Angl-Am - User contributions [en]

Talk:Blog

2008-05-14T13:42:13Z

Joern Esch: To Bryon

''Frankly I am totally against any kind of religion....philosophy and some kind of spiritual theories: yes, but religion (with a holy book, monuments and rituals) is, in my eyes, the deepest disillusionment humanity ever got into! At first I need to say that I accept and understand every religion in existence. Still religion is nothing scientific...Isn't it? My character traits always allow me to accept everything and especially those things which I cant see but it always shocked me last week when many of my friends told me they take lectures in Religion... What is there to analyse about? I am always open for enlightenment but just as long as it follows a certain logic.''

''Is believing in a supernatural power a logic?''

''Is going to church (or praying in a temple), falling on your knees, stretching your arms up to the ceiling something you have to do to reach a higher state of understanding?''

''Is living a strict and regulated life a path to enlightenment?''

:It is easy to say that when having no idea about it. Sorry, but I think it is a restricted view to argue that religion is not scientific or logical, or even to say it was a disillusionment. You think religion is not scientific - what do you think is 'scientific', or what is scientific about literature? Others could ask this question to you because they do not understand the 'scientific-ness' of literature the way you do it. What you write in your blog about your attitude toward poetry isn't 'scientific' or 'logical' either. Does writing poems make you reach a 'higher state of understanding'?
:Yet, religion is as scientific as philosophy or literature. Students/scholars analyze and criticize what is written in the Bible, how it is written, or even by whom it was written. There is much more to analyze as you think. Take one passage in the Bible and analyze it from different perspectives - philosophy, sociology etc. (see the term ''Exegese''). By the way, not every student who studies theology is religious. One way to deal with religion is that you don't take it too serious. [[User:Verena Engelhardt|Verena Engelhardt]] 19:36, 14 April 2008 (CEST)

== To Bryon ==

Hello there,

if you fancy going out to a rather alternative place, I'll strongly suggest the Metro in Fridays and Saturdays!
Since I moved to Leeds I can absolutely relate to your feeling of slight alienation! Go to the Metro and enjoy yourself mate.
You could also consider going to a rather 'chillaxed' (learned another ridiculous compound recently) club called Polyester and play some 'Fussball' there.

Cheers

User:Joern Esch

2008-03-24T15:34:16Z

Joern Esch: /* Interessen */

== Vita ==

* 2002 '''Abitur''' am Gymnasium Antonianum Vechta
* Sommer 2002 Grundwehrdienst in Delmenhorst
* seit SoSe 2003 '''Studium''' der '''Anglistik und '''Geschichtswissenschaft''' in Oldenburg
* seit dem 1.10.2007 bin ich nun in '''England''', genauer in Leeds, und unterrichte als Fremdsprachenassistent Deutsch an einer Gesamtschule. Bei Fragen zu diesem "Beruf" wendet euch doch an mich

== Interessen ==

* vor allen Dingen '''Fußball''', d.h. spielen, zuschauen und die wissenschaftliche Auseinandersetzung mit seinem Gewordensein, seiner sozio-historischen Relevanz
* '''Philosophie''', '''Soziologie''', '''Geschichtswissenschaft''', vor allem die Arbeiten Michel '''Foucaults''', Pierre '''Bourdieus''' und Niklas '''Luhmanns'''

* erste Veröffentlichung zur Geschichte des Fußballs:
http://ffw.denkraeume-ev.de/1-08/esch/

Blog

2007-12-16T12:35:30Z

Joern Esch:

__NOTOC__
choose a column, write, sign with <nowiki>~~~~</nowiki>, save.
{|width="100%" cellpadding="10"
|width=45% align="left" valign="top"|
== England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 13:35, 16 December 2007 (CET) ==

Its been a while, hasn't it? Well, I forgot my adapter at school, thus I was not able to use my computer until Friday. Friday I did not write anything, because I was at school and went to a poker tournament afterward...I finished 4th and won 105Pounds...YEAH! Yesterday an old friend of mine came by, so this is actually the first opportunity to write something.
Nothing much is - in fact - happening at the moment. I will have to work Monday and Tuesday and then I am on my Christmas vacation. I will leave Leeds on Wednesday in the evening and take a plane from Stansted at 7.40 in the morning. It'll most certainly be a quite tiring journey, but that's alright...I guess, since I really look forward to see my family again.
The two days at school I will have to give some information on Christmas in Germany; reproducing stereotypes, re-enforcing them, overgeneralising, and so on...you get the picture. Today I will just relax on the couch and watch funny English TV.
Well then,
I guess I will be chattier tomorrow,

cheers

== England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 17:52, 11 December 2007 (CET) ==

Unfortunately I am not able to write much today, because I am (fortunately)going to see a - most certainly - brilliant concert by Minus the Bear today.
School was alright today. I had two of my favourite classes and the year 7 lunchclub, which is always a pleasure, since them (in Leeds you say them instead of the when you refer to people) kids are sooooo nice! The year 10 fasttrack group (i.e. they are doing their GCSE and their A-levels a year earlier), which we told that I am absolutely ignorant regarding the English language, are about to find out that I am quite alright with my English. I gonna tell them next week anyways and give them the reasons why we pretended I did not understand them. I thought that it would be good for them to overcome their shyness to talk to native speakers in the foreign language and, alas, towards a German they had to talk German, if the German claimed he did not understand a word.
I realise that I made many (...) sentences today. Might be due to all the things going around my head at the moment. I will leave a longer entry tomorrow...hopefully,

cheers

== England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 19:13, 10 December 2007 (CET) ==

Christmas shopping...oh dear. Every year it is the same nonsense and every year I jeopardise my good intentions of not buying too much rubbish whose way of being produced is almost impossible to retrace. I will not be such a bore and go into detail how much we compromise the idea of Christmas by following our capitalistic yearnings. It I just quite interesting that there seems to be no difference between the way English and German Christmas shoppers go utterly berserk when it comes to buying the last piece of manufactured crap. The reason this similarity strikes me is not because I have perceived of the English as an entirely different culture, but I have seen them as rather reserved in their way of going about publicly visible things;i.e. if they are sober and not however involved in a sport event. Everybody you just merely touch on the street immediately apologises; any given occasion where you have to wait for anything: people form a proper cue (even if it is raining and there is no roof). For the most of you this might not be new. Neither is it to me, thus I was really surprised on the absolutely aggressive way the English handle their Christmas shopping, which is so similar to an Advent weekend in Oldenburg's pedestrian precinct.
Before I went to buy presents for my dear ones, I was at school. Today I assisted in two year 11 (age 15-16), a year 10 (age 14-15) and a LOVELY year 8 (age 11-12) groups. All of these groups are - in their own ways - really nice and fun to teach. Asking the same questions over and over again, however, is not so much fun. I will not be able to lead a smalltalk conversation in Germany when I return, since I am sick and tired of questions on name, age, home, hobbies, and favourite music. Well, this is what the teachers want me to do; this is what I am being paid for; and this is what the kids are going to be tested at.

I have to go now, since I am quite hungry and the Simpsons are about to begin,

cheers

== England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 16:48, 9 December 2007 (CET) ==

Nothing much has happened today, since I spent most of the day in the kitchen reading and correcting a dissertation (not a PhD Thesis) of a friend of mine. Initially I wanted to start writing things for my thesis in History, but the correction took quite a while. I also went to the Tesco nearby to get some things for the house (toiletpaper and milk etc.). Tesco is one of the biggest supermarket chains in England, and - as almost everywhere else - one is always asked for a clubcard. Quite annoying and I really don't feel like giving away my personal shopping habits, thus I do not own a club card. I am fully aware of the fact that customer anonymity is rather an illusion, but I do what I can to preserve my private sphere.
I am still quite uncertain about how I will stucture my final thesis and in how far I can employ Foucault's and Bourdieu's theories, thus I decided to start of from a descriptive approach and see how far I can get from there.
Tomorrow I will be working at school again. I work on Mondays, Tuesdays and Fridays, so I have some sort of a "mid-week second weekend" which is quite nice, so I can go to concerts or play poker tournaments in a nearby casino. My work basically includes preparing games or other small speaking activities for the pupils and walking around the classroom and helping with exercises. It is quite alright t work like this and the loan is fairly decent.
I will head home at the 20th and stay at my mom's place. Christmas obligations and seeing my family are the main reasons for that. I do look forward to say "moin" again to people without being looked at as if I were some kind of major weirdo. Mostly all of the other assistants are from southern Germany, so they do not know how to communicate adequately :)
As I have said before, nothing much has happened and my thoughts on my final thesis cannot be discussed here, thus I conclude with wishing all of you all the best,

cheers

==England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 16:49, 8 December 2007 (CET)==
Well then, Blog... dunno really how to do this. I have recently found out about myself that I tend to find out about how to do a thing before I do it. Before I cook, I consult a cookbook or a recipe; before I write something academic, I read theories and theories about the topic; thus, I should actually have read something about how to blog, before I began writing this...but i decided I won't.
So you will have to cope with my blog as it is and if I do not write in agreement to the rules for blogging, i.e. if there are any, well, bear with me.
It is already more than two months ago that I left Oldenburg and went to Leeds. ''The'' major advantage for me, in comparison to other exchange students or foreign language assistants (FLA), was that I already knew somebody here. I had met Naomi three years ago on a surfing trip to Biarritz and we stayed in touch since. As soon as I heard about my provisional implacement in Leeds (where she studies contemporary dance) I texted her and she offered to live in her house, since there was a vacant room.

Alright, Leeds it is!!! Leeds as a city is fairly difficult to describe. It has, as most English cities, these brick, terraced houses, which I am particularly fond of. Leeds will most certainly never become a touristy place like York or other cities where you can go sight-seeing. There are, apart from some exceptions like the Town hall, few pompous buildings that people can take pictures of. Leeds' architectural charm is rather subtle. If one looks up to the houses' gables, one can find a very nice Victorian touch. One can see little variations in most of their architectural style, the applications used, etc. Generally speaking, Leeds seems to quite suiting for my aesthetic preferences. Leeds is one of the cities in Yorkshire which grew rapidly during the Industrialisation. I really like things that show men's manipulation, thus a city with the 'fingerprint' of the industrial revolution meets my gusto.

I will end with these impressions now,

cheers


|align="left" valign="top"|
http://www.uni-oldenburg.de/anglistik/lit-wiss/img/2007_london_detail.jpg

|width=45% align="left" valign="top"|

==[[User:Jessika Thiele|Jessika Thiele]]: William Blake, Tuesday, 14th December, 2007==

In regard of my preparation for the next lectures I noticed something very interesting.
Well, T.S. Eliot's poem is quite long indeed and divided into different parts with different contents.I have read ''The Waste Land'' or some people also call it ''The wasteland'' (I suppose because this is the original title)...a month ago when I was looking through the list of things we need to read.
It is an interesting poem for sure but right now I would prefer to keep my impressions of William Blake in here.

I just read ''Jerusalem'' some minutes ago.I like poems who are short and still would keep every student busy for many many years.
''Jerusalem'' is one of those poems and as Mr. Blake has been a painter too he also made some wonderful paintings of this topic.
As I went through some of the books in library I found some other poems by him.One strange and still fascinating word caught my eyes.
It was the word ''Albion''.
I looked it up in a normal dictionary.I couldnt find any entry.
Well, I looked it up in an older dictionary of the origins of words. There I found only an entry about the beginning of Albion but with a question mark. That confused me even more.
Curiously I continued seeking the meaning of this fascinating word...On the internet I found the answer which could only partly satisfy me.

As William Blake has been very deep into mythology he used it in his works.
In fact Albion has different meanings. It's said that Albion is an old celtic word which describes the Islands of Great Britain.
And in regard of Blake's writings it's a figure of Greek mythology. Albion is the Giant son of the Greek sea god Poseidon.
Albion founded a country on the British Isles and ruled this country.He is divided into ''Four Zoas''(in fact good and bad virtues).

Of course,Albion is not mentioned in the poem ''Jerusalem'' but this knowledge about the interest of Greek mythology by Blake might help us to get the meaning of ''Jerusalem''.

I refrain from giving my opinion at this moment.There should be still some excitement and surprise left for the weekend and tuesday.

==[[User:Jessika Thiele|Jessika Thiele]]: Shakespeare's heritage, Tuesday, 11th December, 2007==

Actually I already tried to sleep but I couldnt...there was the thought of the today's lecture...
Yes,that was a lecture which I liked and needed after three weeks.
It felt as if Shakespere's ghost was watching us...quietly but not in peace.
Sometimes I felt as if I saw some scenes of his life at the grey wall...at those moments my mind was drifting away from the words which were said...dirfting to the 16th and 17th century.

When the lecturer showed pictures of the Globe theatre in London my heart filled with pride cause once I was standing there...on this stage; not as an actress but as a curious poetic student who felt Shakespeare's spirit there stronger than today.

There is one question which really does not want to leave my mind:
How can a poor man ,as Shakespeare has been, write such plays?
Yes, thats the question!...

As I see writing (or in this case dramas) as a part of the great field art...I can see Shakespeare as an artist and every artist puts his soul into his creation.
Of course, there is no doubt that Shakespeare has put some heart in all these plays...but today it is definitely almost undoubtly impossible to prove who Shakespeare really was.

Shamefully artists mostly become famous after their death...that leaves the question : Whats the difference between a dead famous author and a living famous author?
Well, definitely the money to spend and the joy linked to it...BUT when an author gets rich during his live time...then something must be wrong.
Art takes a lot of time to develop ...and with ''develop'' I dont mean the different editions or prints or kinds of performance...No!

I mean, the sensitivity of our society.

As we also heard today...Drama is mostly living through social phenomenas.
With society, Drama changes...art changes.
And this change made Shakespeare a wealthy man already during his life time!

Those who carefully listened today know that Shakespeare lived in a time of change...but,oh, what a drastic change!?
From joy and lovely plays to cruelity,violence and hate.

As we know that clearvoyants dont exist...we can see Shakespeare as a very lucky,and even clever, man of this changing times.
He knew how to handle the changes and how to bring them on the stage.

Maybe that's the reason why we shall respect this gentleman and his works of such ancient time.

==[[User:Jessika Thiele|Jessika Thiele]]: On Poetry, Tuesday, 11th December, 2007==

Last weekend I went through the complexity of Wycherley's ''The Country Wife''.It was not as simple as I thought...though it is definitely a funny play I had my problems with forcing all thoughts into an excerpt.
I could talk about this Comedy for some hours...every little detail seems to be important but...still we are not allowed to write a whole essay about it.
The last two lectures of Literature honestly...how to say it...bored me.
The topic 'novel' is definitely not my favourite one and I am glad that we continue with Shakespeare today and with Wycherley next week.
Desperately I try to write the excerpt and other things before Christmas days.I see I will never succeed. It just already took me too long to write the first excerpt.
It's some kind of shame that we only can use one text of the two for the excerpt. I was really interested what Markley said in this ''Rise of Nothing'' and when the teacher puts one text already on the site then the fairness should allow that the second text is there too.
Well,maybe it's only a matter of planning and a matter of time which I learned in here is more complicated than anywhere else.
I cant even plan some kind of holidays for two weeks because I never know when I will write tests (so called Klausur) in the free time after the semester.
So,one is chained to this place and the studies for three years.
But some things cant wait for three years.
I need time to publish my book...to correct the mistakes first and then find someone who publishes it.
I need time to write poetry and besides all this I need time to write all the other things which the teachers want me to write.
That reminds me that Literature cant be that boring...because I never had time to write a poem during that lecture.
Though it definitely is an enrichment to my knowledge and my poetry.
I will see what's said about Shakespeare today and will lean back to enjoy the words about this great gentleman.

==Jessika Thiele: On Poetry, Wednesday, 21st November, 2007==

Somehow in the lecture yesterday there was a deep unrest in the room...It was pretty hard to concentrate on the lecturers words.
I tried to be specially attentive because sometimes it happens that I turn my back to the topic 'Novel'.
I am an author myself and it's also interesting to see the roots of Novels...at least there is the same mess of names as in Poetry.
But frankly my thoughts are still with a totally different word...
Already at last weekend, when I had a look at the topic 'The Rise of the Novel' the word 'Rise' made me think.
Obviously some students expected to hear about the total beginning of the Novel...(Oh sometimes we wish it would be so simple in history...get an exact day and exact name of the author and exact name of the title...We would keep it all in mind...write it down in the written test and get our perfect mark for it.)Nevertheless we shall be glad that history is not that simple...so we can open a debate about everything.
Well, back to the rise...I would like to copy the definition of the word I found in my dictionary: rise,rising,rose,risen :1 to get up from a lying,sitting,or kneeling position; 2 to move from a lower to a higher position or place.
That may be enough as a definition of this word.So rising is not the beginning though ''a lying position' can also be some kind of beginning. So now I suppose the rise is meant to be the beginning of the debate about Novels.
So what was before Robinson Crusoe? Novels, romances, dramas!? All together!?

