8]]
|-
|bgcolor="#efefef" valign="top" align="center"|9
|bgcolor="#efefef" valign="top" align="left" nowrap|Dec. 18, 2007
|bgcolor="#efefef" valign="top" align="left"|Drama, Part II 
— From the restoration to the present.
|bgcolor="#efefef" valign="top" align="left"|[[William Wycherley, The Country Wife (1675)|William Wycherley, ''The Country Wife'' (1675).]]<hr>
[[Edward Bond, Saved (1965)|Edward Bond, ''Saved'' (1965)]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 9|Session 9]]
|-
|bgcolor="#efefef" valign="top" align="center"|10
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 8, 2008
|bgcolor="#efefef" valign="top" align="left"|Poetry 
— Once a broad field comprising epic, drama and smaller genres, today a subsection of literature.
|bgcolor="#efefef" valign="top" align="left"|[[William Blake, Jerusalem (1804)|William Blake, ''Jerusalem'' (1804).]]<hr>
[[T. S. Eliot, The Waste Land (1922)|T. S. Eliot, ''The Waste Land'' (1922).]]
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 10|Session 10]]
|-
|bgcolor="#efefef" valign="top" align="center"|11
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 15, 2008
|bgcolor="#efefef" valign="top" align="left"|Literary Theory, Part I 
— What is literature? Different debates and different answers.
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 11|Session 11]]
|-
|bgcolor="#efefef" valign="top" align="center"|12
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 22, 2008
|bgcolor="#efefef" valign="top" align="left"|Written Test
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 12|Session 12]]
|-
|bgcolor="#efefef" valign="top" align="center"|13
|bgcolor="#efefef" valign="top" align="left" nowrap|Jan. 29, 2008
|bgcolor="#efefef" valign="top" align="left"|Feedback on Test and Look Ahead
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 13|Session 13]]
|-
|bgcolor="#efefef" valign="top" align="center"|14
|bgcolor="#efefef" valign="top" align="left" nowrap|Feb. 5, 2008
|bgcolor="#efefef" valign="top" align="left"|Literary Theory, Part II 
— Debate or field of learning?
|bgcolor="#efefef" valign="top" align="left"|
|bgcolor="#efefef" valign="top" align="left"|[[2007-08 BM1: Session 14|Session 14]]
|}
</center>

==Portfolio Requirements==

The Portfolio for the entire module (parts 1 and 2) includes 6 items:

*Portfolio requirements for BM1, Teil 1 -- 3 KP:
:*1 Übungsblatt mit [[Exzerpt eines primär- und eines Sekundärtexts (unbenotet)]] -- date due: January 15, 2008
:*1 Written Test (benotet, 40% der Modulnote) -- January 22, 2008.

*Portfolio requirements for BM1, Teil 2 -- 3 KP:
:*3 textanalytische Aufgaben (benotet, 40% der Modulnote) (Week 4, 7, and 10 of term)
:*1 Research Paper Outline (benotet, 20% der Modulnote) (date due: August 15, 2008 [Winter Term: March 1, 2008].

Click [[2007-08 BM1: Session 1|here]] for further information about the structure of this course and the portfolio requirements.

We created a [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature:Curriculum|special page]] to reflect what we are aiming at - with this course and the studies in literature we offer at the university of Oldenburg.

==Tutorials==
The tutorials have their own page at [[2007-08 BM1 Tutorials]]

[[Category:Basismodul]]
[[Category:Winter 2007-2008|2008-1]]

==Fragen und Antworten aus dem Tutorium==

Frage 1: Können wir auch einen bekannten Text exzerpieren, anstatt zwei Bücher zu lesen?

Antwort 1: Ein Buch müsst ihr lesen, eins
aus der Liste (und selbst da erlaubt Anton Kirchhofer Teillektüren).
Das andere ist ein kurzer Aufsatz und sollte drin sein.

Frage 2: Werden in den Tutorien Beispielaufgaben für den written Test besprochen?

Antwort 2: Wir bereiten euch auf den written test vor, die genaue Form steht momentan noch nicht fest.

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-11-05T12:57:56Z

Florian Gubisch: /* 109 */

==Editions==
*Pierre Daniel Huet, ''Treatise of Romances'', 1670, first English translation (1672). [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1672_huet__treatise_of_romances.pdf Oldenburg Anglistikserver]
*Pierre Daniel Huet, ''History of Romances'', 1670, translated by Stephen Lewis (1715) [http://galenet.galegroup.com/servlet/ECCO?vrsn=1.0&dd=0&locID=bis&b1=KE&srchtp=b&d1=0143100500&SU=All&c=2&ste=10&d4=0.33&stp=DateAscend&dc=tiPG&n=10&docNum=CW110602030&b0=huet&tiPG=1 ECCO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_huet__history_of_romances.pdf Oldenburg Anglistikserver]
unter diesem [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Pierre_Daniel_Huet%2C_Traitt%C3%A9_de_l%E2%80%99origine_des_romans_%281670%29&action=history link] könnt Ihr einsehen, wie der nachfolgende Text zusammengebaut wurde.

Laßt bei Absätzen einfach eine Leerzeile - und pafft auf die langen s auf - da gibts einen Unterfchied zwifchen s und f... :) --[[User:Olaf Simons|Olaf Simons]] 10:28, 31 October 2007 (CET)

==Links==

* [http://en.wikipedia.org/wiki/Traitt%C3%A9_de_l%27origine_des_romans Pierre Daniel Huet, Traitté de l’origine des romans (1670).] - English Wikipedia with a lengthy excerpt.
* [http://de.wikipedia.org/wiki/Traitt%C3%A9_de_l%E2%80%99origine_des_romans Pierre Daniel Huet, Traitté de l’origine des romans (1670)] - German Wikipedia with an article on Huet's book.

__NOTOC__

==Text of the English edition published in 1715==

==Short Title==

[ornament] THE| HISTORY| OF| ROMANCES [ornament]

==Title page==

THE| HISTORY| OF| ROMANCES.| AN| Enquiry into their ''Original'';| ''Instructions for Composing them'';| AN| Account of the most Eminent| AUTHORS;| With Characters, and Curious Observations| upon the Best Performance of that Kind.| [rule]| Written in ''Latin'' by HUETIUS;| Made ''English'' by| Mr. ''STEPHEN LEWIS.''| [rule] ——juvat integros accedere fontes,| Atque haurire. ''Lucr.''| [rule]| Rrinted for J HOOKE, at the ''Flower-de-luce'',| and T. CALDECOTT, at the ''Sun''; both against St.| ''Dunstan''’s Church in ''Fleetstreet''. 1715.

==i==

THE

PREFACE.

''THERE is not any Speculation, which affords a more agreeable Pleasure to the Mind, than that of beholding from what Obscure and Mean Beginnings, the most Polite and Entertaining Arts have''

==ii==

''risen to be the Admiration and Delight of Mankind. To pursue them up to the most abstruse Fountains, and then to view by what Steps they arise to Perfection; does not only excite an Amazement at their Increase; but an Impatient Desire of Inventing some New Subject, to be improv'd and advanc'd by Posterity.''

''The first Occasion of introducing'' ROMANCE ''into the World, was, without Dispute to mollify the Rigour of Precepts, by the Allurements of Example. Where the Mind can't be subdued into Virtue, by Reason and Philosophy; nothing can''

==iii==
''influence it more, than to present to it the Success and Felicity, which Crowns the Pursuit of what's Great and Honourable. As the'' Poet ''very elegantly alludes to'' Homer;

:Qui quid sit pulchum, quid turpe, quid utile, quid non
:Planius & melius, Chrysippo & Crantore dicit.

''And since in all Ages there were very few real Instances, fit to be proposed for Exact Patters of Imitation; the Ingenious'' Fabulist ''was forced to supply them out of his own Invention.''

==iv==
''Hence it appears, that the Original of'' Romance ''is very Ancient; since this Way of Promoting Virtue has been received in the Earliest Ages; as is evident from the first Records of Mankind. And as it stands very remote from Modern Ages; so, That is found out, must be an High Satisfaction to the Curious in Antiquity.''

''Upon this Account, They are very much indebted to the Labour and Penetration of'' Huetius; ''who has, with great Judgement, traced the Subject he undertook to Illustrate, till he found it in''

==v==
''its Infancy, involved in the Umbrage of'' Fable, ''and perplexed in the Folds of'' Mystery ''and'' Riddle.