Maybe Robinson Crusoe deserves an own category of literature...It's not a typical romance neither a typical novel. Perhaps that was the special trick of DeFoe's writing...it looks as if it is a romance and shocks the readers with its signs of a novel(in my eyes that's what makes a book interesting: special elements of writing which differ from every other book of the past.)
We try to force the book into a category...instead of having endless discussions about which category it belongs to ,we can keep it easy and give it an own category.
It would demand some more work and confusion to invent some more categories of literature but it may help us in our discussion.

Mr. Simons mentioned another point which attached my attention immediately...female authors!
I honestly doubt that we shall put Robinson Crusoe into this area ...so called proto novels most prominently by female authors(third version). Female authors deserve a special seperated part of literature.
Perhaps a good point to seperate the rise from novels written by men from the rise of novels written by women. The problem we just face here again when we start dividing and dividing...we can also continue cutting the writers into seperations (rich or poor; educated or uneducated (in the time we are talking about there rich and educated was definitely linked))

Before I close this article I may find some more words about the end of the lecture (the questioning time)
The audience laughed about Mr.Simons word ''higher educated readership''. What was there to laugh about?
At university we are part of a higher educated readership and it's indeed a part of our lecture to differ between fictional and non-fictional writings.
Of course,it takes a lot of reading till we really can see what's true and what's fiction but with every book (mostly modern novels-the topic of our following lectures) we get a little closer to this aim.

[[User:Jessika Thiele|Jessika Thiele]] 11:50, 21 November 2007 (CET)

==Jessika Thiele: On Poetry, Wednesday, 14th November, 2007==

Here we go...at a cold cold Wednesday night...Recovering my impressions from the yesterday's lecture and from a line of a friend of mine: She said that Literature is the most confusing course of the whole English studies.
Frankly, I can understand her but only because I know that literature is such a wide field and that's why it seems complex.
I also admit that after the lecture of literature I was even more confused about my main question...

What is Poetry?...

And what's the difference to Poesy?

Why do you use two different words?
Poesy so soft and Poetry so strong...almost an illusion because Poetry is mostly fragile.
I fear I need to find out first

'What WAS Poetry?'

Was it Opera? No, not at all...

There was more than Opera and more in the Poets heads than a play on a stage. (Sometimes poetry should be hidden in a small chamber and never get out...especially not on a stage...you can compare it to a prisoner whose head will be cut off in front of hundred people)

I try to figure out what the Poets of that time thought. Were they happy with the stage?
And another question rising in my head: What about Drama?
So all Poets in that time got a connection to Drama (or at least to a play on a stage in a theatre)?

I suppose I already asked far more questions than one can answer...some surely will be answered by the tutors in the lectures and some will be answered by myself.
I dont know...when I think of Drama and a theatre then Shakespeare comes into my mind. Even the hundred years old books of Shakespeare's plays on my bookshelf may not give the answer to my dearly beloved questions. Simply because Shakespeare was not a poet...though...he wrote some poems I dare to say he was definitely not a poet as we know the word 'Poet' today...

So was he called a Poet in his time!?

So far the tutors in any English course were avoiding Shakespeare...his character...his time and his surroundings.
I remember something my English teacher said last year: 'When I was studying I hated Shakespeare and I still hate him.'
As an admirer of this great man I was shocked.

How can an English teacher ever dare to say she/he doesnt like Shakespeare?

Sure, I confess his plays and thoughts are not modern today BUT in his time his plays and thoughts were a revolution!

Well, I guess in the end literature is worth a discussion about its own definition...but it's not worth having a debate about the beauty of literature because every piece of Literature is beautiful!

[[User:Jessika Thiele|Jessika Thiele]] 20:21, 14 November 2007 (CET)

==Jessika Thiele: On Poetry, 6th November, 2007==
I am not sure what this blog is for but somehow I felt a strong urgent to write something in here...about the [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|lecture of this afternoon]]. The word 'Literature' in the historic background...it deeply fascinated me that we all talked about the same thing hundred years ago...just had another word.

Frankly there was one moment when I almost cried during the lecture...not because I was desperate or so sad or fed up with the content. No!

I deeply sighed when the tutor asked the rhetorical question: Why do we give our attention to poetry?
I am studying English in the first semester and I am a poetess myself.Started writing some years ago.I even dare to say I am a good poetess...modern but good...and my first day in Oldenburg I spent in the library ... stumbling across books which tried to give me an answer on: What is poetry?

I found a book about Keats therories of this topic...that he used the word 'Sensitivity' to describe this rhythmic expression of feelings.

For so many years I was writing verses...lines...deeply meant to be philosophical...and suddenly at my first day in Oldenburg I was confronted with the question of my entire being.

I suppose it's obvious now that I really love poetry and it's not only verses or rhyme or any other well written nonsense to me.
I appreciate English language in its deep sense and it strucked me deeply inside when I heard people laughing about this language...making fun of it.

Doesnt this language deserve our respect?

Pityful I thought about this question for a while and I came to the conclusion that all the people there had a reason why they took those English courses...in a modern way this reason can be defined as respect. I admit my respect towards language is quite different...

Anyway, I return to my first lines and to the question why we give so much attention to poetry...I may answer it one day when I found a satisfying answer on 'What is Poetry?' or I will just get an answer from the tutors in further lectures...I hope that the tutors will come to the simple end that they say 'Poetry deserves our attention because it reflects the feelings of individuals towards a hidden topic in a special time of history...in a special period.'

[[User:Jessika Thiele|Jessika Thiele]] 20:02, 7 November 2007 (CET)


|}

----
[[Blog:Archive]]

Blog

2007-12-11T16:52:40Z

Joern Esch: /* England, the two-taps Country, Joern Esch 19:13, 10 December 2007 (CET) */

__NOTOC__
choose a column, write, sign with <nowiki>~~~~</nowiki>, save.
{|width="100%" cellpadding="10"
|width=45% align="left" valign="top"|
== England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 17:52, 11 December 2007 (CET) ==

Unfortunately I am not able to write much today, because I am (fortunately)going to see a - most certainly - brilliant concert by Minus the Bear today.
School was alright today. I had two of my favourite classes and the year 7 lunchclub, which is always a pleasure, since them (in Leeds you say them instead of the when you refer to people) kids are sooooo nice! The year 10 fasttrack group (i.e. they are doing their GCSE and their A-levels a year earlier), which we told that I am absolutely ignorant regarding the English language, are about to find out that I am quite alright with my English. I gonna tell them next week anyways and give them the reasons why we pretended I did not understand them. I thought that it would be good for them to overcome their shyness to talk to native speakers in the foreign language and, alas, towards a German they had to talk German, if the German claimed he did not understand a word.
I realise that I made many (...) sentences today. Might be due to all the things going around my head at the moment. I will leave a longer entry tomorrow...hopefully,

cheers

== England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 19:13, 10 December 2007 (CET) ==

Christmas shopping...oh dear. Every year it is the same nonsense and every year I jeopardise my good intentions of not buying too much rubbish whose way of being produced is almost impossible to retrace. I will not be such a bore and go into detail how much we compromise the idea of Christmas by following our capitalistic yearnings. It I just quite interesting that there seems to be no difference between the way English and German Christmas shoppers go utterly berserk when it comes to buying the last piece of manufactured crap. The reason this similarity strikes me is not because I have perceived of the English as an entirely different culture, but I have seen them as rather reserved in their way of going about publicly visible things;i.e. if they are sober and not however involved in a sport event. Everybody you just merely touch on the street immediately apologises; any given occasion where you have to wait for anything: people form a proper cue (even if it is raining and there is no roof). For the most of you this might not be new. Neither is it to me, thus I was really surprised on the absolutely aggressive way the English handle their Christmas shopping, which is so similar to an Advent weekend in Oldenburg's pedestrian precinct.
Before I went to buy presents for my dear ones, I was at school. Today I assisted in two year 11 (age 15-16), a year 10 (age 14-15) and a LOVELY year 8 (age 11-12) groups. All of these groups are - in their own ways - really nice and fun to teach. Asking the same questions over and over again, however, is not so much fun. I will not be able to lead a smalltalk conversation in Germany when I return, since I am sick and tired of questions on name, age, home, hobbies, and favourite music. Well, this is what the teachers want me to do; this is what I am being paid for; and this is what the kids are going to be tested at.

I have to go now, since I am quite hungry and the Simpsons are about to begin,

cheers

== England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 16:48, 9 December 2007 (CET) ==

Nothing much has happened today, since I spent most of the day in the kitchen reading and correcting a dissertation (not a PhD Thesis) of a friend of mine. Initially I wanted to start writing things for my thesis in History, but the correction took quite a while. I also went to the Tesco nearby to get some things for the house (toiletpaper and milk etc.). Tesco is one of the biggest supermarket chains in England, and - as almost everywhere else - one is always asked for a clubcard. Quite annoying and I really don't feel like giving away my personal shopping habits, thus I do not own a club card. I am fully aware of the fact that customer anonymity is rather an illusion, but I do what I can to preserve my private sphere.
I am still quite uncertain about how I will stucture my final thesis and in how far I can employ Foucault's and Bourdieu's theories, thus I decided to start of from a descriptive approach and see how far I can get from there.
Tomorrow I will be working at school again. I work on Mondays, Tuesdays and Fridays, so I have some sort of a "mid-week second weekend" which is quite nice, so I can go to concerts or play poker tournaments in a nearby casino. My work basically includes preparing games or other small speaking activities for the pupils and walking around the classroom and helping with exercises. It is quite alright t work like this and the loan is fairly decent.
I will head home at the 20th and stay at my mom's place. Christmas obligations and seeing my family are the main reasons for that. I do look forward to say "moin" again to people without being looked at as if I were some kind of major weirdo. Mostly all of the other assistants are from southern Germany, so they do not know how to communicate adequately :)
As I have said before, nothing much has happened and my thoughts on my final thesis cannot be discussed here, thus I conclude with wishing all of you all the best,

cheers

==England, the two-taps Country, [[User:Joern Esch|Joern Esch]] 16:49, 8 December 2007 (CET)==
Well then, Blog... dunno really how to do this. I have recently found out about myself that I tend to find out about how to do a thing before I do it. Before I cook, I consult a cookbook or a recipe; before I write something academic, I read theories and theories about the topic; thus, I should actually have read something about how to blog, before I began writing this...but i decided I won't.
So you will have to cope with my blog as it is and if I do not write in agreement to the rules for blogging, i.e. if there are any, well, bear with me.
It is already more than two months ago that I left Oldenburg and went to Leeds. ''The'' major advantage for me, in comparison to other exchange students or foreign language assistants (FLA), was that I already knew somebody here. I had met Naomi three years ago on a surfing trip to Biarritz and we stayed in touch since. As soon as I heard about my provisional implacement in Leeds (where she studies contemporary dance) I texted her and she offered to live in her house, since there was a vacant room.

Alright, Leeds it is!!! Leeds as a city is fairly difficult to describe. It has, as most English cities, these brick, terraced houses, which I am particularly fond of. Leeds will most certainly never become a touristy place like York or other cities where you can go sight-seeing. There are, apart from some exceptions like the Town hall, few pompous buildings that people can take pictures of. Leeds' architectural charm is rather subtle. If one looks up to the houses' gables, one can find a very nice Victorian touch. One can see little variations in most of their architectural style, the applications used, etc. Generally speaking, Leeds seems to quite suiting for my aesthetic preferences. Leeds is one of the cities in Yorkshire which grew rapidly during the Industrialisation. I really like things that show men's manipulation, thus a city with the 'fingerprint' of the industrial revolution meets my gusto.

I will end with these impressions now,

cheers


|align="left" valign="top"|
http://www.uni-oldenburg.de/anglistik/lit-wiss/img/2007_london_detail.jpg

|width=45% align="left" valign="top"|

==[[User:Jessika Thiele|Jessika Thiele]]: On Poetry, Wednesday, 11th December, 2007==

Last weekend I went through the complexity of Wycherley's ''The Country Wife''.It was not as simple as I thought...though it is definitely a funny play I had my problems with forcing all thoughts into an excerpt.
I could talk about this Comedy for some hours...every little detail seems to be important but...still we are not allowed to write a whole essay about it.
The last two lectures of Literature honestly...how to say it...bored me.
The topic 'novel' is definitely not my favourite one and I am glad that we continue with Shakespeare today and with Wycherley next week.
Desperately I try to write the excerpt and other things before Christmas days.I see I will never succeed. It just already took me too long to write the first excerpt.
It's some kind of shame that we only can use one text of the two for the excerpt. I was really interested what Markley said in this ''Rise of Nothing'' and when the teacher puts one text already on the site then the fairness should allow that the second text is there too.
Well,maybe it's only a matter of planning and a matter of time which I learned in here is more complicated than anywhere else.
I cant even plan some kind of holidays for two weeks because I never know when I will write tests (so called Klausur) in the free time after the semester.
So,one is chained to this place and the studies for three years.
But some things cant wait for three years.
I need time to publish my book...to correct the mistakes first and then find someone who publishes it.
I need time to write poetry and besides all this I need time to write all the other things which the teachers want me to write.
That reminds me that Literature cant be that boring...because I never had time to write a poem during that lecture.
Though it definitely is an enrichment to my knowledge and my poetry.
I will see what's said about Shakespeare today and will lean back to enjoy the words about this great gentleman.

==Jessika Thiele: On Poetry, Wednesday, 21st November, 2007==

Somehow in the lecture yesterday there was a deep unrest in the room...It was pretty hard to concentrate on the lecturers words.
I tried to be specially attentive because sometimes it happens that I turn my back to the topic 'Novel'.
I am an author myself and it's also interesting to see the roots of Novels...at least there is the same mess of names as in Poetry.
But frankly my thoughts are still with a totally different word...
Already at last weekend, when I had a look at the topic 'The Rise of the Novel' the word 'Rise' made me think.
Obviously some students expected to hear about the total beginning of the Novel...(Oh sometimes we wish it would be so simple in history...get an exact day and exact name of the author and exact name of the title...We would keep it all in mind...write it down in the written test and get our perfect mark for it.)Nevertheless we shall be glad that history is not that simple...so we can open a debate about everything.
Well, back to the rise...I would like to copy the definition of the word I found in my dictionary: rise,rising,rose,risen :1 to get up from a lying,sitting,or kneeling position; 2 to move from a lower to a higher position or place.
That may be enough as a definition of this word.So rising is not the beginning though ''a lying position' can also be some kind of beginning. So now I suppose the rise is meant to be the beginning of the debate about Novels.
So what was before Robinson Crusoe? Novels, romances, dramas!? All together!?

Maybe Robinson Crusoe deserves an own category of literature...It's not a typical romance neither a typical novel. Perhaps that was the special trick of DeFoe's writing...it looks as if it is a romance and shocks the readers with its signs of a novel(in my eyes that's what makes a book interesting: special elements of writing which differ from every other book of the past.)
We try to force the book into a category...instead of having endless discussions about which category it belongs to ,we can keep it easy and give it an own category.
It would demand some more work and confusion to invent some more categories of literature but it may help us in our discussion.

Mr. Simons mentioned another point which attached my attention immediately...female authors!
I honestly doubt that we shall put Robinson Crusoe into this area ...so called proto novels most prominently by female authors(third version). Female authors deserve a special seperated part of literature.
Perhaps a good point to seperate the rise from novels written by men from the rise of novels written by women. The problem we just face here again when we start dividing and dividing...we can also continue cutting the writers into seperations (rich or poor; educated or uneducated (in the time we are talking about there rich and educated was definitely linked))

Before I close this article I may find some more words about the end of the lecture (the questioning time)
The audience laughed about Mr.Simons word ''higher educated readership''. What was there to laugh about?
At university we are part of a higher educated readership and it's indeed a part of our lecture to differ between fictional and non-fictional writings.
Of course,it takes a lot of reading till we really can see what's true and what's fiction but with every book (mostly modern novels-the topic of our following lectures) we get a little closer to this aim.

[[User:Jessika Thiele|Jessika Thiele]] 11:50, 21 November 2007 (CET)

==Jessika Thiele: On Poetry, Wednesday, 14th November, 2007==

Here we go...at a cold cold Wednesday night...Recovering my impressions from the yesterday's lecture and from a line of a friend of mine: She said that Literature is the most confusing course of the whole English studies.
Frankly, I can understand her but only because I know that literature is such a wide field and that's why it seems complex.
I also admit that after the lecture of literature I was even more confused about my main question...

What is Poetry?...

And what's the difference to Poesy?

Why do you use two different words?
Poesy so soft and Poetry so strong...almost an illusion because Poetry is mostly fragile.
I fear I need to find out first

'What WAS Poetry?'

Was it Opera? No, not at all...

There was more than Opera and more in the Poets heads than a play on a stage. (Sometimes poetry should be hidden in a small chamber and never get out...especially not on a stage...you can compare it to a prisoner whose head will be cut off in front of hundred people)

I try to figure out what the Poets of that time thought. Were they happy with the stage?
And another question rising in my head: What about Drama?
So all Poets in that time got a connection to Drama (or at least to a play on a stage in a theatre)?

I suppose I already asked far more questions than one can answer...some surely will be answered by the tutors in the lectures and some will be answered by myself.
I dont know...when I think of Drama and a theatre then Shakespeare comes into my mind. Even the hundred years old books of Shakespeare's plays on my bookshelf may not give the answer to my dearly beloved questions. Simply because Shakespeare was not a poet...though...he wrote some poems I dare to say he was definitely not a poet as we know the word 'Poet' today...

So was he called a Poet in his time!?

So far the tutors in any English course were avoiding Shakespeare...his character...his time and his surroundings.
I remember something my English teacher said last year: 'When I was studying I hated Shakespeare and I still hate him.'
As an admirer of this great man I was shocked.

How can an English teacher ever dare to say she/he doesnt like Shakespeare?

Sure, I confess his plays and thoughts are not modern today BUT in his time his plays and thoughts were a revolution!

Well, I guess in the end literature is worth a discussion about its own definition...but it's not worth having a debate about the beauty of literature because every piece of Literature is beautiful!

[[User:Jessika Thiele|Jessika Thiele]] 20:21, 14 November 2007 (CET)

==Jessika Thiele: On Poetry, 6th November, 2007==
I am not sure what this blog is for but somehow I felt a strong urgent to write something in here...about the [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|lecture of this afternoon]]. The word 'Literature' in the historic background...it deeply fascinated me that we all talked about the same thing hundred years ago...just had another word.

Frankly there was one moment when I almost cried during the lecture...not because I was desperate or so sad or fed up with the content. No!

I deeply sighed when the tutor asked the rhetorical question: Why do we give our attention to poetry?
I am studying English in the first semester and I am a poetess myself.Started writing some years ago.I even dare to say I am a good poetess...modern but good...and my first day in Oldenburg I spent in the library ... stumbling across books which tried to give me an answer on: What is poetry?

I found a book about Keats therories of this topic...that he used the word 'Sensitivity' to describe this rhythmic expression of feelings.

For so many years I was writing verses...lines...deeply meant to be philosophical...and suddenly at my first day in Oldenburg I was confronted with the question of my entire being.

I suppose it's obvious now that I really love poetry and it's not only verses or rhyme or any other well written nonsense to me.
I appreciate English language in its deep sense and it strucked me deeply inside when I heard people laughing about this language...making fun of it.

Doesnt this language deserve our respect?

Pityful I thought about this question for a while and I came to the conclusion that all the people there had a reason why they took those English courses...in a modern way this reason can be defined as respect. I admit my respect towards language is quite different...

Anyway, I return to my first lines and to the question why we give so much attention to poetry...I may answer it one day when I found a satisfying answer on 'What is Poetry?' or I will just get an answer from the tutors in further lectures...I hope that the tutors will come to the simple end that they say 'Poetry deserves our attention because it reflects the feelings of individuals towards a hidden topic in a special time of history...in a special period.'

[[User:Jessika Thiele|Jessika Thiele]] 20:02, 7 November 2007 (CET)


|}

----
[[Blog:Archive]]

Blog

2007-12-10T18:13:59Z

Joern Esch:

__NOTOC__
choose a column, write, sign with <nowiki>~~~~</nowiki>, save.
{|width="100%" cellpadding="10"
|bgcolor=#E8EBF9 width=33% align="left" valign="top"|
==My Name: My Topic, Date==


|bgcolor=#C8CFF0 width=33% align="left" valign="top"|
==Joern Esch: England, the two-taps Country==

==[[User:Joern Esch|Joern Esch]] 16:49, 8 December 2007 (CET)==
Well then, Blog... dunno really how to do this. I have recently found out about myself that I tend to find out about how to do a thing before I do it. Before I cook, I consult a cookbook or a recipe; before I write something academic, I read theories and theories about the topic; thus, I should actually have read something about how to blog, before I began writing this...but i decided I won't.
So you will have to cope with my blog as it is and if I do not write in agreement to the rules for blogging, i.e. if there are any, well, bear with me.
It is already more than two months ago that I left Oldenburg and went to Leeds. ''The'' major advantage for me, in comparison to other exchange students or foreign language assistants (FLA), was that I already knew somebody here. I had met Naomi three years ago on a surfing trip to Biarritz and we stayed in touch since. As soon as I heard about my provisional implacement in Leeds (where she studies contemporary dance) I texted her and she offered to live in her house, since there was a vacant room.

Alright, Leeds it is!!! Leeds as a city is fairly difficult to describe. It has, as most English cities, these brick, terraced houses, which I am particularly fond of. Leeds will most certainly never become a touristy place like York or other cities where you can go sight-seeing. There are, apart from some exceptions like the Town hall, few pompous buildings that people can take pictures of. Leeds' architectural charm is rather subtle. If one looks up to the houses' gables, one can find a very nice Victorian touch. One can see little variations in most of their architectural style, the applications used, etc. Generally speaking, Leeds seems to quite suiting for my aesthetic preferences. Leeds is one of the cities in Yorkshire which grew rapidly during the Industrialisation. I really like things that show men's manipulation, thus a city with the 'fingerprint' of the industrial revolution meets my gusto.

I will end with these impressions now,

cheers

== [[User:Joern Esch|Joern Esch]] 16:48, 9 December 2007 (CET) ==

Nothing much has happened today, since I spent most of the day in the kitchen reading and correcting a dissertation (not a PhD Thesis) of a friend of mine. Initially I wanted to start writing things for my thesis in History, but the correction took quite a while. I also went to the Tesco nearby to get some things for the house (toiletpaper and milk etc.). Tesco is one of the biggest supermarket chains in England, and - as almost everywhere else - one is always asked for a clubcard. Quite annoying and I really don't feel like giving away my personal shopping habits, thus I do not own a club card. I am fully aware of the fact that customer anonymity is rather an illusion, but I do what I can to preserve my private sphere.
I am still quite uncertain about how I will stucture my final thesis and in how far I can employ Foucault's and Bourdieu's theories, thus I decided to start of from a descriptive approach and see how far I can get from there.
Tomorrow I will be working at school again. I work on Mondays, Tuesdays and Fridays, so I have some sort of a "mid-week second weekend" which is quite nice, so I can go to concerts or play poker tournaments in a nearby casino. My work basically includes preparing games or other small speaking activities for the pupils and walking around the classroom and helping with exercises. It is quite alright t work like this and the loan is fairly decent.
I will head home at the 20th and stay at my mom's place. Christmas obligations and seeing my family are the main reasons for that. I do look forward to say "moin" again to people without being looked at as if I were some kind of major weirdo. Mostly all of the other assistants are from southern Germany, so they do not know how to communicate adequately :)
As I have said before, nothing much has happened and my thoughts on my final thesis cannot be discussed here, thus I conclude with wishing all of you all the best,

cheers

== [[User:Joern Esch|Joern Esch]] 19:13, 10 December 2007 (CET) ==

Christmas shopping...oh dear. Every year it is the same nonsense and every year I jeopardise my good intentions of not buying too much rubbish whose way of being produced is almost impossible to retrace. I will not be such a bore and go into detail how much we compromise the idea of Christmas by following our capitalistic yearnings. It I just quite interesting that there seems to be no difference between the way English and German Christmas shoppers go utterly berserk when it comes to buying the last piece of manufactured crap. The reason this similarity strikes me is not because I have perceived of the English as an entirely different culture, but I have seen them as rather reserved in their way of going about publicly visible things;i.e. if they are sober and not however involved in a sport event. Everybody you just merely touch on the street immediately apologises; any given occasion where you have to wait for anything: people form a proper cue (even if it is raining and there is no roof). For the most of you this might not be new. Neither is it to me, thus I was really surprised on the absolutely aggressive way the English handle their Christmas shopping, which is so similar to an Advent weekend in Oldenburg's pedestrian precinct.
Before I went to buy presents for my dear ones, I was at school. Today I assisted in two year 11 (age 15-16), a year 10 (age 14-15) and a LOVELY year 8 (age 11-12) groups. All of these groups are - in their own ways - really nice and fun to teach. Asking the same questions over and over again, however, is not so much fun. I will not be able to lead a smalltalk conversation in Germany when I return, since I am sick and tired of questions on name, age, home, hobbies, and favourite music. Well, this is what the teachers want me to do; this is what I am being paid for; and this is what the kids are going to be tested at.

I have to go now, since I am quite hungry and the Simpsons are about to begin,

cheers


|bgcolor=#E1BBEA width=33% align="left" valign="top"|

==Jessika Thiele: On Poetry, Wednesday, 21st November, 2007==

Somehow in the lecture yesterday there was a deep unrest in the room...It was pretty hard to concentrate on the lecturers words.
I tried to be specially attentive because sometimes it happens that I turn my back to the topic 'Novel'.
I am an author myself and it's also interesting to see the roots of Novels...at least there is the same mess of names as in Poetry.
But frankly my thoughts are still with a totally different word...
Already at last weekend, when I had a look at the topic 'The Rise of the Novel' the word 'Rise' made me think.
Obviously some students expected to hear about the total beginning of the Novel...(Oh sometimes we wish it would be so simple in history...get an exact day and exact name of the author and exact name of the title...We would keep it all in mind...write it down in the written test and get our perfect mark for it.)Nevertheless we shall be glad that history is not that simple...so we can open a debate about everything.
Well, back to the rise...I would like to copy the definition of the word I found in my dictionary: rise,rising,rose,risen :1 to get up from a lying,sitting,or kneeling position; 2 to move from a lower to a higher position or place.
That may be enough as a definition of this word.So rising is not the beginning though ''a lying position' can also be some kind of beginning. So now I suppose the rise is meant to be the beginning of the debate about Novels.
So what was before Robinson Crusoe? Novels, romances, dramas!? All together!?

Maybe Robinson Crusoe deserves an own category of literature...It's not a typical romance neither a typical novel. Perhaps that was the special trick of DeFoe's writing...it looks as if it is a romance and shocks the readers with its signs of a novel(in my eyes that's what makes a book interesting: special elements of writing which differ from every other book of the past.)
We try to force the book into a category...instead of having endless discussions about which category it belongs to ,we can keep it easy and give it an own category.
It would demand some more work and confusion to invent some more categories of literature but it may help us in our discussion.

Mr. Simons mentioned another point which attached my attention immediately...female authors!
I honestly doubt that we shall put Robinson Crusoe into this area ...so called proto novels most prominently by female authors(third version). Female authors deserve a special seperated part of literature.
Perhaps a good point to seperate the rise from novels written by men from the rise of novels written by women. The problem we just face here again when we start dividing and dividing...we can also continue cutting the writers into seperations (rich or poor; educated or uneducated (in the time we are talking about there rich and educated was definitely linked))

Before I close this article I may find some more words about the end of the lecture (the questioning time)
The audience laughed about Mr.Simons word ''higher educated readership''. What was there to laugh about?
At university we are part of a higher educated readership and it's indeed a part of our lecture to differ between fictional and non-fictional writings.
Of course,it takes a lot of reading till we really can see what's true and what's fiction but with every book (mostly modern novels-the topic of our following lectures) we get a little closer to this aim.

[[User:Jessika Thiele|Jessika Thiele]] 11:50, 21 November 2007 (CET)

==Jessika Thiele: On Poetry, Wednesday, 14th November, 2007==

Here we go...at a cold cold Wednesday night...Recovering my impressions from the yesterday's lecture and from a line of a friend of mine: She said that Literature is the most confusing course of the whole English studies.
Frankly, I can understand her but only because I know that literature is such a wide field and that's why it seems complex.
I also admit that after the lecture of literature I was even more confused about my main question...

What is Poetry?...

And what's the difference to Poesy?

Why do you use two different words?
Poesy so soft and Poetry so strong...almost an illusion because Poetry is mostly fragile.
I fear I need to find out first

'What WAS Poetry?'

Was it Opera? No, not at all...

There was more than Opera and more in the Poets heads than a play on a stage. (Sometimes poetry should be hidden in a small chamber and never get out...especially not on a stage...you can compare it to a prisoner whose head will be cut off in front of hundred people)

I try to figure out what the Poets of that time thought. Were they happy with the stage?
And another question rising in my head: What about Drama?
So all Poets in that time got a connection to Drama (or at least to a play on a stage in a theatre)?

I suppose I already asked far more questions than one can answer...some surely will be answered by the tutors in the lectures and some will be answered by myself.
I dont know...when I think of Drama and a theatre then Shakespeare comes into my mind. Even the hundred years old books of Shakespeare's plays on my bookshelf may not give the answer to my dearly beloved questions. Simply because Shakespeare was not a poet...though...he wrote some poems I dare to say he was definitely not a poet as we know the word 'Poet' today...

So was he called a Poet in his time!?

So far the tutors in any English course were avoiding Shakespeare...his character...his time and his surroundings.
I remember something my English teacher said last year: 'When I was studying I hated Shakespeare and I still hate him.'
As an admirer of this great man I was shocked.

How can an English teacher ever dare to say she/he doesnt like Shakespeare?

Sure, I confess his plays and thoughts are not modern today BUT in his time his plays and thoughts were a revolution!

Well, I guess in the end literature is worth a discussion about its own definition...but it's not worth having a debate about the beauty of literature because every piece of Literature is beautiful!

[[User:Jessika Thiele|Jessika Thiele]] 20:21, 14 November 2007 (CET)

==Jessika Thiele: On Poetry, 6th November, 2007==
I am not sure what this blog is for but somehow I felt a strong urgent to write something in here...about the [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|lecture of this afternoon]]. The word 'Literature' in the historic background...it deeply fascinated me that we all talked about the same thing hundred years ago...just had another word.

Frankly there was one moment when I almost cried during the lecture...not because I was desperate or so sad or fed up with the content. No!

I deeply sighed when the tutor asked the rhetorical question: Why do we give our attention to poetry?
I am studying English in the first semester and I am a poetess myself.Started writing some years ago.I even dare to say I am a good poetess...modern but good...and my first day in Oldenburg I spent in the library ... stumbling across books which tried to give me an answer on: What is poetry?

I found a book about Keats therories of this topic...that he used the word 'Sensitivity' to describe this rhythmic expression of feelings.

For so many years I was writing verses...lines...deeply meant to be philosophical...and suddenly at my first day in Oldenburg I was confronted with the question of my entire being.

I suppose it's obvious now that I really love poetry and it's not only verses or rhyme or any other well written nonsense to me.
I appreciate English language in its deep sense and it strucked me deeply inside when I heard people laughing about this language...making fun of it.

Doesnt this language deserve our respect?

Pityful I thought about this question for a while and I came to the conclusion that all the people there had a reason why they took those English courses...in a modern way this reason can be defined as respect. I admit my respect towards language is quite different...

Anyway, I return to my first lines and to the question why we give so much attention to poetry...I may answer it one day when I found a satisfying answer on 'What is Poetry?' or I will just get an answer from the tutors in further lectures...I hope that the tutors will come to the simple end that they say 'Poetry deserves our attention because it reflects the feelings of individuals towards a hidden topic in a special time of history...in a special period.'