''This Task was enjoin'd Him (He informs us)

==vi==
by his Aquaintance and Friend, Monsieur Segrais; a Gentleman very intimately versed in all Polite Learning; and admirably well qualified, to Discern and Judge, upon the Subject of ROMANCES; since He had discover'd himself to be a Compleat Master in the Art, by several inimitable Productions of that Nature, which he published in the Language of his Country: A Country, Famous for all Sorts of Delight-

==vii==

And, in my Opinion, the Man who acquits himselof well of the Province he undertakes, (tho' of small Importance) deserves as much, as He who has been more Fortunate in the Choice of a Subjekt for his Application

Without doubt, Huetius was sensible of this; otherwise he would have bestowed his Time to a better Account, since He had before approv'd himself very well to the World, by his Ingenious Performances in Divinity, and other Learning. And I dare assert, that none of his Labours have contributed more to his Reputation than his

==viii==

''Especially since ''Romance'' has of late convey'd it self very far into the Esteem of this Nation, and is become the Principal Diversion of the Retirement of People of all Conditions.''

==ix==

==xi==
has; This, I presume, is not the first Case, where a Good Design has aton'd for some slight Imperfections in the Prosecution of it.

==[xii]==

==1==
==2==
==3==
==4==
==5==
==6==
==7==
==8==
==9==
==10==
==11==
same may be apply'd to Romances, with this Restraint, that a total Fiction of the Argument is more allowable in Romances, where the Actors are of indifferent Quality, (such are the Comic) than in Heroic Performances, where Princes and Conquerors are the Characters, and where the Adventures are Memorable and Illustrious; because it can't be probable that great Transactions and Events lie hid to the World, and neglected by Historians; and Probability, which is not always observ'd in History, is essential to a Romance.

I exclude that sort of History which is False throughout the whole Narration, but was invented

==12==
==13==
==14==
==15==
==16==

Discourse is Figures. They never express themselves but in Allegories. Their Theology and Philosophy, but principally their Politicks and Morals, are all disguised under Fables and Parables.

We may see by the Hieroglyphicks of the Egyptians, to what degree that Nation inclined to be Mysterious; every Thing with them was expressed by Images; all in Disguise. Their Religion was veil'd, and never disclos'd to the Vulgar, but under the Mask of Fables; which they never took off, but for the Information of such as were thought worthy to be initiated into their Arcana. Herodotus says, That the Greeks had from

==17==
==18==
==19==
==20==
==21==
==22==
==23==
==24==
==25==
==26==
==27==
==28==
which was Translated by the ''Hebrews'', and is at this Day to be found in the Libraries of the Curious. Father ''Poussin'', the Jesuit, has joined to his ''Pachymeron'', which he lately Printed at ''Rome'', a Dialogue between ''Absolom'', King of the ''Indies'', and a ''Gymnosophist'', upon several Questions of ''Morality''; where this Philosopher never expresses himself but in Fables, after the Manner of ''Aesop''. The Preface to this Book imports, that it was carefully kept in the Treasury of the Charters of the Realm; that ''Perzoez'' Physician of ''Chosroez'', King of ''Persia'', Translated it out of ''Indian'' and ''Persian'', some other out of ''Persian'' into ''Arabian'' and ''Simeon''

==29==
==30==
thet of Fabulous to the River Hydaspes, which arises in this Country, meaned that it begins and ends its Course among a People very much addicted to Fiction and Disguise. These Fictions and Parables which you see make up the prophane Learning of the Nations before mention'd, have been sanctify'd in Syria; and the Sacred Authors complying with the Humour of the Jews, made Use of them to express the Inspirations they receiv'd from Heaven. The Holy Scripture is altogether Mysterious, Allegorical, and Enigmatical. The Talmudists are of Opinion that the Book of Job is no other than a Parable of the Hebrews Inven-

==32==
==33==
==34==
have since explained, illustrated, and digested them in their particular Works; and beside this have composed several Poems, Prologues and Apologues.

The ''Cyprians'' and ''Cilicians'' have invented certain Fables which bore the Name of the People of those Nations; and the particular Disposition of the ''Cilicians'' to Lying gave rise to one of the Ancientest Proverbs in ''Greece''.

In short, Fables have been in such Vogue all over these Countries, that (according to the Testimony of ''Lucian'',) there were particular Orders of Men among the ''Assyrians'' and ''Arabians'', whose sole (whole?) Province was to explain Fables; and who observed such a

==35==
Regularity in their Life, that they extended it much farther than other People.

But it is not enough to have discovered ''The Original of Romances''; we must see by what Streams they have spread and convey'd themselves into ''Greece'', and ''Italy'', and whether they have passed from thence to us; or we have received them from any other Nation. The ''Ionians'', a People of ''Asia Minor'', being raised to great Power, and having acquired vast Riches, immersed themselves into Luxury and Voluptuousness, and indulged themselves in all the Extravagancies of Plenty.

==36==
''Cyrus'' subdued them by making ''Cr&oelig;sus'' his Captive, with whom he received all ''Asia Minor'' into his Subjection. The ''Persians'' upon this Success admitted their Manners with their Laws, and mixed their Debauches with those their own Inclinations supplied them with, and so grew to be the most Voluptuous Nation in the World. They began to refine upon the Pleasures of the Table, by making the Addition of Flowers and Perfumes. They first invented the Ornaments for their houses. The finest Wools, and the richest Tapestries in the World were their Productions. They invented the lascivious Dance, call'd the ''Ionic''; and became so remarkable for Effemi-

==37==
nacy, that

==38==
But there were the first who corrupted them, and filled them with Lascivious and Amorous Narrations. Their Works are devoured by Time: We hear of no more than ''Aristides'' of them, who was the most Famous of the Romancers, and wrote several Books of Verse, called the ''Milesian'' Fables. I find that one ''Dionyius'', a ''Milesian'', who lived under the Reign of ''Darius'' the First, composed some Fabulous Histories; but since I can't certain whether this was any more than a compiling of Ancient Fables, and can't see sufficient Reason to believe, that they could properly be called ''Milesian'' Fables; I can't number

==39==
him among the Writers of Romance.
The ''Ionians'', descended from ''Attica'' and ''Peloponnesus'', out of the Deference they had for their Original, maintain'd a great Correspondence with the ''Greeks''. The Children of these Nations were sent from the one to the other for Education, that they might be the better acquainted with the Manners and Habit of Life of each other. By this Commerce ''Greece'', which had of it self Inclination enough to Fables, learned the Art of Romances from the ''Ionians'', and improved it with great Success. But to avoid Confusion, I shall endeavour to give an Account of those Writers amongst the ''Greeks'',

==40==
==41==
==42==
==43==

==44==
Roscius, took Occasion before the Senate of ''Selencia'' to insult and defame the tender and effeminate Disposition of the ''Romans'', who in the time of War could not disengage themselves of so soft entertainments.

Lucins of Patras, Lucian of Samosata, and Jamblichus, lived very near the same Time, under the Emperors ''Antoninus'', and ''Marcus Aurelius''. The first of them must not be reckoned among Romancers, for he no more than collected some Metamorphoses of the Magical Transformation of Men into Beasts, and Beasts into Men; dealing very simply and fairly, since he believed all that he wrote. ''Lucian''

==45==
with much more Policy and Judgment, relates some part of his Works only to expose and ridicule them, in the Book which he called ''Lucius's Ass''; to intimate that the Fiction was originally his. 'Tis in Effect an Abridgment of the two first Books of ''Lucius's Metamorphosis'' ; and this Fragment lets us see, That ''Photius'' had great Reason to arraign and decry his obscene and smutty Expressions. This ingenious and celebrated Ass, whose History these Authors wrote, was extremely like another of the same Worth and Merit, which ''Photius'' speaks of from ''Damascius'' in this Manner: "This Ass, says he, was the "Best of a Grammarian na-

==46==
med

==47==
added to that which delivers Rules for Composing a good History; infer that he intended it as an Example of what he had enjoyned, tho' he himself declares in the Entrance of the Work, That he had no father Design in it, than to expose those Poets, Historians, and Philosophers themselves, who exhibited Fiction for Truth which Impunity; and wrote such Relations of Foreign Countries, as Clesias and Jambulus had done.