[[User:Jessika Thiele|Jessika Thiele]] 20:02, 7 November 2007 (CET)


|}

----
[[Blog:Archive]]

Blog

2007-12-09T15:49:39Z

Joern Esch: /* Joern Esch 13:02, 8 December 2007 (CET) : England, the two-taps Country */

choose a column, write, sign with <nowiki>~~~~</nowiki>, save.
{|width="100%" cellpadding="10"
|bgcolor=#E8EBF9 width=33% align="left" valign="top"|
==My Name: My Topic, Date==


|bgcolor=#C8CFF0 width=33% align="left" valign="top"|
==Joern Esch: England, the two-taps Country==

==[[User:Joern Esch|Joern Esch]] 16:49, 9 December 2007 (CET)==
Well then, Blog... dunno really how to do this. I have recently found out about myself that I tend to find out about how to do a thing before I do it. Before I cook, I consult a cookbook or a recipe; before I write something academic, I read theories and theories about the topic; thus, I should actually have read something about how to blog, before I began writing this...but i decided I won't.
So you will have to cope with my blog as it is and if I do not write in agreement to the rules for blogging, i.e. if there are any, well, bear with me.
It is already more than two months ago that I left Oldenburg and went to Leeds. ''The'' major advantage for me, in comparison to other exchange students or foreign language assistants (FLA), was that I already knew somebody here. I had met Naomi three years ago on a surfing trip to Biarritz and we stayed in touch since. As soon as I heard about my provisional implacement in Leeds (where she studies contemporary dance) I texted her and she offered to live in her house, since there was a vacant room.

Alright, Leeds it is!!! Leeds as a city is fairly difficult to describe. It has, as most English cities, these brick, terraced houses, which I am particularly fond of. Leeds will most certainly never become a touristy place like York or other cities where you can go sight-seeing. There are, apart from some exceptions like the Town hall, few pompous buildings that people can take pictures of. Leeds' architectural charm is rather subtle. If one looks up to the houses' gables, one can find a very nice Victorian touch. One can see little variations in most of their architectural style, the applications used, etc. Generally speaking, Leeds seems to quite suiting for my aesthetic preferences. Leeds is one of the cities in Yorkshire which grew rapidly during the Industrialisation. I really like things that show men's manipulation, thus a city with the 'fingerprint' of the industrial revolution meets my gusto.

I will end with these impressions now,

cheers

== [[User:Joern Esch|Joern Esch]] 16:48, 9 December 2007 (CET) ==

Nothing much has happened today, since I spent most of the day in the kitchen reading and correcting a dissertation (not a PhD Thesis) of a friend of mine. Initially I wanted to start writing things for my thesis in History, but the correction took quite a while. I also went to the Tesco nearby to get some things for the house (toiletpaper and milk etc.). Tesco is one of the biggest supermarket chains in England, and - as almost everywhere else - one is always asked for a clubcard. Quite annoying and I really don't feel like giving away my personal shopping habits, thus I do not own a club card. I am fully aware of the fact that customer anonymity is rather an illusion, but I do what I can to preserve my private sphere.
I am still quite uncertain about how I will stucture my final thesis and in how far I can employ Foucault's and Bourdieu's theories, thus I decided to start of from a descriptive approach and see how far I can get from there.
Tomorrow I will be working at school again. I work on Mondays, Tuesdays and Fridays, so I have some sort of a "mid-week second weekend" which is quite nice, so I can go to concerts or play poker tournaments in a nearby casino. My work basically includes preparing games or other small speaking activities for the pupils and walking around the classroom and helping with exercises. It is quite alright t work like this and the loan is fairly decent.
I will head home at the 20th and stay at my mom's place. Christmas obligations and seeing my family are the main reasons for that. I do look forward to say "moin" again to people without being looked at as if I were some kind of major weirdo. Mostly all of the other assistants are from southern Germany, so they do not know how to communicate adequately :)
As I have said before, nothing much has happened and my thoughts on my final thesis cannot be discussed here, thus I conclude with wishing all of you all the best,

cheers


|bgcolor=#E1BBEA width=33% align="left" valign="top"|

==Jessika Thiele: On Poetry, Wednesday, 21st November, 2007==

Somehow in the lecture yesterday there was a deep unrest in the room...It was pretty hard to concentrate on the lecturers words.
I tried to be specially attentive because sometimes it happens that I turn my back to the topic 'Novel'.
I am an author myself and it's also interesting to see the roots of Novels...at least there is the same mess of names as in Poetry.
But frankly my thoughts are still with a totally different word...
Already at last weekend, when I had a look at the topic 'The Rise of the Novel' the word 'Rise' made me think.
Obviously some students expected to hear about the total beginning of the Novel...(Oh sometimes we wish it would be so simple in history...get an exact day and exact name of the author and exact name of the title...We would keep it all in mind...write it down in the written test and get our perfect mark for it.)Nevertheless we shall be glad that history is not that simple...so we can open a debate about everything.
Well, back to the rise...I would like to copy the definition of the word I found in my dictionary: rise,rising,rose,risen :1 to get up from a lying,sitting,or kneeling position; 2 to move from a lower to a higher position or place.
That may be enough as a definition of this word.So rising is not the beginning though ''a lying position' can also be some kind of beginning. So now I suppose the rise is meant to be the beginning of the debate about Novels.
So what was before Robinson Crusoe? Novels, romances, dramas!? All together!?

Maybe Robinson Crusoe deserves an own category of literature...It's not a typical romance neither a typical novel. Perhaps that was the special trick of DeFoe's writing...it looks as if it is a romance and shocks the readers with its signs of a novel(in my eyes that's what makes a book interesting: special elements of writing which differ from every other book of the past.)
We try to force the book into a category...instead of having endless discussions about which category it belongs to ,we can keep it easy and give it an own category.
It would demand some more work and confusion to invent some more categories of literature but it may help us in our discussion.

Mr. Simons mentioned another point which attached my attention immediately...female authors!
I honestly doubt that we shall put Robinson Crusoe into this area ...so called proto novels most prominently by female authors(third version). Female authors deserve a special seperated part of literature.
Perhaps a good point to seperate the rise from novels written by men from the rise of novels written by women. The problem we just face here again when we start dividing and dividing...we can also continue cutting the writers into seperations (rich or poor; educated or uneducated (in the time we are talking about there rich and educated was definitely linked))

Before I close this article I may find some more words about the end of the lecture (the questioning time)
The audience laughed about Mr.Simons word ''higher educated readership''. What was there to laugh about?
At university we are part of a higher educated readership and it's indeed a part of our lecture to differ between fictional and non-fictional writings.
Of course,it takes a lot of reading till we really can see what's true and what's fiction but with every book (mostly modern novels-the topic of our following lectures) we get a little closer to this aim.

[[User:Jessika Thiele|Jessika Thiele]] 11:50, 21 November 2007 (CET)

==Jessika Thiele: On Poetry, Wednesday, 14th November, 2007==

Here we go...at a cold cold Wednesday night...Recovering my impressions from the yesterday's lecture and from a line of a friend of mine: She said that Literature is the most confusing course of the whole English studies.
Frankly, I can understand her but only because I know that literature is such a wide field and that's why it seems complex.
I also admit that after the lecture of literature I was even more confused about my main question...

What is Poetry?...

And what's the difference to Poesy?

Why do you use two different words?
Poesy so soft and Poetry so strong...almost an illusion because Poetry is mostly fragile.
I fear I need to find out first

'What WAS Poetry?'

Was it Opera? No, not at all...

There was more than Opera and more in the Poets heads than a play on a stage. (Sometimes poetry should be hidden in a small chamber and never get out...especially not on a stage...you can compare it to a prisoner whose head will be cut off in front of hundred people)

I try to figure out what the Poets of that time thought. Were they happy with the stage?
And another question rising in my head: What about Drama?
So all Poets in that time got a connection to Drama (or at least to a play on a stage in a theatre)?

I suppose I already asked far more questions than one can answer...some surely will be answered by the tutors in the lectures and some will be answered by myself.
I dont know...when I think of Drama and a theatre then Shakespeare comes into my mind. Even the hundred years old books of Shakespeare's plays on my bookshelf may not give the answer to my dearly beloved questions. Simply because Shakespeare was not a poet...though...he wrote some poems I dare to say he was definitely not a poet as we know the word 'Poet' today...

So was he called a Poet in his time!?

So far the tutors in any English course were avoiding Shakespeare...his character...his time and his surroundings.
I remember something my English teacher said last year: 'When I was studying I hated Shakespeare and I still hate him.'
As an admirer of this great man I was shocked.

How can an English teacher ever dare to say she/he doesnt like Shakespeare?

Sure, I confess his plays and thoughts are not modern today BUT in his time his plays and thoughts were a revolution!

Well, I guess in the end literature is worth a discussion about its own definition...but it's not worth having a debate about the beauty of literature because every piece of Literature is beautiful!

[[User:Jessika Thiele|Jessika Thiele]] 20:21, 14 November 2007 (CET)

==Jessika Thiele: On Poetry, 6th November, 2007==
I am not sure what this blog is for but somehow I felt a strong urgent to write something in here...about the [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|lecture of this afternoon]]. The word 'Literature' in the historic background...it deeply fascinated me that we all talked about the same thing hundred years ago...just had another word.

Frankly there was one moment when I almost cried during the lecture...not because I was desperate or so sad or fed up with the content. No!

I deeply sighed when the tutor asked the rhetorical question: Why do we give our attention to poetry?
I am studying English in the first semester and I am a poetess myself.Started writing some years ago.I even dare to say I am a good poetess...modern but good...and my first day in Oldenburg I spent in the library ... stumbling across books which tried to give me an answer on: What is poetry?

I found a book about Keats therories of this topic...that he used the word 'Sensitivity' to describe this rhythmic expression of feelings.

For so many years I was writing verses...lines...deeply meant to be philosophical...and suddenly at my first day in Oldenburg I was confronted with the question of my entire being.

I suppose it's obvious now that I really love poetry and it's not only verses or rhyme or any other well written nonsense to me.
I appreciate English language in its deep sense and it strucked me deeply inside when I heard people laughing about this language...making fun of it.

Doesnt this language deserve our respect?

Pityful I thought about this question for a while and I came to the conclusion that all the people there had a reason why they took those English courses...in a modern way this reason can be defined as respect. I admit my respect towards language is quite different...

Anyway, I return to my first lines and to the question why we give so much attention to poetry...I may answer it one day when I found a satisfying answer on 'What is Poetry?' or I will just get an answer from the tutors in further lectures...I hope that the tutors will come to the simple end that they say 'Poetry deserves our attention because it reflects the feelings of individuals towards a hidden topic in a special time of history...in a special period.'

[[User:Jessika Thiele|Jessika Thiele]] 20:02, 7 November 2007 (CET)


|}

----
[[Blog:Archive]]

Blog

2007-12-09T15:48:14Z

Joern Esch: /* Joern Esch 13:02, 8 December 2007 (CET) : England, the two-taps Country */

choose a column, write, sign with <nowiki>~~~~</nowiki>, save.
{|width="100%" cellpadding="10"
|bgcolor=#E8EBF9 width=33% align="left" valign="top"|
==My Name: My Topic, Date==


|bgcolor=#C8CFF0 width=33% align="left" valign="top"|
==[[User:Joern Esch|Joern Esch]] 13:02, 8 December 2007 (CET) : England, the two-taps Country==

Well then, Blog... dunno really how to do this. I have recently found out about myself that I tend to find out about how to do a thing before I do it. Before I cook, I consult a cookbook or a recipe; before I write something academic, I read theories and theories about the topic; thus, I should actually have read something about how to blog, before I began writing this...but i decided I won't.
So you will have to cope with my blog as it is and if I do not write in agreement to the rules for blogging, i.e. if there are any, well, bear with me.
It is already more than two months ago that I left Oldenburg and went to Leeds. ''The'' major advantage for me, in comparison to other exchange students or foreign language assistants (FLA), was that I already knew somebody here. I had met Naomi three years ago on a surfing trip to Biarritz and we stayed in touch since. As soon as I heard about my provisional implacement in Leeds (where she studies contemporary dance) I texted her and she offered to live in her house, since there was a vacant room.

Alright, Leeds it is!!! Leeds as a city is fairly difficult to describe. It has, as most English cities, these brick, terraced houses, which I am particularly fond of. Leeds will most certainly never become a touristy place like York or other cities where you can go sight-seeing. There are, apart from some exceptions like the Town hall, few pompous buildings that people can take pictures of. Leeds' architectural charm is rather subtle. If one looks up to the houses' gables, one can find a very nice Victorian touch. One can see little variations in most of their architectural style, the applications used, etc. Generally speaking, Leeds seems to quite suiting for my aesthetic preferences. Leeds is one of the cities in Yorkshire which grew rapidly during the Industrialisation. I really like things that show men's manipulation, thus a city with the 'fingerprint' of the industrial revolution meets my gusto.

I will end with these impressions now,

cheers

== [[User:Joern Esch|Joern Esch]] 16:48, 9 December 2007 (CET) ==

Nothing much has happened today, since I spent most of the day in the kitchen reading and correcting a dissertation (not a PhD Thesis) of a friend of mine. Initially I wanted to start writing things for my thesis in History, but the correction took quite a while. I also went to the Tesco nearby to get some things for the house (toiletpaper and milk etc.). Tesco is one of the biggest supermarket chains in England, and - as almost everywhere else - one is always asked for a clubcard. Quite annoying and I really don't feel like giving away my personal shopping habits, thus I do not own a club card. I am fully aware of the fact that customer anonymity is rather an illusion, but I do what I can to preserve my private sphere.
I am still quite uncertain about how I will stucture my final thesis and in how far I can employ Foucault's and Bourdieu's theories, thus I decided to start of from a descriptive approach and see how far I can get from there.
Tomorrow I will be working at school again. I work on Mondays, Tuesdays and Fridays, so I have some sort of a "mid-week second weekend" which is quite nice, so I can go to concerts or play poker tournaments in a nearby casino. My work basically includes preparing games or other small speaking activities for the pupils and walking around the classroom and helping with exercises. It is quite alright t work like this and the loan is fairly decent.
I will head home at the 20th and stay at my mom's place. Christmas obligations and seeing my family are the main reasons for that. I do look forward to say "moin" again to people without being looked at as if I were some kind of major weirdo. Mostly all of the other assistants are from southern Germany, so they do not know how to communicate adequately :)
As I have said before, nothing much has happened and my thoughts on my final thesis cannot be discussed here, thus I conclude with wishing all of you all the best,

cheers


|bgcolor=#E1BBEA width=33% align="left" valign="top"|

==Jessika Thiele: On Poetry, Wednesday, 21st November, 2007==

Somehow in the lecture yesterday there was a deep unrest in the room...It was pretty hard to concentrate on the lecturers words.
I tried to be specially attentive because sometimes it happens that I turn my back to the topic 'Novel'.
I am an author myself and it's also interesting to see the roots of Novels...at least there is the same mess of names as in Poetry.
But frankly my thoughts are still with a totally different word...
Already at last weekend, when I had a look at the topic 'The Rise of the Novel' the word 'Rise' made me think.
Obviously some students expected to hear about the total beginning of the Novel...(Oh sometimes we wish it would be so simple in history...get an exact day and exact name of the author and exact name of the title...We would keep it all in mind...write it down in the written test and get our perfect mark for it.)Nevertheless we shall be glad that history is not that simple...so we can open a debate about everything.
Well, back to the rise...I would like to copy the definition of the word I found in my dictionary: rise,rising,rose,risen :1 to get up from a lying,sitting,or kneeling position; 2 to move from a lower to a higher position or place.
That may be enough as a definition of this word.So rising is not the beginning though ''a lying position' can also be some kind of beginning. So now I suppose the rise is meant to be the beginning of the debate about Novels.
So what was before Robinson Crusoe? Novels, romances, dramas!? All together!?

Maybe Robinson Crusoe deserves an own category of literature...It's not a typical romance neither a typical novel. Perhaps that was the special trick of DeFoe's writing...it looks as if it is a romance and shocks the readers with its signs of a novel(in my eyes that's what makes a book interesting: special elements of writing which differ from every other book of the past.)
We try to force the book into a category...instead of having endless discussions about which category it belongs to ,we can keep it easy and give it an own category.
It would demand some more work and confusion to invent some more categories of literature but it may help us in our discussion.

Mr. Simons mentioned another point which attached my attention immediately...female authors!
I honestly doubt that we shall put Robinson Crusoe into this area ...so called proto novels most prominently by female authors(third version). Female authors deserve a special seperated part of literature.
Perhaps a good point to seperate the rise from novels written by men from the rise of novels written by women. The problem we just face here again when we start dividing and dividing...we can also continue cutting the writers into seperations (rich or poor; educated or uneducated (in the time we are talking about there rich and educated was definitely linked))

Before I close this article I may find some more words about the end of the lecture (the questioning time)
The audience laughed about Mr.Simons word ''higher educated readership''. What was there to laugh about?
At university we are part of a higher educated readership and it's indeed a part of our lecture to differ between fictional and non-fictional writings.
Of course,it takes a lot of reading till we really can see what's true and what's fiction but with every book (mostly modern novels-the topic of our following lectures) we get a little closer to this aim.

[[User:Jessika Thiele|Jessika Thiele]] 11:50, 21 November 2007 (CET)

==Jessika Thiele: On Poetry, Wednesday, 14th November, 2007==

Here we go...at a cold cold Wednesday night...Recovering my impressions from the yesterday's lecture and from a line of a friend of mine: She said that Literature is the most confusing course of the whole English studies.
Frankly, I can understand her but only because I know that literature is such a wide field and that's why it seems complex.
I also admit that after the lecture of literature I was even more confused about my main question...

What is Poetry?...

And what's the difference to Poesy?

Why do you use two different words?
Poesy so soft and Poetry so strong...almost an illusion because Poetry is mostly fragile.
I fear I need to find out first

'What WAS Poetry?'

Was it Opera? No, not at all...

There was more than Opera and more in the Poets heads than a play on a stage. (Sometimes poetry should be hidden in a small chamber and never get out...especially not on a stage...you can compare it to a prisoner whose head will be cut off in front of hundred people)

I try to figure out what the Poets of that time thought. Were they happy with the stage?
And another question rising in my head: What about Drama?
So all Poets in that time got a connection to Drama (or at least to a play on a stage in a theatre)?

I suppose I already asked far more questions than one can answer...some surely will be answered by the tutors in the lectures and some will be answered by myself.
I dont know...when I think of Drama and a theatre then Shakespeare comes into my mind. Even the hundred years old books of Shakespeare's plays on my bookshelf may not give the answer to my dearly beloved questions. Simply because Shakespeare was not a poet...though...he wrote some poems I dare to say he was definitely not a poet as we know the word 'Poet' today...

So was he called a Poet in his time!?

So far the tutors in any English course were avoiding Shakespeare...his character...his time and his surroundings.
I remember something my English teacher said last year: 'When I was studying I hated Shakespeare and I still hate him.'
As an admirer of this great man I was shocked.

How can an English teacher ever dare to say she/he doesnt like Shakespeare?

Sure, I confess his plays and thoughts are not modern today BUT in his time his plays and thoughts were a revolution!

Well, I guess in the end literature is worth a discussion about its own definition...but it's not worth having a debate about the beauty of literature because every piece of Literature is beautiful!

[[User:Jessika Thiele|Jessika Thiele]] 20:21, 14 November 2007 (CET)

==Jessika Thiele: On Poetry, 6th November, 2007==
I am not sure what this blog is for but somehow I felt a strong urgent to write something in here...about the [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|lecture of this afternoon]]. The word 'Literature' in the historic background...it deeply fascinated me that we all talked about the same thing hundred years ago...just had another word.

Frankly there was one moment when I almost cried during the lecture...not because I was desperate or so sad or fed up with the content. No!

I deeply sighed when the tutor asked the rhetorical question: Why do we give our attention to poetry?
I am studying English in the first semester and I am a poetess myself.Started writing some years ago.I even dare to say I am a good poetess...modern but good...and my first day in Oldenburg I spent in the library ... stumbling across books which tried to give me an answer on: What is poetry?

I found a book about Keats therories of this topic...that he used the word 'Sensitivity' to describe this rhythmic expression of feelings.

For so many years I was writing verses...lines...deeply meant to be philosophical...and suddenly at my first day in Oldenburg I was confronted with the question of my entire being.

I suppose it's obvious now that I really love poetry and it's not only verses or rhyme or any other well written nonsense to me.
I appreciate English language in its deep sense and it strucked me deeply inside when I heard people laughing about this language...making fun of it.

Doesnt this language deserve our respect?

Pityful I thought about this question for a while and I came to the conclusion that all the people there had a reason why they took those English courses...in a modern way this reason can be defined as respect. I admit my respect towards language is quite different...

Anyway, I return to my first lines and to the question why we give so much attention to poetry...I may answer it one day when I found a satisfying answer on 'What is Poetry?' or I will just get an answer from the tutors in further lectures...I hope that the tutors will come to the simple end that they say 'Poetry deserves our attention because it reflects the feelings of individuals towards a hidden topic in a special time of history...in a special period.'

[[User:Jessika Thiele|Jessika Thiele]] 20:02, 7 November 2007 (CET)


|}

----
[[Blog:Archive]]

Blog

2007-12-08T12:32:24Z

Joern Esch: /* Joern Esch 13:02, 8 December 2007 (CET) : England, the two-taps Country */

choose a column, write, sign with <nowiki>~~~~</nowiki>, save.
{|width="100%" cellpadding="10"
|bgcolor=#E8EBF9 width=33% align="left" valign="top"|
==My Name: My Topic, Date==


|bgcolor=#C8CFF0 width=33% align="left" valign="top"|
==[[User:Joern Esch|Joern Esch]] 13:02, 8 December 2007 (CET) : England, the two-taps Country==

Well then, Blog... dunno really how to do this. I have recently found out about myself that I tend to find out about how to do a thing before I do it. Before I cook, I consult a cookbook or a recipe; before I write something academic, I read theories and theories about the topic; thus, I should actually have read something about how to blog, before I began writing this...but i decided I won't.
So you will have to cope with my blog as it is and if I do not write in agreement to the rules for blogging, i.e. if there are any, well, bear with me.
It is already more than two months ago that I left Oldenburg and went to Leeds. ''The'' major advantage for me, in comparison to other exchange students or foreign language assistants (FLA), was that I already knew somebody here. I had met Naomi three years ago on a surfing trip to Biarritz and we stayed in touch since. As soon as I heard about my provisional implacement in Leeds (where she studies contemporary dance) I texted her and she offered to live in her house, since there was a vacant room.

Alright, Leeds it is!!! Leeds as a city is fairly difficult to describe. It has, as most English cities, these brick, terraced houses, which I am particularly fond of. Leeds will most certainly never become a touristy place like York or other cities where you can go sight-seeing. There are, apart from some exceptions like the Town hall, few pompous buildings that people can take pictures of. Leeds' architectural charm is rather subtle. If one looks up to the houses' gables, one can find a very nice Victorian touch. One can see little variations in most of their architectural style, the applications used, etc. Generally speaking, Leeds seems to quite suiting for my aesthetic preferences. Leeds is one of the cities in Yorkshire which grew rapidly during the Industrialisation. I really like things that show men's manipulation, thus a city with the 'fingerprint' of the industrial revolution meets my gusto.

I will end with these impressions now and will turn to the way the English school system works and what I think about it tomorrow,

cheers


|bgcolor=#E1BBEA width=33% align="left" valign="top"|

==Jessika Thiele: On Poetry, Wednesday, 21st November, 2007==

Somehow in the lecture yesterday there was a deep unrest in the room...It was pretty hard to concentrate on the lecturers words.
I tried to be specially attentive because sometimes it happens that I turn my back to the topic 'Novel'.
I am an author myself and it's also interesting to see the roots of Novels...at least there is the same mess of names as in Poetry.
But frankly my thoughts are still with a totally different word...
Already at last weekend, when I had a look at the topic 'The Rise of the Novel' the word 'Rise' made me think.
Obviously some students expected to hear about the total beginning of the Novel...(Oh sometimes we wish it would be so simple in history...get an exact day and exact name of the author and exact name of the title...We would keep it all in mind...write it down in the written test and get our perfect mark for it.)Nevertheless we shall be glad that history is not that simple...so we can open a debate about everything.
Well, back to the rise...I would like to copy the definition of the word I found in my dictionary: rise,rising,rose,risen :1 to get up from a lying,sitting,or kneeling position; 2 to move from a lower to a higher position or place.
That may be enough as a definition of this word.So rising is not the beginning though ''a lying position' can also be some kind of beginning. So now I suppose the rise is meant to be the beginning of the debate about Novels.
So what was before Robinson Crusoe? Novels, romances, dramas!? All together!?

Maybe Robinson Crusoe deserves an own category of literature...It's not a typical romance neither a typical novel. Perhaps that was the special trick of DeFoe's writing...it looks as if it is a romance and shocks the readers with its signs of a novel(in my eyes that's what makes a book interesting: special elements of writing which differ from every other book of the past.)
We try to force the book into a category...instead of having endless discussions about which category it belongs to ,we can keep it easy and give it an own category.
It would demand some more work and confusion to invent some more categories of literature but it may help us in our discussion.

Mr. Simons mentioned another point which attached my attention immediately...female authors!
I honestly doubt that we shall put Robinson Crusoe into this area ...so called proto novels most prominently by female authors(third version). Female authors deserve a special seperated part of literature.
Perhaps a good point to seperate the rise from novels written by men from the rise of novels written by women. The problem we just face here again when we start dividing and dividing...we can also continue cutting the writers into seperations (rich or poor; educated or uneducated (in the time we are talking about there rich and educated was definitely linked))

Before I close this article I may find some more words about the end of the lecture (the questioning time)
The audience laughed about Mr.Simons word ''higher educated readership''. What was there to laugh about?
At university we are part of a higher educated readership and it's indeed a part of our lecture to differ between fictional and non-fictional writings.
Of course,it takes a lot of reading till we really can see what's true and what's fiction but with every book (mostly modern novels-the topic of our following lectures) we get a little closer to this aim.

[[User:Jessika Thiele|Jessika Thiele]] 11:50, 21 November 2007 (CET)

==Jessika Thiele: On Poetry, Wednesday, 14th November, 2007==

Here we go...at a cold cold Wednesday night...Recovering my impressions from the yesterday's lecture and from a line of a friend of mine: She said that Literature is the most confusing course of the whole English studies.
Frankly, I can understand her but only because I know that literature is such a wide field and that's why it seems complex.
I also admit that after the lecture of literature I was even more confused about my main question...

What is Poetry?...

And what's the difference to Poesy?

Why do you use two different words?
Poesy so soft and Poetry so strong...almost an illusion because Poetry is mostly fragile.
I fear I need to find out first

'What WAS Poetry?'

Was it Opera? No, not at all...

There was more than Opera and more in the Poets heads than a play on a stage. (Sometimes poetry should be hidden in a small chamber and never get out...especially not on a stage...you can compare it to a prisoner whose head will be cut off in front of hundred people)

I try to figure out what the Poets of that time thought. Were they happy with the stage?
And another question rising in my head: What about Drama?
So all Poets in that time got a connection to Drama (or at least to a play on a stage in a theatre)?

I suppose I already asked far more questions than one can answer...some surely will be answered by the tutors in the lectures and some will be answered by myself.
I dont know...when I think of Drama and a theatre then Shakespeare comes into my mind. Even the hundred years old books of Shakespeare's plays on my bookshelf may not give the answer to my dearly beloved questions. Simply because Shakespeare was not a poet...though...he wrote some poems I dare to say he was definitely not a poet as we know the word 'Poet' today...

So was he called a Poet in his time!?

So far the tutors in any English course were avoiding Shakespeare...his character...his time and his surroundings.
I remember something my English teacher said last year: 'When I was studying I hated Shakespeare and I still hate him.'
As an admirer of this great man I was shocked.

How can an English teacher ever dare to say she/he doesnt like Shakespeare?

Sure, I confess his plays and thoughts are not modern today BUT in his time his plays and thoughts were a revolution!

Well, I guess in the end literature is worth a discussion about its own definition...but it's not worth having a debate about the beauty of literature because every piece of Literature is beautiful!

[[User:Jessika Thiele|Jessika Thiele]] 20:21, 14 November 2007 (CET)

==Jessika Thiele: On Poetry, 6th November, 2007==
I am not sure what this blog is for but somehow I felt a strong urgent to write something in here...about the [[2007-08 BM1 Introduction to the Critical and Scholarly Discussion of Literature, Part 1|lecture of this afternoon]]. The word 'Literature' in the historic background...it deeply fascinated me that we all talked about the same thing hundred years ago...just had another word.

Frankly there was one moment when I almost cried during the lecture...not because I was desperate or so sad or fed up with the content. No!

I deeply sighed when the tutor asked the rhetorical question: Why do we give our attention to poetry?
I am studying English in the first semester and I am a poetess myself.Started writing some years ago.I even dare to say I am a good poetess...modern but good...and my first day in Oldenburg I spent in the library ... stumbling across books which tried to give me an answer on: What is poetry?

I found a book about Keats therories of this topic...that he used the word 'Sensitivity' to describe this rhythmic expression of feelings.

For so many years I was writing verses...lines...deeply meant to be philosophical...and suddenly at my first day in Oldenburg I was confronted with the question of my entire being.

I suppose it's obvious now that I really love poetry and it's not only verses or rhyme or any other well written nonsense to me.
I appreciate English language in its deep sense and it strucked me deeply inside when I heard people laughing about this language...making fun of it.

Doesnt this language deserve our respect?

Pityful I thought about this question for a while and I came to the conclusion that all the people there had a reason why they took those English courses...in a modern way this reason can be defined as respect. I admit my respect towards language is quite different...

Anyway, I return to my first lines and to the question why we give so much attention to poetry...I may answer it one day when I found a satisfying answer on 'What is Poetry?' or I will just get an answer from the tutors in further lectures...I hope that the tutors will come to the simple end that they say 'Poetry deserves our attention because it reflects the feelings of individuals towards a hidden topic in a special time of history...in a special period.'

[[User:Jessika Thiele|Jessika Thiele]] 20:02, 7 November 2007 (CET)


|}

----
[[Blog:Archive]]

Blog

2007-12-08T12:02:59Z

Joern Esch: /* My Name: My Topic, Date */

User talk:Olaf Simons

2007-12-07T17:26:53Z

Joern Esch:

[[User talk:Olaf Simons/Archive]]

== printing of your presentations ==

Moin Mr. Simons,
währe es möglich, die Präsentationen zur jeweiligen Vorlesung als Powerpointdatei einzustellen?Im Moment ist es nämlich ziemlich schwer mit dem Ausdrucken,da es pro Präsentation meist so um die 70 Seiten werden würden...vielleicht währe auch ein anderes Format möglich(mein Wissen über die Technik hält sich eher in Grenzen^^)
Es währe schön, wenn sich eine Lösung finden würde, da die Präsentationen wirklich gut und optimal zur Vor-u. Nachbereitung der lecture geeignet sind.Nur bei soviel Seiten gibt mein Drucker auf!;o)

Thanks,
Best wishes
--[[User:Mariann|Mariann]] 22:24, 19 November 2007 (CET)
(BM 1: Introduction to the Critical and Scolarly Discussion of Literature)

:Wie wärs, die Studenten nutzen das Wiki, um kollektiv das Vorlesungsskript zu erstellen und ich betreue das dann? Gruß, --[[User:Olaf Simons|Olaf Simons]] 10:34, 20 November 2007 (CET)

Habe eben erst die Antwort gelesen...ich finde die Idee gut, die Frage ist nur,ob soviel dabei zu stande kommt, eben weil wir 170 Leute sind ;O)
Aber einen Versuch währe es sicher wert, mal sehen, was andere von dem Vorschlag halten.
Ich meinte auch nicht, dass Sie uns alles ausgearbeitet forsetzen sollen ;O) die presentations machen bestimmt genug Arbeit und sind meiner Meinung nach wirklich hilfreich und ausreichend.Mir ging es nur darum zu fragen,ob man sie auch in einem "druckerfreundlicherem" Format einstellen könnte,denn inhaltlich sind sie so wie sie sind klasse.Viele hatten nämlich mit dem Ausdrucken Probleme, aber das wird schon.
Ich wollte nicht fordernd wirken :o)Und außerdem gibt es ja noch die Tutorien.
Liebe Grüße!
--[[User:Mariann|Mariann]] 20:34, 20 November 2007 (CET)