Now if this be true which Photius assures us, That the Romance of Antonius Diogenes gave rise to these two of Lucian: We must understand that Lucian took Occasion from this, and the fabulous Histories of Clesias and

==48==
''Jambulus'', to compose his own, on purpose to detect and condemn the Vanity and Impertinence of theirs.

About this Time ''Jamblichus'' publish'd his ''Babylonics'', (for that was the Name of it) in which the vastly outdid all who preceded him. For if we may judge of it by the Fragment which ''Photius'' has left us of it, his Design comprehends but one Action, adorned with all necessary Improvements; and attended with Episodes, arising from the principal Subject. He has observed Verisimility most exactly; his Adventures are mixed with Variety without Confusion:

We can find Fault with nothing but want of Art in the Contrivance

==49==
==50==
==51==
==52==
Life Philostratus has writ, among those of the other Sophists. But it is known, that he was Cotemporary with Arcadius and Honorius; and we find in Photius´s Catalogue of the Romancers, who he thought wrote in Imiration of Antonius Diogenes, where he names them in a Chronological Order; he has placed Heliodorus after Jamblichus, and before Damascius; who lived in the Time of the Emperor Justinian.
According to this Account, Achilles Tatius, who wrote a Regular Romance of the Amours of Clitophon and Leucippe, ought to have preceded; tho´I can find no certain Account, to justify my Opinion. Others think

==53==
him more recent in his Style: However, he is not to be compared to ''Heliodorus'', either for the Regularity of his Manners, the Variety of Events, or the Artifice of Unravelling his Plots. Indeed his Style is to be preferr'd to that of ''Heliodorus'', because &squo;tis more Simple and Natural; whereas the other's is more forced. Some day, that he was a Christian, and a Bishop too. ’Tis strange, that the Obscenity of his Book should be to easily forgot; and more so, that the Emperor Leo, sirnamed the Philosopher, should commend the Modesty of it, in an Epigram which is yet extant; and not only permit, but recommend the Reading of it with the clo-

==54==
sest Application, to all those who profess the Love of Chastity.

I am afraid I shall be impleaded of Rashness, if I assign the next Place to ''Athenagoras'', under whose Name there goes a Romance, the Title of which is, ''Of True and Perfect Love'', This Book has not appeared in any Language but ''French'', of ''Fumee's'' Translation; who tells us in his Preface, that he had the ''Greek'' Original from Mr. ''de Lamane'', Prothonotary of the Cardinal ''d'Armagnac''; and that he never saw it elsewhere. I almost dare add, 'twas never seen since; for the Name of it was never mention'd that I know of, in Catalogues of

==55==
any Libraries...

==56==
he had a good Opportunity to judge of, because he had the Originals before him. He takes it for a True Story, not understanding the Art of Romances. For my part, tho' I can't pronounce of it in Certainty, because I have not seen the Original in Greek; yet the Reading the Translation, inclines me to think, that he had several sufficient Grounds, to assign the Author of it to be Athenagoras the Apologist. For the Apologist was a Christian; and this speaks of Divinity, after a manner very inconsistent with any, but one of that Profession: As when he makes the priests of Ammom declare, "That there is but One" God; and that every Nation -

==57==
desirous to represent his Essence to the Simple, had invented several Images, which expressed but the same Thing. That their true Signification being defaced by Time, the Vulgar believed there were so many Gods, as they saw Images: That this was the Original of Idolatry. That Bacchus, when he built the Temple of Ammon, placed in it no other Image than that of God; because as there is but One in Heaven, which contains but One World; in this World there is but One God, who is communicated in Spirit.
He makes this, and much more, said by some Egyptian

==58==
Merchants. That the Gods in the Fable, denoted the different Operations of this Sovereign, and only One Divinity, who is without Beginning, and without End: Whom he calls Obscure, and Dark, because he is Invisible, and Incomprehensible. Farther; the Discourses of the Priests and Merchants, upon the Divine Effence, very much resemble those of Athenagoras, in his Legation. The Apologist was a Priest of Athens; this was an Athenian Philosopher: Both seem Men of Sense, and Learning, and great Penetration into Antiquity.

==59==
But on the other side, we have many Reasons to suspect, not only that this is not ''Athenagoras'' the Christian, but that the Book it self is a mere Forgery. ''Photius'', giving an Exact Acount of the Composers of Romances before his Time, takes no Notice of him at all. Nobody ever saw a Copy of this work in any Library; and that which the Translator made use of, never appear'd since. Besides, he represents the Habitation, Life and Conduct of the Priests and Religious of ''Ammon'', so very like the Convents and Government of our Monks and Friars, that it ill accords with what History informs us,

==60==
of the Time when the Monastic Life began, and when it arrived to Perfection.

Among all this Obscurity what seems most probable to me, is, that 'tis an Ancient Work, but of a later Date than the Apology.

For I observe such a Profound Knowledge, both in Matters of Nature and Art; so great an Intimacy with the Annals of Time past, so many Curious Remarks, not taken from Ancient Authors which are left us, but which relate to, and explain them; so much of the Greek Phrase, which one may discover throughout the Translation; and over all, a certain Character of Antiquity, which cannot be

==61==
counterfeited; that I cant't be persuaded that it is any Production of ''Fumee's'', whose Learning was but indifferent; or that the most Able and Ingenious Person in those Days, could devise any Thing like it. If ''Photius'' hash not mentioned him; how many other Great and Famous Authors have escaped his Cognisance, or his Diligence! If in our Days only one Copy was found, which perhaps is since lost; how many other Exellent Works have undergone the same Destiny! If this fails of giving you Satisfaction, and you'll oblige me to extend my Conjectures, and attempt to find out the Precise Time of its Production; I have nothing left to

==62==
==63==
==64==
==65==
to one Principal Action, follow the Rules of an Heroick Poem ; as ''Athenagoras'' and ''Heliodorus'' have done, tho' not so accurately : But our Old ''French'' have multiplied them without Order, Connexion, or Art. These the ''Italians'' have imitated, borrowing of them their Romances, with their Imperfections. Here we ''Giraldi'' in a worse Error than the former : He endeavours to commend this Vice, and turn it into a Virtue : Whereas, if it be true what himself asserts, that a Romance should resemble a Perfect Body , and consist of many different Parts and Proportions all under one Head ; it follows , that the Principal Action of a Romance should be

==66==
equal Beauty and Eminence, it was as impossible to digest them into one regular body, as it would be to erect a compleat structure with no materials but sand. The applause which the faulty romances of his nation have received, does yet justify him the less: We are not to judge of a performance by the number, but sufficiency of the approbators. Every one assumes to himself the license to judge of, and censure poesie and romance: The sumptuous palaces and common streets are made tribunals, where the merit sof the greatest works receive a supreme decision. There every one shoots his bolt, and boldly prefumes to fet an estimate of

==67==

==68==
==69==
==70==
I return to the romance of ''Athenagoras''; where the discovery of the plot, tho' without machine, is less happy than the rest; it goes not off smartly enough; it presents itself, before the passion and impatience of the reader are sufficiently warmed, and is made with too much repetition. But his greatest fault is his extrevagant ostentation, with which he displays his skill in architecture.
What he writes might be admirable elsewhere, but is vicious and impertinent where he disposes it.
"For a Poet, faith ''Giraldi'' ought not, in describing a Fabric, to shew himself an Architect; for in taking Notice of Particulars be-"

==71==
==72==
==73==
Romances.
Greek Romacers; 'tis to be understood, that like him he composed Histories, Fabulous and Incredible, but not Romantic, nor after the manner of Romances: For he related only the Apparations of Spectres, and Goblins, and Events above Nature, either too lightly to be credited, or invented with little Adress, becoming the Atheism and Impiety of the Author.
Two Years after Damascius, was the History of Barlaam and Josophat, composed by St. John Damascenus. Many Ancient Manusscripts ascripe it to John the Sinaite, who lived in the Time of Theodosius; but without Reason, as Billius makes it appear; because the Disputes against the ...