==Georg Lucacs==
Danke für die Grüße und die Einordnung! Das ganze ist doch etwas länger geworden... bis spätestes Mittwoch beim round table! GLG aus dem sonnigen München... mit Schnee --[[User:Anna Auguscik|Anna Auguscik]] 11:23, 26 November 2007 (CET)
:Na Ihr habts mal wieder gut. Hier wechselt das Wetter alle drei Minuten, Schneegestöber, graue Wolkenfronten, kleine Aufrisse im Himmel mit vergessenem Sonnenschein, graue Wolkenfronten, Schneegestöber, Schneegestöber, kleine Aufrisse im Himmel mit vergessenem Schnnegestöber, graue Wolkenfronten. Bin schon ganz mitgenommen davon. --[[User:Olaf Simons|Olaf Simons]] 11:26, 26 November 2007 (CET)
Sagen Sie, Herr Simons, könnten Sie die heutige Vorlesung wieder aufnehmen, so dass ich sie mir anhören kann, auch wenn ich erst gen Abend in Oldenburg sein werde... GLG, --[[User:Anna Auguscik|Anna Auguscik]]

==Bildfragmente==
Howdy Olaf, wieso fragst du nach meinen bildtechnischen Ergüssen, wenn doch schon ein so hübsches neues - und vor allem modernes - Exemplar die Main Page ziert? Ich nehme an, aus deinem Fundus...? Aber für den weiteren Wechsel kann ich gerne mal das ein oder andere Londonfoto bearbeiten und dir zukommen lassen. Hast du die genauen Pixelmaße? Das würde es nämlich gleich einfacher machen beim Zurechtschneiden.
Und ja, auch mich macht dieses entscheidungsunfreudige Wetter ganz platt. :-( Gruß aus dem FS-Büro, [[User:Melanie Tönies|Melanie Tönies]] 12:54, 26 November 2007 (CET)
:Der Fundus ist unten angegeben - ich plünderte [http://commons.wikimedia.org/wiki/Image:NYC_NYPD_Times_Square.jpg Wikimedia Commons] - das als freie Ressource allen offensteht. Die Maße? 200px breit und beliebig lang. Meine eigenen Bilder sind alle Dias, das Scannen ist echt ein Problem. Indes wollte es nett sein, alle Monate was Neues zu haben, etwas was nach angelsächsischem Sprachraum schmeckt... Unten setzte ich eine Quellenangabe hin. Man kann da auch ein Link für das ganze Bild hinsetzen und Werbung machen. Gruß, --[[User:Olaf Simons|Olaf Simons]] 15:20, 26 November 2007 (CET)
:...und überhaupt: Eure Fachschaftspräsenz ist noch immer ein Trauerspiel. Ich erwarte Impulse von Euch, Inspiration, bewegung im Laden. Gruß nochmals --[[User:Olaf Simons|Olaf Simons]] 15:23, 26 November 2007 (CET)
::...wenn man denn neben 2 Jobs in der Uni, einem Masterstudium, der Fachschaftsarbeit sowie sonstigen privaten Verpflichtungen noch Zeit hat, läßt sich bestimmt auch die Fachschafts-Wiki-Seite erweitern. Bis dahin verweise ich immer wieder gerne auf das bereits bestehende Angebot auf unserer [http://www.thefachschaftoldenburg.ag.vu Fachschafts-Homepage], die nach wie vor das vorherrschende Kommunikations- und Informationsmedium ist - und weiterhin bleiben soll. Nachmittagliche Grüße, [[User:Melanie Tönies|Melanie Tönies]] 15:25, 28 November 2007 (CET)

==2nd projector==
Hi Olaf, the second (fat) projector is 'stationed' in my office for simultaneous usage. *g* Could you please move it from Mr Gehring's column to the Litwi column? Best, [[User:John Alistair Kühne|John Alistair Kühne]] 15:06, 29 November 2007 (CET)
:Will I be killed if I I do this? (like steeling Mr. Gehring's second projector???) - I mean - I am bold at times... --[[User:Olaf Simons|Olaf Simons]] 15:19, 29 November 2007 (CET)

==Ja, er lebt==

Hi Olaf,

nun gut, ich werde ab Sonntag eine Woche lang ein Blog schreiben, aber nur weil du es bist :),

viele Grüße aus Ingerland,
Jörn

User:Joern Esch

2007-11-07T15:37:24Z

Joern Esch: /* Vita */

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

2007-08-14T12:28:20Z

Joern Esch: /* Texts */

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

==Topics==

==Texts==

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

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

2007-08-14T12:21:55Z

Joern Esch:

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

==Topics==

==Texts==

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

Main Page

2007-08-14T12:21:18Z

Joern Esch: /* Courses */

{|width="100%" cellpadding="5"
|bgcolor=#EEEEEE align="left" valign="top"|
__NOTOC__
==The English Literature Wiki at the University of Oldenburg==

This (http://www.uni-oldenburg.de/anglistik/lit-wiss/ is the short link) is the website of the English Literature team at the [http://www.uni-oldenburg.de University of Oldenburg]. As you will realise: it is a Wiki - a site open for contributions. Open a User account (we appreciate real name accounts) and use this site to communicate about anything relating to your studies here at Oldenburg. We ourselves will use the site as a platform for our courses with the aim to facilitate discussions.

If you feel you would like to help us organise this site, contact us on our user pages.

best wishes,

: [[User:Anna Auguscik|Anna Auguscik]], [[User:Silke Greskamp|Silke Greskamp]], [[User:Anton Kirchhofer|Anton Kirchhofer]], [[User:John Alistair Kühne|John Alistair Kühne]], [[User:Robert McLaughlin|Robert McLaughlin]], [[User:Annika McPherson|Annika McPherson]], [[User: Lea Müller|Lea Müller]], [[User:Katharina Schneider|Katharina Schneider]], [[User:Olaf Simons|Olaf Simons]], and [[User:Christina Stindl|Christina Stindl]]

==Courses==
*[[2007-08 AM Zadie Smith's Multicultural World|2007-08 AM Zadie Smith's Multicultural World (Anna Auguscik, Fr 12-14)]]
*[[2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries|2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries (Anton Kirchhofer, Do 14-16)]]
*[[2007-08 AM Le Morte Darthur (1485)|2007-08 AM Le Morte Darthur 1485 (Olaf Simons, Fr 16-18)]]
*[[2007-08 ASM Star Trek (1965-2005)|2007-08 ASM Star Trek 1965-2005 (Olaf Simons, We 16-18)]]
----
*[[2007 BM1 Introduction to Literature, Part 2|2007 BM1 Introduction to Literature, Part 2 - Seven Practical Courses]]
*[[2007 AM Yann Martel's 'Self' and 'Life of Pi'|2007 AM Yann Martel's 'Self' and 'Life of Pi' (Greskamp, Mo 18-20)]]
*[[2007 Ü Canterbury Tales|2007 Ü Canterbury Tales (Simons, Fr 18-23)]]
*[[2007 OS Literature and Our PostSecular Condition|2007 OS Literature and Our (Post)Secular Condition (Kirchhofer, Simons, Mo 10-12)]]
*[[2007 HS Britain and America in Indo-English Fiction|2007 HS Britain and America in Indo-English Fiction (McPherson, We 10-12)]]
*[[2007 HS Autobiography and Fiction in the Eighteenth Century|2007 HS Autobiography and Fiction in the Eighteenth Century (Kirchhofer, Thu 10-12)]]
*[[2007 AM1 Outsiders in Victorian and Modernist Fiction|2007 AM1 Outsiders in Victorian and Modernist Fiction (Kirchhofer, Tue 10-12)]]
----
*[http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Course Archive]
----
*[[Seminar Ideas]]

==Materials==
[http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Handout Handouts]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Chronology Texts chronologically]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Text alt]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:By_author Texts by author]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Movie Movies chronologically]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Assignment Assignments]
— [[Style sheet]]
— [[Statement on 'Plagiarism']]

==Reading Lists==

*[[With a Focus on History: Reading List I]]
*[[ Titles by Topics: Reading List II]]

==Wichtige Studieninformationen==

* [[Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)]]
* [[Anlage 4: Fachspezifische Anlage für das Fach Anglistik]]
* [[Studium:FAQ]]
* [[2007 BM1 Introduction to Literature:Informationen]]

==Address==

Seminar für Anglistik und Amerikanistik 
Carl von Ossietzky Universität Oldenburg 
Ammerländer Heerstraße 114-118 
D-26129 Oldenburg 

*[http://www.uni-oldenburg.de/anglistik/ Website Anglistik/Amerikanistik, Uni Oldenburg]
*[http://www.uni-oldenburg.de/uni/11003.html Lageplan]
*[http://www.uni-oldenburg.de/uni/11000.html Anfahrtsweg]
*[https://elearning.uni-oldenburg.de/ Stud.IP]

|bgcolor=#DDE7C7 align="left" valign="top" width="33%"|
{{Template:News}}

==Weblog==
[[Angl-lit-wiss:Community Portal|...this way, please...]]

COMING SOON: Prof. Klaus Köhring will be contributing a week of blogs in the near future. Watch this Space!

==Links==
[http://www.google.com/ncr Google]
— [http://search.msn.com/ MSN]
— [http://www.alltheweb.com/ alltheweb]
— [http://search.yahoo.com/ Yahoo]
----
[http://rzblx10.uni-regensburg.de/dbinfo/warpto.php?bib_id=ubol&color=2&titel_id=2521&url=http%3A%2F%2Fcollections.chadwyck.co.uk ABELL]
— [http://etext.lib.virginia.edu/kjv.browse.html Bible (King James)]
— [http://net.bible.org/home.php Bible (commented modern)]
— [http://blpc.bl.uk/ BLC]
— [http://bvba2.bib-bvb.de/V?RN=655740480 BVB]
— [http://www.personal.psu.edu/special/C18/c18-l.htm C18]
— [http://www.pierre-marteau.com/currency/coins/calculator.html Calculator]
— [http://www.pierre-marteau.com/currency/coins/engl-01.html £ Calculator]
— [http://www.timeanddate.com/calendar/index.html?year=1700&country=8 Calendar]
— [http://www.polysyllabic.com/ChCalendar.html Ecclesiastical Calendar]
— [http://rzblx10.uni-regensburg.de/dbinfo/warpto.php?bib_id=ubol&color=2&titel_id=3723&url=http%3A%2F%2Fwww.oxforddnb.com%2Fsubscribed%2F DNB]
— [http://galenet.galegroup.com/servlet/ECCO?locID=bis ECCO]
— [http://eebo.chadwyck.com/home EEBO]
— [http://estc.bl.uk/F/?func=file&file_name=login-bl-list ESTC]
— [http://www.davidappleyard.com/dynasties/1701_1800.htm Dynasties]
— [http://gso.gbv.de/DB=2.2/ADVANCED_SEARCHFILTER GBV]
— [http://www.gutenberg.org/ Gutenberg]
— [http://www2.h-net.msu.edu H-Net]
— [http://www2.h-net.msu.edu/~albion/ H-Albion]
— [http://www.imdb.com/ IMDb]
— [http://www.ubka.uni-karlsruhe.de/kvk.html KVK]
— [http://dict.leo.org/ LEO]
— [http://galenet.galegroup.com/servlet/LitRC?locID=bis LRC]
— [http://www.m-w.com/ Merriam-Webster]
— [http://web1.infotrac.galegroup.com/itw/infomark/1/1/1/purl=rc6_MLA MLA]
— [http://galenet.galegroup.com/servlet/MOML?locID=bis MOML]
— [http://galenet.galegroup.com/servlet/MOME?locID=bis MOMO]
— [http://dictionary.oed.com/ OED]
— [http://library.ox.ac.uk/ OLIS]
— [http://katalog.bis.uni-oldenburg.de/ ORBIS]
— [http://pierre-marteau.com/wiki/index.php?title=Prices_and_Wages_%28Great_Britain%29 Prices & Wages]
— [http://www.sharpweb.org/ SHARP]
— [http://web1.infotrac.galegroup.com/itw/infomark/1/1/1/purl=rc6_TTDA Times]
— [http://infotrac.galegroup.com/itweb/?db=TLS TLS]
— [http://de.wikipedia.org de.wikipedia]
— [http://en.wikipedia.org/wiki/Main_Page en.wikipedia]
— [http://www.wga.hu/index1.html Web Gallery of Art]
— [http://www.blbtools.de/einheitenrechner/rechner.htm World Units]
— [http://www.zdb-opac.de ZDB]
----
[http://www.bis.uni-oldenburg.de/dbis/ Ibit:Datenbanken]
— [http://www.ibit.uni-oldenburg.de/18034.html Ibit:Zeitschriften]

|}

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

2007-08-14T12:20:54Z

Joern Esch:

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

==Topics==

==Texts==

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

Main Page

2007-08-14T12:18:33Z

Joern Esch: /* Courses */

{|width="100%" cellpadding="5"
|bgcolor=#EEEEEE align="left" valign="top"|
__NOTOC__
==The English Literature Wiki at the University of Oldenburg==

This (http://www.uni-oldenburg.de/anglistik/lit-wiss/ is the short link) is the website of the English Literature team at the [http://www.uni-oldenburg.de University of Oldenburg]. As you will realise: it is a Wiki - a site open for contributions. Open a User account (we appreciate real name accounts) and use this site to communicate about anything relating to your studies here at Oldenburg. We ourselves will use the site as a platform for our courses with the aim to facilitate discussions.

If you feel you would like to help us organise this site, contact us on our user pages.

best wishes,

: [[User:Anna Auguscik|Anna Auguscik]], [[User:Silke Greskamp|Silke Greskamp]], [[User:Anton Kirchhofer|Anton Kirchhofer]], [[User:John Alistair Kühne|John Alistair Kühne]], [[User:Robert McLaughlin|Robert McLaughlin]], [[User:Annika McPherson|Annika McPherson]], [[User: Lea Müller|Lea Müller]], [[User:Katharina Schneider|Katharina Schneider]], [[User:Olaf Simons|Olaf Simons]], and [[User:Christina Stindl|Christina Stindl]]

==Courses==
*[[2007-08 AM Zadie Smith's Multicultural World|2007-08 AM Zadie Smith's Multicultural World (Anna Auguscik, Fr 12-14)]]
*[[2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries|2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries(Anton Kirchhofer, Do 14-16)]]
*[[2007-08 AM Le Morte Darthur (1485)|2007-08 AM Le Morte Darthur 1485 (Olaf Simons, Fr 16-18)]]
*[[2007-08 ASM Star Trek (1965-2005)|2007-08 ASM Star Trek 1965-2005 (Olaf Simons, We 16-18)]]
----
*[[2007 BM1 Introduction to Literature, Part 2|2007 BM1 Introduction to Literature, Part 2 - Seven Practical Courses]]
*[[2007 AM Yann Martel's 'Self' and 'Life of Pi'|2007 AM Yann Martel's 'Self' and 'Life of Pi' (Greskamp, Mo 18-20)]]
*[[2007 Ü Canterbury Tales|2007 Ü Canterbury Tales (Simons, Fr 18-23)]]
*[[2007 OS Literature and Our PostSecular Condition|2007 OS Literature and Our (Post)Secular Condition (Kirchhofer, Simons, Mo 10-12)]]
*[[2007 HS Britain and America in Indo-English Fiction|2007 HS Britain and America in Indo-English Fiction (McPherson, We 10-12)]]
*[[2007 HS Autobiography and Fiction in the Eighteenth Century|2007 HS Autobiography and Fiction in the Eighteenth Century (Kirchhofer, Thu 10-12)]]
*[[2007 AM1 Outsiders in Victorian and Modernist Fiction|2007 AM1 Outsiders in Victorian and Modernist Fiction (Kirchhofer, Tue 10-12)]]
----
*[http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Course Archive]
----
*[[Seminar Ideas]]

==Materials==
[http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Handout Handouts]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Chronology Texts chronologically]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Text alt]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:By_author Texts by author]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Movie Movies chronologically]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Assignment Assignments]
— [[Style sheet]]
— [[Statement on 'Plagiarism']]

==Reading Lists==

*[[With a Focus on History: Reading List I]]
*[[ Titles by Topics: Reading List II]]

==Wichtige Studieninformationen==

* [[Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)]]
* [[Anlage 4: Fachspezifische Anlage für das Fach Anglistik]]
* [[Studium:FAQ]]
* [[2007 BM1 Introduction to Literature:Informationen]]

==Address==

Seminar für Anglistik und Amerikanistik 
Carl von Ossietzky Universität Oldenburg 
Ammerländer Heerstraße 114-118 
D-26129 Oldenburg 

*[http://www.uni-oldenburg.de/anglistik/ Website Anglistik/Amerikanistik, Uni Oldenburg]
*[http://www.uni-oldenburg.de/uni/11003.html Lageplan]
*[http://www.uni-oldenburg.de/uni/11000.html Anfahrtsweg]
*[https://elearning.uni-oldenburg.de/ Stud.IP]

|bgcolor=#DDE7C7 align="left" valign="top" width="33%"|
{{Template:News}}

==Weblog==
[[Angl-lit-wiss:Community Portal|...this way, please...]]

COMING SOON: Prof. Klaus Köhring will be contributing a week of blogs in the near future. Watch this Space!

==Links==
[http://www.google.com/ncr Google]
— [http://search.msn.com/ MSN]
— [http://www.alltheweb.com/ alltheweb]
— [http://search.yahoo.com/ Yahoo]
----
[http://rzblx10.uni-regensburg.de/dbinfo/warpto.php?bib_id=ubol&color=2&titel_id=2521&url=http%3A%2F%2Fcollections.chadwyck.co.uk ABELL]
— [http://etext.lib.virginia.edu/kjv.browse.html Bible (King James)]
— [http://net.bible.org/home.php Bible (commented modern)]
— [http://blpc.bl.uk/ BLC]
— [http://bvba2.bib-bvb.de/V?RN=655740480 BVB]
— [http://www.personal.psu.edu/special/C18/c18-l.htm C18]
— [http://www.pierre-marteau.com/currency/coins/calculator.html Calculator]
— [http://www.pierre-marteau.com/currency/coins/engl-01.html £ Calculator]
— [http://www.timeanddate.com/calendar/index.html?year=1700&country=8 Calendar]
— [http://www.polysyllabic.com/ChCalendar.html Ecclesiastical Calendar]
— [http://rzblx10.uni-regensburg.de/dbinfo/warpto.php?bib_id=ubol&color=2&titel_id=3723&url=http%3A%2F%2Fwww.oxforddnb.com%2Fsubscribed%2F DNB]
— [http://galenet.galegroup.com/servlet/ECCO?locID=bis ECCO]
— [http://eebo.chadwyck.com/home EEBO]
— [http://estc.bl.uk/F/?func=file&file_name=login-bl-list ESTC]
— [http://www.davidappleyard.com/dynasties/1701_1800.htm Dynasties]
— [http://gso.gbv.de/DB=2.2/ADVANCED_SEARCHFILTER GBV]
— [http://www.gutenberg.org/ Gutenberg]
— [http://www2.h-net.msu.edu H-Net]
— [http://www2.h-net.msu.edu/~albion/ H-Albion]
— [http://www.imdb.com/ IMDb]
— [http://www.ubka.uni-karlsruhe.de/kvk.html KVK]
— [http://dict.leo.org/ LEO]
— [http://galenet.galegroup.com/servlet/LitRC?locID=bis LRC]
— [http://www.m-w.com/ Merriam-Webster]
— [http://web1.infotrac.galegroup.com/itw/infomark/1/1/1/purl=rc6_MLA MLA]
— [http://galenet.galegroup.com/servlet/MOML?locID=bis MOML]
— [http://galenet.galegroup.com/servlet/MOME?locID=bis MOMO]
— [http://dictionary.oed.com/ OED]
— [http://library.ox.ac.uk/ OLIS]
— [http://katalog.bis.uni-oldenburg.de/ ORBIS]
— [http://pierre-marteau.com/wiki/index.php?title=Prices_and_Wages_%28Great_Britain%29 Prices & Wages]
— [http://www.sharpweb.org/ SHARP]
— [http://web1.infotrac.galegroup.com/itw/infomark/1/1/1/purl=rc6_TTDA Times]
— [http://infotrac.galegroup.com/itweb/?db=TLS TLS]
— [http://de.wikipedia.org de.wikipedia]
— [http://en.wikipedia.org/wiki/Main_Page en.wikipedia]
— [http://www.wga.hu/index1.html Web Gallery of Art]
— [http://www.blbtools.de/einheitenrechner/rechner.htm World Units]
— [http://www.zdb-opac.de ZDB]
----
[http://www.bis.uni-oldenburg.de/dbis/ Ibit:Datenbanken]
— [http://www.ibit.uni-oldenburg.de/18034.html Ibit:Zeitschriften]

|}

Main Page

2007-08-14T12:17:34Z

Joern Esch: /* Courses */

{|width="100%" cellpadding="5"
|bgcolor=#EEEEEE align="left" valign="top"|
__NOTOC__
==The English Literature Wiki at the University of Oldenburg==

This (http://www.uni-oldenburg.de/anglistik/lit-wiss/ is the short link) is the website of the English Literature team at the [http://www.uni-oldenburg.de University of Oldenburg]. As you will realise: it is a Wiki - a site open for contributions. Open a User account (we appreciate real name accounts) and use this site to communicate about anything relating to your studies here at Oldenburg. We ourselves will use the site as a platform for our courses with the aim to facilitate discussions.

If you feel you would like to help us organise this site, contact us on our user pages.

best wishes,

: [[User:Anna Auguscik|Anna Auguscik]], [[User:Silke Greskamp|Silke Greskamp]], [[User:Anton Kirchhofer|Anton Kirchhofer]], [[User:John Alistair Kühne|John Alistair Kühne]], [[User:Robert McLaughlin|Robert McLaughlin]], [[User:Annika McPherson|Annika McPherson]], [[User: Lea Müller|Lea Müller]], [[User:Katharina Schneider|Katharina Schneider]], [[User:Olaf Simons|Olaf Simons]], and [[User:Christina Stindl|Christina Stindl]]

==Courses==
*[[2007-08 AM Zadie Smith's Multicultural World|2007-08 AM Zadie Smith's Multicultural World (Anna Auguscik, Fr 12-14)]]
*[[2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries|2007-08 AM Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries(Anton Kirchhofer Do 14-16)]]
*[[2007-08 AM Le Morte Darthur (1485)|2007-08 AM Le Morte Darthur 1485 (Olaf Simons, Fr 16-18)]]
*[[2007-08 ASM Star Trek (1965-2005)|2007-08 ASM Star Trek 1965-2005 (Olaf Simons, We 16-18)]]
----
*[[2007 BM1 Introduction to Literature, Part 2|2007 BM1 Introduction to Literature, Part 2 - Seven Practical Courses]]
*[[2007 AM Yann Martel's 'Self' and 'Life of Pi'|2007 AM Yann Martel's 'Self' and 'Life of Pi' (Greskamp, Mo 18-20)]]
*[[2007 Ü Canterbury Tales|2007 Ü Canterbury Tales (Simons, Fr 18-23)]]
*[[2007 OS Literature and Our PostSecular Condition|2007 OS Literature and Our (Post)Secular Condition (Kirchhofer, Simons, Mo 10-12)]]
*[[2007 HS Britain and America in Indo-English Fiction|2007 HS Britain and America in Indo-English Fiction (McPherson, We 10-12)]]
*[[2007 HS Autobiography and Fiction in the Eighteenth Century|2007 HS Autobiography and Fiction in the Eighteenth Century (Kirchhofer, Thu 10-12)]]
*[[2007 AM1 Outsiders in Victorian and Modernist Fiction|2007 AM1 Outsiders in Victorian and Modernist Fiction (Kirchhofer, Tue 10-12)]]
----
*[http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Course Archive]
----
*[[Seminar Ideas]]

==Materials==
[http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Handout Handouts]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Chronology Texts chronologically]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Text alt]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:By_author Texts by author]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Movie Movies chronologically]
— [http://www.wiki.uni-oldenburg.de/fk3/angl-lit-wiss/index.php?title=Category:Assignment Assignments]
— [[Style sheet]]
— [[Statement on 'Plagiarism']]

==Reading Lists==

*[[With a Focus on History: Reading List I]]
*[[ Titles by Topics: Reading List II]]

==Wichtige Studieninformationen==

* [[Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)]]
* [[Anlage 4: Fachspezifische Anlage für das Fach Anglistik]]
* [[Studium:FAQ]]
* [[2007 BM1 Introduction to Literature:Informationen]]

==Address==

Seminar für Anglistik und Amerikanistik 
Carl von Ossietzky Universität Oldenburg 
Ammerländer Heerstraße 114-118 
D-26129 Oldenburg 

*[http://www.uni-oldenburg.de/anglistik/ Website Anglistik/Amerikanistik, Uni Oldenburg]
*[http://www.uni-oldenburg.de/uni/11003.html Lageplan]
*[http://www.uni-oldenburg.de/uni/11000.html Anfahrtsweg]
*[https://elearning.uni-oldenburg.de/ Stud.IP]

|bgcolor=#DDE7C7 align="left" valign="top" width="33%"|
{{Template:News}}

==Weblog==
[[Angl-lit-wiss:Community Portal|...this way, please...]]

COMING SOON: Prof. Klaus Köhring will be contributing a week of blogs in the near future. Watch this Space!

==Links==
[http://www.google.com/ncr Google]
— [http://search.msn.com/ MSN]
— [http://www.alltheweb.com/ alltheweb]
— [http://search.yahoo.com/ Yahoo]
----
[http://rzblx10.uni-regensburg.de/dbinfo/warpto.php?bib_id=ubol&color=2&titel_id=2521&url=http%3A%2F%2Fcollections.chadwyck.co.uk ABELL]
— [http://etext.lib.virginia.edu/kjv.browse.html Bible (King James)]
— [http://net.bible.org/home.php Bible (commented modern)]
— [http://blpc.bl.uk/ BLC]
— [http://bvba2.bib-bvb.de/V?RN=655740480 BVB]
— [http://www.personal.psu.edu/special/C18/c18-l.htm C18]
— [http://www.pierre-marteau.com/currency/coins/calculator.html Calculator]
— [http://www.pierre-marteau.com/currency/coins/engl-01.html £ Calculator]
— [http://www.timeanddate.com/calendar/index.html?year=1700&country=8 Calendar]
— [http://www.polysyllabic.com/ChCalendar.html Ecclesiastical Calendar]
— [http://rzblx10.uni-regensburg.de/dbinfo/warpto.php?bib_id=ubol&color=2&titel_id=3723&url=http%3A%2F%2Fwww.oxforddnb.com%2Fsubscribed%2F DNB]
— [http://galenet.galegroup.com/servlet/ECCO?locID=bis ECCO]
— [http://eebo.chadwyck.com/home EEBO]
— [http://estc.bl.uk/F/?func=file&file_name=login-bl-list ESTC]
— [http://www.davidappleyard.com/dynasties/1701_1800.htm Dynasties]
— [http://gso.gbv.de/DB=2.2/ADVANCED_SEARCHFILTER GBV]
— [http://www.gutenberg.org/ Gutenberg]
— [http://www2.h-net.msu.edu H-Net]
— [http://www2.h-net.msu.edu/~albion/ H-Albion]
— [http://www.imdb.com/ IMDb]
— [http://www.ubka.uni-karlsruhe.de/kvk.html KVK]
— [http://dict.leo.org/ LEO]
— [http://galenet.galegroup.com/servlet/LitRC?locID=bis LRC]
— [http://www.m-w.com/ Merriam-Webster]
— [http://web1.infotrac.galegroup.com/itw/infomark/1/1/1/purl=rc6_MLA MLA]
— [http://galenet.galegroup.com/servlet/MOML?locID=bis MOML]
— [http://galenet.galegroup.com/servlet/MOME?locID=bis MOMO]
— [http://dictionary.oed.com/ OED]
— [http://library.ox.ac.uk/ OLIS]
— [http://katalog.bis.uni-oldenburg.de/ ORBIS]
— [http://pierre-marteau.com/wiki/index.php?title=Prices_and_Wages_%28Great_Britain%29 Prices & Wages]
— [http://www.sharpweb.org/ SHARP]
— [http://web1.infotrac.galegroup.com/itw/infomark/1/1/1/purl=rc6_TTDA Times]
— [http://infotrac.galegroup.com/itweb/?db=TLS TLS]
— [http://de.wikipedia.org de.wikipedia]
— [http://en.wikipedia.org/wiki/Main_Page en.wikipedia]
— [http://www.wga.hu/index1.html Web Gallery of Art]
— [http://www.blbtools.de/einheitenrechner/rechner.htm World Units]
— [http://www.zdb-opac.de ZDB]
----
[http://www.bis.uni-oldenburg.de/dbis/ Ibit:Datenbanken]
— [http://www.ibit.uni-oldenburg.de/18034.html Ibit:Zeitschriften]

|}

Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)

2007-07-18T09:16:45Z

Joern Esch: /* Britische/Amerikanische Literaturwissenschaft */

* Die neue BA Prüfungsordnung Anglistik gilt für Studierende mit Studienbeginn ab WS 2007/08. (Andere Studierende können nach Absprache mit dem Akademischen Prüfungsamt auf Wunsch in die neue Prüfungsordnung wechseln. Informationen für Studierende, die die Studienordnung nicht wechseln wollen gibt es weiter unten.)
* Die neue Prüfungsordnung erhöht die Flexibilität der Studierenden bei der innerfachlichen Schwerpunktbildung im Aufbaucurriculum. Die Basismodule sind gegenüber den Prüfungsordnungen 2005 bzw. 2006 unverändert. Bei den Aufbaumodulen sind dagegen Wahlmöglichkeiten eingeführt worden. Von den 30 KP des Aufbaucurriculums müssen 6 KP in der Sprachpraxis, sowie je mindestens 3 KP in den Teilfächern Literaturwissenschaft, British/ American Studies und Sprachwissenschaft belegt werden. Die restlichen 15 KP können je nach Präferenz und angestrebtem späteren Berufsziel frei auf die Teilfächer verteilt werden.
:* Studierende, die kein Lehramt anstreben, sind in ihrer Wahl völlig frei.
:* Studierende, die später einen M.Ed.Gym. belegen wollen, müssen sechs ihrer 15 „freien“ KP in der englischen Fachdidaktik belegen (und können deshalb nur 9 weitere KP frei vergeben),
:* Studierende, die später einen M.Ed.GHR belegen wollen, brauchen insgesamt nur 24 KP im Aufbaucurriculum; sie haben deshalb nur 9 „freie“ KP, von denen 6 in der englischen Fachdidaktik zu belegen sind.
:* (Studierende des M.Ed.WiPäd. und des M.Ed.SoPäd. studieren das Aufbaucurriculum des BA im Rahmen ihres M.Ed. nach dem Muster des der BA-Studierenden, die später einen M.Ed.Gym. anstreben.