==74==
==75==
great number of parables, comparisons, and similitudes, which are very liberally dispersed in it.
The Romance of Theodorus Prodomus, and that which some attribute to Eustathius Bishop of Thessalonica, who
flourished in the empire of Manuel Comnenus, about the middle of the Twelfth Age, are much of the same nature.
The first contains the Amours of Dosicles and Rhodanthe; the other, those of Asmenas and Ismene.
Monsieur Gaulmen has made both of them public, with his translation and notes. He says nothing of Eustathius; in the
preface to the book which bears that name: I'll interpret his silence in his favour and be-

==76==
believe, that that Ingenious Man could not fall into the Error of those, who persuade themselves, that the Learned and Famous Commentator upon Homer, was capable of writing such a Miserable Work as this. Besides, some Manuscripts read the Author Eumathius, and not Eustathius. However that be, nothing is more frigid, empty,and impertinent: No Decorum, no Verisimility, no Conduct is preserved. 'Tis the Work of some School-boy, or wretched Pedagogue, who deserved to be a School-boy all the Days of his Life.
Theodorus Prodomus is little better; however, he has something more Art, tho' it be fearce-

==77==
scarcely perceivable. He never extricates himself, but by Machinery. He understands not how to make his Actors preserve the Justness and Uniformity of their Characters. His work is rather a Poem, than a Pomance, for it is writ in Verse; and this makes his Style (which is too Licentious, and full of Figures) the more pardonable: But since his Verse is Iambic, which is extremely like Prose, I can't exclude him from it. Some say he was a Russian by Birth, a Briest, a Poet, a Philosopher, and a Physician.

My Judgment upon the Pastorals of Longus the Sophist, is the fame with that I gave of the Two former Romances. For tho'

==78==
tho' the Learned of Late Times have commended them for their Elegance and Agreement, joined to a Simplicity proper to the Nature of the Subjects; yet I can observe nothing in it, but that Simplicity, which sometimes declines to Childishness and Impertinence. There is nothing in it of Invention, or Conduct. He begins grosly in the Birth of his Shepherds, and ends with their Marriage. He never clears up his Adventures; but by Machines improper, and ill contrived. His Expressions are so obscene, that one must be somewhat of a ''Cynic'', to read them without Blushing. His Style does not deserve the Commendations.

==79==

==80==
it receives. 'Tis the Style of a Sophist, such as he was; like that of Eustathius, and Theodorus Prodromus, which partakes of the Orator and Historian, tho' it be proper for neither of them.

'Tis full of Metaphors, Antitheses, Figures, which dazzle and surprize the Simple, and tickle the Ear, without satisfying the Mind; instead pf Engaging the Reader, by the Novelty of Events, the Arrangement and Variety of Matter, a clear and close Narration, attended by a smotth and regular Cadence, which always advances within the Subject.

He endeavours (as all Sophists do) to entertain his Reader with Accidental Descriptions:

==81==
==82==
==83==
==84==
it to the Rules of the Epopee, and joining those Different Parts into One Compleat Body, which made up the Romances of former Times, without Order or Disposition. Of all the Greek Romancers I have named, they who observed these Rules, are only ''Antonius Diogenes, Lucian, Athenagoras, Jamblichus, Heliodorus, Achilles Tatius, Eustathius'', and ''Theodorus Prodromus''. I don't mention ''Lucius of Patras'', nor ''Damascius'', whom I have not enrolled among the Authors of Romances. ''St. John Damascenus'', and'' Longus'', might easily have reduced their Works under these Laws; but they either were ignorant of them, or despised them I can't affirm any

==85==
==86==
==87==
came a Proverb: But he does not discover wherein the Alteration consisted. ''Suidas'' believed, they were like those of ''Aesop''; but he is mistaken in this, as well as many other Places. The Old Commentator upon ''Aristophanes'' saith, That the ''Sybarites'' made use of ''Beasts'' in their Fables, and ''Aesop'' of ''Men'' in his. This Passage is certainly corrupted: For as it appears that ''Aesop's'' Fables employed ''Beasts'', it follows, that those of the ''Sybarites'' made use of ''Men''. He informs us in express Terms, in another Place, that those of the ''Sybarites'' were pleasant, and provoked Laughter. I find a Piece of one of them in ''Aelian''. `Tis a little Story, which he saith he took

==88==
==89==

==90==
certain old Author, whose Name I believe you don`t much value, gives us to understand, that their Style was concise and Laconic; but all this doth not evince, that they had nothing of the Romance in them.
This Passage of Ovid makes it clear, that in his Time, the Romans had given Admittance to the Fables of the Sybarties: And he informs us in the fame Book, that the Famous Historian Sisenna had translated it from the Milesian Fables of Aristedes. This Sisenna lived in Sylla`s Time, and was(with Him) of the Great and Illustrious Family of the Cornelians. He was Prator of Sciily and Achaia; wrote the History of his Country; and

==91==
==92==
==93==

Form of a Satyr, of the same Kind which Varro invented, intermixing Prose with Verse, the Serious with the Jocose, and stile with Menippean; because Menippus had before treated of Serious Matters in a Pleasant Style. This Satyr of Petronius fails not to be a True Romance: It contains nothing but diverting and ingenious Fictions; tho' they are sometimes too licentious and immodest. He hides under a Disguise a fine and poinant Railery, against the Vices of Noro's Court. That remains of it, are only some incoherent Fragments, or rather Collections of some industrious Person; so that one can't exactly discern the

==94==
==95==
what very Few understand) is yet much easier to be understood,than practised well. Some say,the Poet ''Lucan'' (who also lived in the Reign of ''Nero'') composed ''Saltic'' Fables; wherein(some think) wererecounted the Intrigous of ''Satyrs'' and ''Nymphs''. This agree well with a Romance, and the Wit of that Age, which was very much inclined to the Amusements of that Art. But since there is nothing left us of it but the title, and that does not clearly express the Nature of the Work; it shall say nothing of it.

The ''Metamorphosis'' of ''Apnleins'', so well known by the Name of the Golden Ass, was com-

==96==
==97==
Elegant Episodes; and among others, with that of Psyche, which no one is ignorant of. He has taken no Care to retrench the Smuttiness of the Originals which he followed. His Style is that of a Sophist, full of Affectation and violent Figures; hard, barbarous, and very becoming an African.
Some are of Opinion, that ''Clodius Albinus'', a Pretender to the Empire, who was defeated by ''Severus'', did not disdain this Employment. ''Juslius Capitolinus'' reports in his Life, that there were several ''Milesian'' Fables under his Name in very great Reputation, tho' but indifferently composed: And that ''Severus'' reproached the Senate, that they had

==98==
==99==
is attended by them) espouses Philology (which is the Love od Good Letters) he gives her whatever is Excellent in them, for a Nuptial Present: So that it is a continued Allegory, which properly does not deserve the Name of Romance, but rather that of a Fable. For, as I have already observed, a Fable represents Things which never have, or ever can happen; and a Romance takes notice of Things which may, but never have happen'd. The Artifice of this Allegory is not very subtle; he Style is Barbarism it self; so bold and extravagant in its Figures, that they are unpardonable in the most Desperate Poet. Tis disguised with so great an

==100==
==101==

==102==
==103==
==104==
These Diverting Histories placed Readers, who were more ignorant than those who composed them. They did not, in those Days, trouble themselves with Researches into Antiquity, and after being informed of the Truth of what they wrote. They had the Stuff in their own Head, and went no farther than their own Invention. Thus Historians degenerated into True Romancers.
In this Age of Ignorance, the Latin Tongue, as well as Truth, was neglected and despised. The Versifiers, Composers, Inventers of Tales, Jesters, and in short, all of this Country who studied what they called Gay Science, began about the time of Hugh

==105==
==106==
==107==
==108==
==109==
ple communicate it to the rest of Europe. But to admit this, we must assent, that Taliessin and Melkin, both English, and Hunnibaldus Francus, (which are all of them, believed to have composed their Romances about the Year 550) are most recent, by almost 200 years, than we can imagine. For the Revolt of Count Julian, and Entrance of the Arabians into Spain, happened not till 91 of the Hegira, or 712 of our Saviour; and some Time must be allowed for the Diffusing of these Romances into Spain, and for those which (as is pretended) the Spaniards made in Imitation of them; to be dispersed throughout Europe. I shall not take upon me to main-

==110==
maintain the Antiquity of these Writers, tho' I have great Authority to do it, because the common and received Opinion would support me. 'Tis certain that the ''Arabians'' were extremely addicted, as I have made appear, to the ''Gay Science'', I mean, Poesy, Fable, and Fiction. This Science was preserv'd in its Primitive Rudeness by them, till it was cultivated and improved by the ''Greeks''. They brought it along with their Arms into ''Africa'', when they subdued it; tho' it had before flourished in that Country: For ''Aristotle'', and after him ''Priscian'', make mention of the ''Libyc'' Fables; and the Romances of ''Apuleius'' and ''Martianns Capella'',

==111==
both Africans, (of whom I have spoken) threw, that it was the Wit of these people, which very much conduced to fortify the Victorious Arabians in their Inclination.
We are farther inform'd from Leo Afer abd Marmol, that the African Arabians do still passionately love Romantic Poesy; that they celebrate the Exploits of their Bubala in Verse and Prose, as we do those of our Arthur and Lancelot; that their Moabites compose Ditties of Love: That in Fez, on Mahomet's Birth-Day, the Poets have their Assemblies and Public Sports. and repeat Verse to the People : That whoever of them has the Approbation of the Auditors,

==112==
is created Prince of the Poets for that Year: That the Kings of the House of Benimerinis, who have Reigned these Three Hundred Years, and which our Old Writers called Bellemarine, convene on a certain Day every Year the most Able Judges of the City of Fez, and entertain them with a Splendid Feast: after which the Poets repeat their Eulogiums, in Honour of Mahomet: That the King confers on him who excels the rest, a Sum of Money, an Horse, a Slave, and the Robes which himself wore that Day; and that none of them are dismissed without a Reward.

==113==

''Spain'', when it had received the Yoke of the ''Arabians'', learnt with their Manners the Custom of Singing Love-Verses, and Celebrating the Actions of Great Men, after the Institution of the ''Bards'' among the ''Gauls''. But these Songs, which they called Romances, were very different from what properly deserves that Name: For they were Poems composed for Singing, and consequently very concise. Some have made Collections of them; and many of them appear to be so very Ancient, that they can hardly be understood. They have sometimes served to illustrate and explain the histories of that Country, and to reduce the Events to the Order of Chronology.

==114==
==115==
to be the first Romance of Chivalry which was printed in ''Spain'', and the Model, and Best of all the other.
''Palmerin'' of ''England'', which some believe was composed by a King of ''Portugal'', met with an Easy Sentence, to be put in a Box like that of ''Darius'', wherein ''Alexander'' kept the Works of ''Homer''. Don ''Belianis'', the Mirror of Chilvalry, ''Tirante'' the ''White'', and ''Kyrie'' ''Eleison'' of ''Montauban''; (for in those Good Old Times it was believed, that ''Kyrie Eleison'', and ''Paralipomenon'', were the Names of some Saints) where the Subtleties of Madam ''Pleasure-of-my-Life'', and the Love and Intrigues of the Widow ''Reposada'', are highly

==116==
==117==
among us, to give their Vestments to Poets, which continues to this Day in Use at Fez, confirms this Suspicion: I answer; That it is not impossible that we should receive Rhymes from the Arabians, and in Imitation of them, apply them to Romances. I'll allow farther, that the Inclination we then had for Romances, might be enhanced and sortified by their Example; and that our Art of Romancing (as is probable) was enriched, and improved, by the Communication of Wars we were engaged in with Spain: But all this does not conclude, that we were indebted to them for our Inclination to this Art; since 'twas in

==118==
use with us, before 'twas known among them. This Reason does farther oblige me not to believe, that the Princes of France took the Custom of Divesting themselves of their Garments, in Favour of the Poets, from the Arabian Kings. I rather think, that each of them were affected with the Excellent Works they heard repeated, and could not restrain themselves from dispensing their Liberality immediately, and made use of their Garments, because they were nearest at Hand; as we read of some Saints, who have done the same to the Poor: And that this Custom, which was received into France by Accident,

==119==
and is continued in Fez, may have been introduced into both the Places by Chance.
It is very credible, that the Italians were first induced to compose Romances, by the Examples of those in Provence, when the Popes fat at Avignon, and perhaps by that of other Divisions of the French, when the Normans and Charles Earl of Anjou, /Brother to St. Louis)a Virtuous Prince, a Lover of Poetry, and a Poet himself, made War in Italy. For the Normans could not refrain themselves from the Polite Science. History reports, they sung the Exploits of Roland, before they got that Memorable Battel, which gave the Crown of England to Willi-

==120==
==121==
==122==

with Herbs and Roots; so when the Knowledge of Truth, which is the Proper and Natural Aliment of the Mind, begins to fail, we have Recourse to Falshood, which is the Imitation of Truth. As in Plenty we refuse Bread, and our ordinary Viands, for Ragousts; so our Minds, when acquainted with the Truth, forsake the Study and Speculation of it, to be entertained with its Image, which is Fiction. This Imitation, according to Aristotle, is often more agreeable than the Original itself; so that two oppositely different Paths, which are Ignorance and Learning, Rudeness and Politness, do often conduct uss to the same End; which is, an

==123==
==124==
==125==
have recourse to what's past, and to come, in Truth and in Fiction, in Imaginary Spaces and Impossibilities, For Objects to exert it sels upon. The Objects of sense fill the Desires of the Soul of Brutes, who have no farther Concern; so that we can't discover in them these restless Emotions, which continually actuate the Mind of Man, and carry it into the Pursuit of a recent Information, to proportion (if possible) the Object to the Faculty; and enjoy a Pleasure, resembling that which we perceive in the Applealing a Violent Hunger, and Extinguishing a Corroding Thirst. This is that which ''Plato'' intends, in the Marriage of Dorus

==126==
and ''Penia'', (in which Terms he would express Riches and Poverty,) which produce exquisite Pleasure. The Object is signified by Riches, which are not so but in Use and Intention; otherwise they are Unfruitful, and afford no Delight. The Faculty is intended by Poverty; which is sterile, and always attended by Inquietude; while 'tis separated from Riches, whereas its Union with them, supplies the Highest Satisfaction. The Case is the same with our Souls: Poverty, the same with Ignorance, is Natural to it; it sighs continually after Science, which is its Riches; and when 'tis possess'd of this Enjoyment, it feels the greatest Pleasure. But this

==127==
==128==
==129==
tions there find themselves agreeably provoked and appeased.
'Tis hence, that those who act more by Reason than Passion, and labour more with their Imagination than Understanding, are affected by them, tho' these other are touched by them too, but after another manner. These are touched by the Beauties of Art, which amuse the Understanding; but the former, Ignorant and Simple, are sensible of no more than what strikes upon the Imagination, and stirs their Passion. They love the Fiction, and enquire no farther. Now Fiction being nothing but Narrations, True in Appearance, and False in Reality; the Minds of the Simple, who discern only

==130==
==131==
==132==
==133==
==134==
==135==
==136==
==137==
==138==
==139==
==140==
==141==
and History so far, that they now no longer understand those Works, from which they received their greatest Embellishments: And lest they should blush at this Ignorance, which they find themselves so often guilty of; they perceive they had better disapprove what they don't know, than take the Pains to learn it.
The Men, in Complaisance, have imitated them, condemned what they disliked, and call that Pendantry, which made an Essential Part of Politeness, even in ''Malherbe's'' Time. The Poets, and other ''French'' Writers who succeeded, have been constrained to submit to this Arbi-

==142==
tration; and many of them,observing that the Knowledge of Antiquity would be one of no Advantage to them, have ceased to study what they durst not practise: Thus a very Good Cause has produced an Ill Effect, and the Beauty of our Romances has drawn upon them the Contempt pf Good Letters, and consequently Ignorance.
I don't, for all this, pretend to condemn the Reading of them. The Best Things in the World are attended worth their Inconveniences; Romances too may have much worse than Ignorance. I know what they are accused for: They exhaust our Devotion, and in-

==143==
spire us with irregular [...] Despair of a Young Man.

==144==
''Cherea'', in ''Terence'', fortifies himself in a Criminal Design, at the Sight of a Picture of ''Jupiter'', which drew the Reverence of all other Spectators. Little Regard was had to Sobriety of Manners, in most Part of the ''Greek'' and Old ''French'' Romances, by Reason of the Vice of the Times in which they were composed. Even the ''Astrea'', and some others which have followed, are Licentious. But the Modern Romances (I speak of the Good ones) are so far from this Fault, that you'll scarce find an Expression, or Word, which may shock Chaste Ears, or one single Action which may give Offence to Modesty.

==143 [sic!]==
If any one Object; [...] are the most unguarded to its Ass-

==144 [sic!]==
saults, that the most Ignorant [...] Able Philosophers.

==145==
Monsieur D'Vrfee was the first who retrieved them from Barbarity, and reduced them to Rules, in his Incomparable Afirea, The most Ingenious and Polite Work which has appeared in this Kind, and which Eclipsed the Glory which Greece, Italy and Spain, had acquired.
However, he has not discouraged those who come after him, to undertake what he has performed. He has not so far engrossed the Public Admiration, but that some are still left for the many Excellent Romances which displayed themselves in France since His.

==146==

None can, without Amazement, read those which a Maid, as illustrious in her modesty, as her Merit, has published under a Borrowed Name; devriving her self so Generously of that Glory which was her Due, and not seeking for a Reward, but in her Virtue; as if while She took so much Trouble for the Honour of our Nation, She would soare that Shame to Our Sex. But Time has done her that Justice, which She denied her self; and has informed us, that the Illustrious Bassa, Grand ''cyrus'', and ''Claelia'', are the Performances of Madam ''De Scudery'': that the Art of making Romances, which might defend it

==147==
itself against Scrupulous Censures, not only by the Commendations which the Patriarch Photius gives it, but by the great Examples of those who have applied themselves to it, might justify itself by Her's: That that which has been improved by Philosophers, as Apuleis, and Athenagoras; by a Roman Prator, as Sisenna; by a Consul, as Petronius; by a Pretender to the Empire, as Clodius Albinus; by a Priest, as Theodorus Prodromus; by Bishops, as Heliodorus, and Achilles Tatius; by a Pope, as Pius Secundus, who wrote the Loves of Euryalus and Lucretia; by a Saint, as John Damascenus; might have the Ho-

==148==
nour

==149==

[[Category:17th century|1670]]
[[Category:1670s|1670]]
[[Category:By author|Huet, Pierre Daniel]]

Talk:2008 BM1 Tutorials

2007-10-24T18:34:28Z

Florian Gubisch: /* Zwischenbesprechung, Do. 18.10.2007 */

(Beim Unterschreiben vier Tilden <nowiki>~~~~</nowiki> setzen, das System macht daraus Eure Unterschrift.)

==Termine für die Tutoren==
*Accounts anlegen (bitte mit Klarnamen), und Beiträge in Binnenkommunikation mit vier Tilden <nowiki>~~~~</nowiki> unterzeichnen.
===Tutorenqualifizierungsprogramm 8-12.10.2007===
*Frau Margit Ladenthin informierte über ein Tutorenqualifizierungsprogramm. Nähere Einzelheiten zu den Kursen finden sich unter [http://www.uni-oldenburg.de/studium/19028.html http://www.uni-oldenburg.de/studium/19028.html]. Sie ließ im selben Schreiben "im Auftrag der Vizepräsidentin Frau Doering" auf die "Verbindlichkeit zur Teilnahme an diesem Programm hinweisen". Was "natürlich nur für diejenigen TutorInnen [gelte], die bisher an keiner Qualifizierungsmaßnahme teilgenommen" hätten. Frau Ladenthin meinte, daß Teilnehmer ab zwei besuchten Kursen ein Zertifikat erhieltet, das sie bei Bewerbungen vorzeigen könnten.
:*Die Anmeldung für die Kurse hat zwischen dem 10. und dem 28.9. zu erfolgen
:*Die Kurse finden vom 8. bis 12. Oktober statt.
:::Mir ist selbst nicht klar, ob die "Verpflichtung" auch für TutorInnen besteht, die das Sem.f.Angl.Am. aus den von ihm verwalteten Studienbeiträgen finanziert. Jedenfalls bereiten wir unsere TutorInnen auf ihre spzifischen Aufgaben bei uns vor. Ich meine aber, dass von den bisherigen TutorInnen, die solche Kurse besucht haben, ein positives Feedback kam und dass m.W. eine Auswahlmöglichkeit nach je besonderer Interessenlage besteht. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
::::Eine kurze Anmerkung zum Tutorenprogramm: Aus eigener Erfahrung kann ich die Teilnahme am Tutorenprogramm empfehlen. Anton hat bereits darauf hingewiesen, dass es ein recht vielfältiges Angebot an Workshops gibt. Für mich waren die Workshops ein guter Einstieg. Sie haben dazu angeregt, das eigene Handeln auf vielfältige Weise zu reflektieren. Zudem boten die Workshops die Möglichkeit, sich mit anderen Tutoren auszutauschen und von deren Erfahrungen zu profitieren. Gruß, [[User:Christina Stindl|Christina Stindl]] 15:37, 6 September 2007 (CEST)

===Verträge 30.9.2007 / 15.10.2007===
*Bis zum 30.9.2007 müssen die Verträge bei [[User:Olaf Simons|Olaf Simons]] vorliegen, der sie unterschrieben an Brigitte Dau zurückleitet. Die Formulare - gibt es im Download:
:*[http://www.uni-oldenburg.de/dezernat1/download/vordrucke/D08_stuhi_antr.pdf Beschäftigung als studentische Hilfskraft - Bewerbung - Neueinstellung - Weiterbeschäftigung]
:* [http://www.uni-oldenburg.de/dezernat2/download/Besoldfrag.pdf Besoldungsfragebogen]
:* [http://www.uni-oldenburg.de/dezernat2/download/Versicherungspfl.pdf Angaben zur Sozialversicherungspflicht]

===Vorbesprechung 11.10.2007===
*Am 11.10.2007, 10:30 treffen wir uns zu einer Vorbesprechung. Da Antons Raumnummer noch nicht feststeht, ist der Ort im Moment mein Büro - Ab Mitte September A6 2-209. Rückmeldung dazu:
:::#[[User:Katrin Ischebeck|Katrin Ischebeck]] bat per e-mail um den 11.10 (im Vorgespräch war auch der 9.10. bereits)
:::#11.10. geht für mich --[[User:Olaf Simons|Olaf Simons]] 11:25, 6 September 2007 (CEST)
:::#11.10. ist für mich genausogut. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
:::#Der Termin am 11.10. passt mir auch gut.[[User:Christina Stindl|Christina Stindl]] 15:34, 6 September 2007 (CEST)
:::#Beide Termine sind bei mir möglich. Bitte aber um frühzeitige Festlegung. [[User:Katharina Schneider|Katharina Schneider]]
:::#Von [[User:Florian Gubisch|Florian Gubisch]] erhielt ich positive Rückmeldung für den 11.10. per e-mail, der Termin steht damit. --[[User:Olaf Simons|Olaf Simons]] 13:35, 11 September 2007 (CEST)
Für mich passt dies ebenso (Florian Gubisch) till then farewell

==Zwischenbesprechung, Do. 18.10.2007==

Wir hielten den Termin offen für eine Besprechung bei der wir AK & OS, erste Materialien fertig haben sollten. Falls sich herausstellt, daß wir den Termin besser fallen lassen wird das hier und per E-mail kurzfristig notiert. --[[User:Olaf Simons|Olaf Simons]] 12:29, 11 October 2007 (CEST)
Habe das Datum auf Donnerstag den 18.10.2007 verändert...just to make sure
Florian

::schickte soeben Post herum, da der Termin von Anton und mir aus entfallen kann. Unsere Vorlesung beginnt am Dienstag den 23., eine erste reguläre Besprechung folgt demnach am Donnerstag 16:00. Gruß, --[[User:Olaf Simons|Olaf Simons]] 18:43, 16 October 2007 (CEST)

:::kurze Frage: Könnten wir den Termin am 25.10. nach hinten verschieben? Vorschlag z.B. 16:45 Uhr? bis später, Gruß Florian

::::Hab ich kein Problem mit. (Möchte aber gerne 18:00 mit allem durch sein). Von mir aus bis Dienstag 14:05 - Hilfe beim Aufbau ist immer willkommen. Gruß, --[[User:Olaf Simons|Olaf Simons]] 11:58, 18 October 2007 (CEST)

::: Anton, Christina und Katrin können auch um 16:45Uhr. Wer weiß etwas von Katharina?
...auf jeden Fall schon einmal Danke für eure Flexibilität.
Florian

==Zwischenbesprechung, Do. 25.10.2007==
Ich gehe jetzt einfach mal davon aus, dass wir uns um 16:45 Uhr treffen.
Bis morgen
[[User:Florian Gubisch|Florian Gubisch]] 20:34, 24 October 2007 (CEST)

==Termine und Räume für ergänzende Tutorien==

Frau Taute bietet folgende Räume und Zeiten an. Bitte greift Euch einen in dem Ihr euren Namen daneben schreibt.

Mo 08-10 (vom 12.11. - 17.12.07) Raum A4 4-407 Florian Gubisch 
Do 08-10 (vom 15.11. - 20.12.07) Raum A4 4-414 Christina Stindl 
Fr 08-10 (vom 16.11. - 21.12.07) Raum A4 4-414 Christina Stindl evtl. für Part II 

Dazu steht, wie gesagt, noch Di 18-20, Aquarium zur Verfügung (für Christina gebucht?) [[User:Anton Kirchhofer|Anton Kirchhofer]] 13:33, 11 October 2007 (CEST)
Katrin würde ihr Tutorium gern am Di 18-20 anbieten --[[User:Christina Stindl|Christina Stindl]] 22:30, 14 October 2007 (CEST)

User:Florian Gubisch

2007-10-23T18:21:48Z

Florian Gubisch:

Tutor im [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|BM 1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1]]

Hello everybody

For all you earlybirds:

Tutorial: Mon 8:00-10:00 in A4-4-407 starting on November 12th.
Hope to see you there. Bring a cup of tea and we shall have a jolly good time.

My favourite quote:

"Life is neither black nor white.
It`s just grey.
Our task is to find out what sort of grey."

Enjoy.

In case you want to know more.

You can find me on studivz or mail me at
florian.gubisch@uni-oldenburg.de

[[User:Florian Gubisch|Florian Gubisch]] 20:21, 23 October 2007 (CEST)

User:Florian Gubisch

2007-10-23T18:04:47Z

Florian Gubisch:

Tutor im [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|BM 1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1]]

Hello everybody

For all you earlybirds:

Tutorial: Mon 8:00-10:00 in A4-4-407 starting on November 12th.
Hope to see you there. Bring a cup of tea and we shall have a jolly good time.

My favourite quote:

"Life is neither black nor white.
It`s just grey.
Our task is to find out what sort of grey."

Enjoy.

In case you want to know more.

You can find me on studivz or mail me at
florian.gubisch@uni-oldenburg.de

User:Florian Gubisch

2007-10-23T18:04:03Z

Florian Gubisch:

Tutor im [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|BM 1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1]]

Hello everybody

For all you earlybirds:

Tutorial: Mon 8:00-10:00 in A4-4-407 starting on November 12th.
Hope to see you there. Bring a cup of tea and we shall have a jolly good time.

My favourite qoute:

Life is neither black nor white.
It`s just grey.
Our task is to find out what sort of grey.

Enjoy.

In case you want to know more.

You can find me on studivz or mail me at
florian.gubisch@uni-oldenburg.de

Talk:2008 BM1 Tutorials

2007-10-18T16:45:37Z

Florian Gubisch: /* Zwischenbesprechung, Do. 18.10.2007 */

(Beim Unterschreiben vier Tilden <nowiki>~~~~</nowiki> setzen, das System macht daraus Eure Unterschrift.)

==Termine für die Tutoren==
*Accounts anlegen (bitte mit Klarnamen), und Beiträge in Binnenkommunikation mit vier Tilden <nowiki>~~~~</nowiki> unterzeichnen.
===Tutorenqualifizierungsprogramm 8-12.10.2007===
*Frau Margit Ladenthin informierte über ein Tutorenqualifizierungsprogramm. Nähere Einzelheiten zu den Kursen finden sich unter [http://www.uni-oldenburg.de/studium/19028.html http://www.uni-oldenburg.de/studium/19028.html]. Sie ließ im selben Schreiben "im Auftrag der Vizepräsidentin Frau Doering" auf die "Verbindlichkeit zur Teilnahme an diesem Programm hinweisen". Was "natürlich nur für diejenigen TutorInnen [gelte], die bisher an keiner Qualifizierungsmaßnahme teilgenommen" hätten. Frau Ladenthin meinte, daß Teilnehmer ab zwei besuchten Kursen ein Zertifikat erhieltet, das sie bei Bewerbungen vorzeigen könnten.
:*Die Anmeldung für die Kurse hat zwischen dem 10. und dem 28.9. zu erfolgen
:*Die Kurse finden vom 8. bis 12. Oktober statt.
:::Mir ist selbst nicht klar, ob die "Verpflichtung" auch für TutorInnen besteht, die das Sem.f.Angl.Am. aus den von ihm verwalteten Studienbeiträgen finanziert. Jedenfalls bereiten wir unsere TutorInnen auf ihre spzifischen Aufgaben bei uns vor. Ich meine aber, dass von den bisherigen TutorInnen, die solche Kurse besucht haben, ein positives Feedback kam und dass m.W. eine Auswahlmöglichkeit nach je besonderer Interessenlage besteht. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
::::Eine kurze Anmerkung zum Tutorenprogramm: Aus eigener Erfahrung kann ich die Teilnahme am Tutorenprogramm empfehlen. Anton hat bereits darauf hingewiesen, dass es ein recht vielfältiges Angebot an Workshops gibt. Für mich waren die Workshops ein guter Einstieg. Sie haben dazu angeregt, das eigene Handeln auf vielfältige Weise zu reflektieren. Zudem boten die Workshops die Möglichkeit, sich mit anderen Tutoren auszutauschen und von deren Erfahrungen zu profitieren. Gruß, [[User:Christina Stindl|Christina Stindl]] 15:37, 6 September 2007 (CEST)

===Verträge 30.9.2007 / 15.10.2007===
*Bis zum 30.9.2007 müssen die Verträge bei [[User:Olaf Simons|Olaf Simons]] vorliegen, der sie unterschrieben an Brigitte Dau zurückleitet. Die Formulare - gibt es im Download:
:*[http://www.uni-oldenburg.de/dezernat1/download/vordrucke/D08_stuhi_antr.pdf Beschäftigung als studentische Hilfskraft - Bewerbung - Neueinstellung - Weiterbeschäftigung]
:* [http://www.uni-oldenburg.de/dezernat2/download/Besoldfrag.pdf Besoldungsfragebogen]
:* [http://www.uni-oldenburg.de/dezernat2/download/Versicherungspfl.pdf Angaben zur Sozialversicherungspflicht]

===Vorbesprechung 11.10.2007===
*Am 11.10.2007, 10:30 treffen wir uns zu einer Vorbesprechung. Da Antons Raumnummer noch nicht feststeht, ist der Ort im Moment mein Büro - Ab Mitte September A6 2-209. Rückmeldung dazu:
:::#[[User:Katrin Ischebeck|Katrin Ischebeck]] bat per e-mail um den 11.10 (im Vorgespräch war auch der 9.10. bereits)
:::#11.10. geht für mich --[[User:Olaf Simons|Olaf Simons]] 11:25, 6 September 2007 (CEST)
:::#11.10. ist für mich genausogut. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
:::#Der Termin am 11.10. passt mir auch gut.[[User:Christina Stindl|Christina Stindl]] 15:34, 6 September 2007 (CEST)
:::#Beide Termine sind bei mir möglich. Bitte aber um frühzeitige Festlegung. [[User:Katharina Schneider|Katharina Schneider]]
:::#Von [[User:Florian Gubisch|Florian Gubisch]] erhielt ich positive Rückmeldung für den 11.10. per e-mail, der Termin steht damit. --[[User:Olaf Simons|Olaf Simons]] 13:35, 11 September 2007 (CEST)
Für mich passt dies ebenso (Florian Gubisch) till then farewell

==Zwischenbesprechung, Do. 18.10.2007==

Wir hielten den Termin offen für eine Besprechung bei der wir AK & OS, erste Materialien fertig haben sollten. Falls sich herausstellt, daß wir den Termin besser fallen lassen wird das hier und per E-mail kurzfristig notiert. --[[User:Olaf Simons|Olaf Simons]] 12:29, 11 October 2007 (CEST)
Habe das Datum auf Donnerstag den 18.10.2007 verändert...just to make sure
Florian

::schickte soeben Post herum, da der Termin von Anton und mir aus entfallen kann. Unsere Vorlesung beginnt am Dienstag den 23., eine erste reguläre Besprechung folgt demnach am Donnerstag 16:00. Gruß, --[[User:Olaf Simons|Olaf Simons]] 18:43, 16 October 2007 (CEST)

:::kurze Frage: Könnten wir den Termin am 25.10. nach hinten verschieben? Vorschlag z.B. 16:45 Uhr? bis später, Gruß Florian

::::Hab ich kein Problem mit. (Möchte aber gerne 18:00 mit allem durch sein). Von mir aus bis Dienstag 14:05 - Hilfe beim Aufbau ist immer willkommen. Gruß, --[[User:Olaf Simons|Olaf Simons]] 11:58, 18 October 2007 (CEST)

::: Anton, Christina und Katrin können auch um 16:45Uhr. Wer weiß etwas von Katharina?
...auf jeden Fall schon einmal Danke für eure Flexibilität.
Florian

==Termine und Räume für ergänzende Tutorien==

Frau Taute bietet folgende Räume und Zeiten an. Bitte greift Euch einen in dem Ihr euren Namen daneben schreibt.

Mo 08-10 (vom 12.11. - 17.12.07) Raum A4 4-407 Florian Gubisch 
Do 08-10 (vom 15.11. - 20.12.07) Raum A4 4-414 Christina Stindl 
Fr 08-10 (vom 16.11. - 21.12.07) Raum A4 4-414 Christina Stindl evtl. für Part II 

Dazu steht, wie gesagt, noch Di 18-20, Aquarium zur Verfügung (für Christina gebucht?) [[User:Anton Kirchhofer|Anton Kirchhofer]] 13:33, 11 October 2007 (CEST)
Katrin würde ihr Tutorium gern am Di 18-20 anbieten --[[User:Christina Stindl|Christina Stindl]] 22:30, 14 October 2007 (CEST)

Talk:2008 BM1 Tutorials

2007-10-17T17:59:44Z

Florian Gubisch: /* Zwischenbesprechung, Do. 18.10.2007 */

==Termine für die Tutoren==
*Accounts anlegen (bitte mit Klarnamen), und Beiträge in Binnenkommunikation mit vier Tilden <nowiki>~~~~</nowiki> unterzeichnen.
===Tutorenqualifizierungsprogramm 8-12.10.2007===
*Frau Margit Ladenthin informierte über ein Tutorenqualifizierungsprogramm. Nähere Einzelheiten zu den Kursen finden sich unter [http://www.uni-oldenburg.de/studium/19028.html http://www.uni-oldenburg.de/studium/19028.html]. Sie ließ im selben Schreiben "im Auftrag der Vizepräsidentin Frau Doering" auf die "Verbindlichkeit zur Teilnahme an diesem Programm hinweisen". Was "natürlich nur für diejenigen TutorInnen [gelte], die bisher an keiner Qualifizierungsmaßnahme teilgenommen" hätten. Frau Ladenthin meinte, daß Teilnehmer ab zwei besuchten Kursen ein Zertifikat erhieltet, das sie bei Bewerbungen vorzeigen könnten.
:*Die Anmeldung für die Kurse hat zwischen dem 10. und dem 28.9. zu erfolgen
:*Die Kurse finden vom 8. bis 12. Oktober statt.
:::Mir ist selbst nicht klar, ob die "Verpflichtung" auch für TutorInnen besteht, die das Sem.f.Angl.Am. aus den von ihm verwalteten Studienbeiträgen finanziert. Jedenfalls bereiten wir unsere TutorInnen auf ihre spzifischen Aufgaben bei uns vor. Ich meine aber, dass von den bisherigen TutorInnen, die solche Kurse besucht haben, ein positives Feedback kam und dass m.W. eine Auswahlmöglichkeit nach je besonderer Interessenlage besteht. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
::::Eine kurze Anmerkung zum Tutorenprogramm: Aus eigener Erfahrung kann ich die Teilnahme am Tutorenprogramm empfehlen. Anton hat bereits darauf hingewiesen, dass es ein recht vielfältiges Angebot an Workshops gibt. Für mich waren die Workshops ein guter Einstieg. Sie haben dazu angeregt, das eigene Handeln auf vielfältige Weise zu reflektieren. Zudem boten die Workshops die Möglichkeit, sich mit anderen Tutoren auszutauschen und von deren Erfahrungen zu profitieren. Gruß, [[User:Christina Stindl|Christina Stindl]] 15:37, 6 September 2007 (CEST)

===Verträge 30.9.2007 / 15.10.2007===
*Bis zum 30.9.2007 müssen die Verträge bei [[User:Olaf Simons|Olaf Simons]] vorliegen, der sie unterschrieben an Brigitte Dau zurückleitet. Die Formulare - gibt es im Download:
:*[http://www.uni-oldenburg.de/dezernat1/download/vordrucke/D08_stuhi_antr.pdf Beschäftigung als studentische Hilfskraft - Bewerbung - Neueinstellung - Weiterbeschäftigung]
:* [http://www.uni-oldenburg.de/dezernat2/download/Besoldfrag.pdf Besoldungsfragebogen]
:* [http://www.uni-oldenburg.de/dezernat2/download/Versicherungspfl.pdf Angaben zur Sozialversicherungspflicht]

===Vorbesprechung 11.10.2007===
*Am 11.10.2007, 10:30 treffen wir uns zu einer Vorbesprechung. Da Antons Raumnummer noch nicht feststeht, ist der Ort im Moment mein Büro - Ab Mitte September A6 2-209. Rückmeldung dazu:
:::#[[User:Katrin Ischebeck|Katrin Ischebeck]] bat per e-mail um den 11.10 (im Vorgespräch war auch der 9.10. bereits)
:::#11.10. geht für mich --[[User:Olaf Simons|Olaf Simons]] 11:25, 6 September 2007 (CEST)
:::#11.10. ist für mich genausogut. [[User:Anton Kirchhofer|Anton Kirchhofer]] 14:17, 6 September 2007 (CEST)
:::#Der Termin am 11.10. passt mir auch gut.[[User:Christina Stindl|Christina Stindl]] 15:34, 6 September 2007 (CEST)
:::#Beide Termine sind bei mir möglich. Bitte aber um frühzeitige Festlegung. [[User:Katharina Schneider|Katharina Schneider]]
:::#Von [[User:Florian Gubisch|Florian Gubisch]] erhielt ich positive Rückmeldung für den 11.10. per e-mail, der Termin steht damit. --[[User:Olaf Simons|Olaf Simons]] 13:35, 11 September 2007 (CEST)
Für mich passt dies ebenso (Florian Gubisch) till then farewell

==Zwischenbesprechung, Do. 18.10.2007==

Wir hielten den Termin offen für eine Besprechung bei der wir AK & OS, erste Materialien fertig haben sollten. Falls sich herausstellt, daß wir den Termin besser fallen lassen wird das hier und per E-mail kurzfristig notiert. --[[User:Olaf Simons|Olaf Simons]] 12:29, 11 October 2007 (CEST)
Habe das Datum auf Donnerstag den 18.10.2007 verändert...just to make sure
Florian

::schickte soeben Post herum, da der Termin von Anton und mir aus entfallen kann. Unsere Vorlesung beginnt am Dienstag den 23., eine erste reguläre Besprechung folgt demnach am Donnerstag 16:00. Gruß, --[[User:Olaf Simons|Olaf Simons]] 18:43, 16 October 2007 (CEST)

kurze Frage: Könnten wir den Termin am 25.10. nach hinten verschieben? Vorschlag z.B. 16:45 Uhr? bis später
Gruß Florian

==Termine und Räume für ergänzende Tutorien==

Frau Taute bietet folgende Räume und Zeiten an. Bitte greift Euch einen in dem Ihr euren Namen daneben schreibt.

Mo 08-10 (vom 12.11. - 17.12.07) Raum A4 4-407 Florian Gubisch 
Do 08-10 (vom 15.11. - 20.12.07) Raum A4 4-414 Christina Stindl 
Fr 08-10 (vom 16.11. - 21.12.07) Raum A4 4-414 Christina Stindl evtl. für Part II 

Dazu steht, wie gesagt, noch Di 18-20, Aquarium zur Verfügung (für Christina gebucht?) [[User:Anton Kirchhofer|Anton Kirchhofer]] 13:33, 11 October 2007 (CEST)
Katrin würde ihr Tutorium gern am Di 18-20 anbieten --[[User:Christina Stindl|Christina Stindl]] 22:30, 14 October 2007 (CEST)

Help talk:Signature

2007-05-10T19:38:22Z

Florian Gubisch:

Either Saturday or Sunday works - just let me know
*[[User:Florian Gubisch|Florian Gubisch]] 21:38, 10 May 2007 (CEST)