==Lehrangebot im Wintersemester 2007-08: AM-Veranstaltungen==

===Integrierte Sprachpraxis - Integrated Language Skills===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .061
|bgcolor=#efefef valign="top" align="left"| Elements of Film (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-|-
|bgcolor=#efefef valign="top" align="left"| .062
|bgcolor=#efefef valign="top" align="left"| Shakespeare: Romeo and Juliet (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .063
|bgcolor=#efefef valign="top" align="left"| Short Stories from the English-Speaking World (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .064
|bgcolor=#efefef valign="top" align="left"| Asian Communities in Britain (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .065
|bgcolor=#efefef valign="top" align="left"| Varieties of English: US American Social Dialects (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Graydon, Deidre
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .066
|bgcolor=#efefef valign="top" align="left"| The American Roller Coaster: WW I through the Roaring Twenties to the Great Depression (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| McLaughlin, Robert
|bgcolor=#efefef valign="top" align="left"|
|}

===Britische/Amerikanische Literaturwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .71
|bgcolor=#efefef valign="top" align="left"| Malory, Mort D’Arthur and Arthurian Fiction / Fantasy
|bgcolor=#efefef valign="top" align="left"| Simons, Olaf
|bgcolor=#efefef valign="top" align="left"| AM2a, AM3a, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .73
|bgcolor=#efefef valign="top" align="left"| Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries
|bgcolor=#efefef valign="top" align="left"| Kirchhofer, Anton
|bgcolor=#efefef valign="top" align="left"| AM2b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .75
|bgcolor=#efefef valign="top" align="left"| Harlem Renaissance
|bgcolor=#efefef valign="top" align="left"| Schröter, Harald
|bgcolor=#efefef valign="top" align="left"| AM2b, AM2c, AM3b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .76
|bgcolor=#efefef valign="top" align="left"| [[2007-08 AM Zadie Smith's Multicultural World|Zadie Smith’s Multicultural World]]
|bgcolor=#efefef valign="top" align="left"| [[User:Anna Auguscik|Auguscik, Anna]]
|bgcolor=#efefef valign="top" align="left"| AM2c, AM3b, AM11
|}

===British/American Studies===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .72
|bgcolor=#efefef valign="top" align="left"| English Reformation
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2a, AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .74
|bgcolor=#efefef valign="top" align="left"| Constituting the Public
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2b, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .77
|bgcolor=#efefef valign="top" align="left"| New Ethnic Communities in the US: Hispanics and Asians
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2c, AM4b
|-
|bgcolor=#efefef valign="top" align="left"| .92
|bgcolor=#efefef valign="top" align="left"| Women in the West
|bgcolor=#efefef valign="top" align="left"| Miller, Karen
|bgcolor=#efefef valign="top" align="left"| AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .151
|bgcolor=#efefef valign="top" align="left"| Britain and Europe
|bgcolor=#efefef valign="top" align="left"| Stinshoff, Richard
|bgcolor=#efefef valign="top" align="left"| AM10
|}

===Sprachwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .81
|bgcolor=#efefef valign="top" align="left"| History of the English Language
|bgcolor=#efefef valign="top" align="left"| Geluykens, Ronald
|bgcolor=#efefef valign="top" align="left"| AM3a, AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .91
|bgcolor=#efefef valign="top" align="left"| Language and Gender
|bgcolor=#efefef valign="top" align="left"| Ogiermann, Eva
|bgcolor=#efefef valign="top" align="left"| AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .121
|bgcolor=#efefef valign="top" align="left"| Bilingualism and Second Language Acquisition
|bgcolor=#efefef valign="top" align="left"| Hamann, Cornelia
|bgcolor=#efefef valign="top" align="left"| AM7a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .125
|bgcolor=#efefef valign="top" align="left"| Categorization in Language
|bgcolor=#efefef valign="top" align="left"| Pantiz, Florian
|bgcolor=#efefef valign="top" align="left"| AM7b, AM9
|}

===Fachdidaktik===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .122
|bgcolor=#efefef valign="top" align="left"| Knowledge, Skills, Abilities
|bgcolor=#efefef valign="top" align="left"| Gehring, Wolfgang
|bgcolor=#efefef valign="top" align="left"| AM7a, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .123
|bgcolor=#efefef valign="top" align="left"| Errors, Mistakes, Faults
|bgcolor=#efefef valign="top" align="left"| Pfingsthorn, Joanna
|bgcolor=#efefef valign="top" align="left"| AM7a, AM7b, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .124
|bgcolor=#efefef valign="top" align="left"| Primary English
|bgcolor=#efefef valign="top" align="left"| Leinweber, Anke
|bgcolor=#efefef valign="top" align="left"| AM7b, AM8
|}

Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)

2007-07-18T09:16:17Z

Joern Esch: /* Britische/Amerikanische Literaturwissenschaft */

* Die neue BA Prüfungsordnung Anglistik gilt für Studierende mit Studienbeginn ab WS 2007/08. (Andere Studierende können nach Absprache mit dem Akademischen Prüfungsamt auf Wunsch in die neue Prüfungsordnung wechseln. Informationen für Studierende, die die Studienordnung nicht wechseln wollen gibt es weiter unten.)
* Die neue Prüfungsordnung erhöht die Flexibilität der Studierenden bei der innerfachlichen Schwerpunktbildung im Aufbaucurriculum. Die Basismodule sind gegenüber den Prüfungsordnungen 2005 bzw. 2006 unverändert. Bei den Aufbaumodulen sind dagegen Wahlmöglichkeiten eingeführt worden. Von den 30 KP des Aufbaucurriculums müssen 6 KP in der Sprachpraxis, sowie je mindestens 3 KP in den Teilfächern Literaturwissenschaft, British/ American Studies und Sprachwissenschaft belegt werden. Die restlichen 15 KP können je nach Präferenz und angestrebtem späteren Berufsziel frei auf die Teilfächer verteilt werden.
:* Studierende, die kein Lehramt anstreben, sind in ihrer Wahl völlig frei.
:* Studierende, die später einen M.Ed.Gym. belegen wollen, müssen sechs ihrer 15 „freien“ KP in der englischen Fachdidaktik belegen (und können deshalb nur 9 weitere KP frei vergeben),
:* Studierende, die später einen M.Ed.GHR belegen wollen, brauchen insgesamt nur 24 KP im Aufbaucurriculum; sie haben deshalb nur 9 „freie“ KP, von denen 6 in der englischen Fachdidaktik zu belegen sind.
:* (Studierende des M.Ed.WiPäd. und des M.Ed.SoPäd. studieren das Aufbaucurriculum des BA im Rahmen ihres M.Ed. nach dem Muster des der BA-Studierenden, die später einen M.Ed.Gym. anstreben.

==Lehrangebot im Wintersemester 2007-08: AM-Veranstaltungen==

===Integrierte Sprachpraxis - Integrated Language Skills===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .061
|bgcolor=#efefef valign="top" align="left"| Elements of Film (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-|-
|bgcolor=#efefef valign="top" align="left"| .062
|bgcolor=#efefef valign="top" align="left"| Shakespeare: Romeo and Juliet (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .063
|bgcolor=#efefef valign="top" align="left"| Short Stories from the English-Speaking World (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .064
|bgcolor=#efefef valign="top" align="left"| Asian Communities in Britain (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .065
|bgcolor=#efefef valign="top" align="left"| Varieties of English: US American Social Dialects (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Graydon, Deidre
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .066
|bgcolor=#efefef valign="top" align="left"| The American Roller Coaster: WW I through the Roaring Twenties to the Great Depression (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| McLaughlin, Robert
|bgcolor=#efefef valign="top" align="left"|
|}

===Britische/Amerikanische Literaturwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .71
|bgcolor=#efefef valign="top" align="left"| Malory, Mort D’Arthur and Arthurian Fiction / Fantasy
|bgcolor=#efefef valign="top" align="left"| Simons, Olaf
|bgcolor=#efefef valign="top" align="left"| AM2a, AM3a, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .73
|bgcolor=#efefef valign="top" align="left"| Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries
|bgcolor=#efefef valign="top" align="left"| Kirchhofer, Anton
|bgcolor=#efefef valign="top" align="left"| AM2b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .75
|bgcolor=#efefef valign="top" align="left"| Harlem Renaissance
|bgcolor=#efefef valign="top" align="left"| Schröter, Harald
|bgcolor=#efefef valign="top" align="left"| AM2b, AM2c, AM3b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .76
|bgcolor=#efefef valign="top" align="left"| [[2007-08 AM Zadie Smith's Multicultural World|Zadie Smith’s Multicultural World]]
|bgcolor=#efefef valign="top" align="left"| [[Benutzer:Anna Auguscik|Auguscik, Anna]]
|bgcolor=#efefef valign="top" align="left"| AM2c, AM3b, AM11
|}

===British/American Studies===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .72
|bgcolor=#efefef valign="top" align="left"| English Reformation
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2a, AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .74
|bgcolor=#efefef valign="top" align="left"| Constituting the Public
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2b, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .77
|bgcolor=#efefef valign="top" align="left"| New Ethnic Communities in the US: Hispanics and Asians
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2c, AM4b
|-
|bgcolor=#efefef valign="top" align="left"| .92
|bgcolor=#efefef valign="top" align="left"| Women in the West
|bgcolor=#efefef valign="top" align="left"| Miller, Karen
|bgcolor=#efefef valign="top" align="left"| AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .151
|bgcolor=#efefef valign="top" align="left"| Britain and Europe
|bgcolor=#efefef valign="top" align="left"| Stinshoff, Richard
|bgcolor=#efefef valign="top" align="left"| AM10
|}

===Sprachwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .81
|bgcolor=#efefef valign="top" align="left"| History of the English Language
|bgcolor=#efefef valign="top" align="left"| Geluykens, Ronald
|bgcolor=#efefef valign="top" align="left"| AM3a, AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .91
|bgcolor=#efefef valign="top" align="left"| Language and Gender
|bgcolor=#efefef valign="top" align="left"| Ogiermann, Eva
|bgcolor=#efefef valign="top" align="left"| AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .121
|bgcolor=#efefef valign="top" align="left"| Bilingualism and Second Language Acquisition
|bgcolor=#efefef valign="top" align="left"| Hamann, Cornelia
|bgcolor=#efefef valign="top" align="left"| AM7a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .125
|bgcolor=#efefef valign="top" align="left"| Categorization in Language
|bgcolor=#efefef valign="top" align="left"| Pantiz, Florian
|bgcolor=#efefef valign="top" align="left"| AM7b, AM9
|}

===Fachdidaktik===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .122
|bgcolor=#efefef valign="top" align="left"| Knowledge, Skills, Abilities
|bgcolor=#efefef valign="top" align="left"| Gehring, Wolfgang
|bgcolor=#efefef valign="top" align="left"| AM7a, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .123
|bgcolor=#efefef valign="top" align="left"| Errors, Mistakes, Faults
|bgcolor=#efefef valign="top" align="left"| Pfingsthorn, Joanna
|bgcolor=#efefef valign="top" align="left"| AM7a, AM7b, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .124
|bgcolor=#efefef valign="top" align="left"| Primary English
|bgcolor=#efefef valign="top" align="left"| Leinweber, Anke
|bgcolor=#efefef valign="top" align="left"| AM7b, AM8
|}

Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)

2007-07-18T09:14:36Z

Joern Esch: /* Integrierte Sprachpraxis - Integrated Language Skills */

* Die neue BA Prüfungsordnung Anglistik gilt für Studierende mit Studienbeginn ab WS 2007/08. (Andere Studierende können nach Absprache mit dem Akademischen Prüfungsamt auf Wunsch in die neue Prüfungsordnung wechseln. Informationen für Studierende, die die Studienordnung nicht wechseln wollen gibt es weiter unten.)
* Die neue Prüfungsordnung erhöht die Flexibilität der Studierenden bei der innerfachlichen Schwerpunktbildung im Aufbaucurriculum. Die Basismodule sind gegenüber den Prüfungsordnungen 2005 bzw. 2006 unverändert. Bei den Aufbaumodulen sind dagegen Wahlmöglichkeiten eingeführt worden. Von den 30 KP des Aufbaucurriculums müssen 6 KP in der Sprachpraxis, sowie je mindestens 3 KP in den Teilfächern Literaturwissenschaft, British/ American Studies und Sprachwissenschaft belegt werden. Die restlichen 15 KP können je nach Präferenz und angestrebtem späteren Berufsziel frei auf die Teilfächer verteilt werden.
:* Studierende, die kein Lehramt anstreben, sind in ihrer Wahl völlig frei.
:* Studierende, die später einen M.Ed.Gym. belegen wollen, müssen sechs ihrer 15 „freien“ KP in der englischen Fachdidaktik belegen (und können deshalb nur 9 weitere KP frei vergeben),
:* Studierende, die später einen M.Ed.GHR belegen wollen, brauchen insgesamt nur 24 KP im Aufbaucurriculum; sie haben deshalb nur 9 „freie“ KP, von denen 6 in der englischen Fachdidaktik zu belegen sind.
:* (Studierende des M.Ed.WiPäd. und des M.Ed.SoPäd. studieren das Aufbaucurriculum des BA im Rahmen ihres M.Ed. nach dem Muster des der BA-Studierenden, die später einen M.Ed.Gym. anstreben.

==Lehrangebot im Wintersemester 2007-08: AM-Veranstaltungen==

===Integrierte Sprachpraxis - Integrated Language Skills===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .061
|bgcolor=#efefef valign="top" align="left"| Elements of Film (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-|-
|bgcolor=#efefef valign="top" align="left"| .062
|bgcolor=#efefef valign="top" align="left"| Shakespeare: Romeo and Juliet (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .063
|bgcolor=#efefef valign="top" align="left"| Short Stories from the English-Speaking World (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .064
|bgcolor=#efefef valign="top" align="left"| Asian Communities in Britain (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .065
|bgcolor=#efefef valign="top" align="left"| Varieties of English: US American Social Dialects (Emphasis on spoken English)
|bgcolor=#efefef valign="top" align="left"| Graydon, Deidre
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .066
|bgcolor=#efefef valign="top" align="left"| The American Roller Coaster: WW I through the Roaring Twenties to the Great Depression (Emphasis on written English)
|bgcolor=#efefef valign="top" align="left"| McLaughlin, Robert
|bgcolor=#efefef valign="top" align="left"|
|}

===Britische/Amerikanische Literaturwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .71
|bgcolor=#efefef valign="top" align="left"| Malory, Mort D’Arthur and Arthurian Fiction / Fantasy
|bgcolor=#efefef valign="top" align="left"| Simons, Olaf
|bgcolor=#efefef valign="top" align="left"| AM2a, AM3a, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .73
|bgcolor=#efefef valign="top" align="left"| Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries
|bgcolor=#efefef valign="top" align="left"| Kirchhofer, Anton
|bgcolor=#efefef valign="top" align="left"| AM2b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .75
|bgcolor=#efefef valign="top" align="left"| Harlem Renaissance
|bgcolor=#efefef valign="top" align="left"| Schröter, Harald
|bgcolor=#efefef valign="top" align="left"| AM2b, AM2c, AM3b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .76
|bgcolor=#efefef valign="top" align="left"| Zadie Smith’s Multicultural World
|bgcolor=#efefef valign="top" align="left"| Auguscik, Anna
|bgcolor=#efefef valign="top" align="left"| AM2c, AM3b, AM11
|}

===British/American Studies===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .72
|bgcolor=#efefef valign="top" align="left"| English Reformation
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2a, AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .74
|bgcolor=#efefef valign="top" align="left"| Constituting the Public
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2b, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .77
|bgcolor=#efefef valign="top" align="left"| New Ethnic Communities in the US: Hispanics and Asians
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2c, AM4b
|-
|bgcolor=#efefef valign="top" align="left"| .92
|bgcolor=#efefef valign="top" align="left"| Women in the West
|bgcolor=#efefef valign="top" align="left"| Miller, Karen
|bgcolor=#efefef valign="top" align="left"| AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .151
|bgcolor=#efefef valign="top" align="left"| Britain and Europe
|bgcolor=#efefef valign="top" align="left"| Stinshoff, Richard
|bgcolor=#efefef valign="top" align="left"| AM10
|}

===Sprachwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .81
|bgcolor=#efefef valign="top" align="left"| History of the English Language
|bgcolor=#efefef valign="top" align="left"| Geluykens, Ronald
|bgcolor=#efefef valign="top" align="left"| AM3a, AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .91
|bgcolor=#efefef valign="top" align="left"| Language and Gender
|bgcolor=#efefef valign="top" align="left"| Ogiermann, Eva
|bgcolor=#efefef valign="top" align="left"| AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .121
|bgcolor=#efefef valign="top" align="left"| Bilingualism and Second Language Acquisition
|bgcolor=#efefef valign="top" align="left"| Hamann, Cornelia
|bgcolor=#efefef valign="top" align="left"| AM7a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .125
|bgcolor=#efefef valign="top" align="left"| Categorization in Language
|bgcolor=#efefef valign="top" align="left"| Pantiz, Florian
|bgcolor=#efefef valign="top" align="left"| AM7b, AM9
|}

===Fachdidaktik===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .122
|bgcolor=#efefef valign="top" align="left"| Knowledge, Skills, Abilities
|bgcolor=#efefef valign="top" align="left"| Gehring, Wolfgang
|bgcolor=#efefef valign="top" align="left"| AM7a, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .123
|bgcolor=#efefef valign="top" align="left"| Errors, Mistakes, Faults
|bgcolor=#efefef valign="top" align="left"| Pfingsthorn, Joanna
|bgcolor=#efefef valign="top" align="left"| AM7a, AM7b, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .124
|bgcolor=#efefef valign="top" align="left"| Primary English
|bgcolor=#efefef valign="top" align="left"| Leinweber, Anke
|bgcolor=#efefef valign="top" align="left"| AM7b, AM8
|}

Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)

2007-07-18T09:11:57Z

Joern Esch: /* Lehrangebot im Wintersemester 2007-08: AM-Veranstaltungen */

* Die neue BA Prüfungsordnung Anglistik gilt für Studierende mit Studienbeginn ab WS 2007/08. (Andere Studierende können nach Absprache mit dem Akademischen Prüfungsamt auf Wunsch in die neue Prüfungsordnung wechseln. Informationen für Studierende, die die Studienordnung nicht wechseln wollen gibt es weiter unten.)
* Die neue Prüfungsordnung erhöht die Flexibilität der Studierenden bei der innerfachlichen Schwerpunktbildung im Aufbaucurriculum. Die Basismodule sind gegenüber den Prüfungsordnungen 2005 bzw. 2006 unverändert. Bei den Aufbaumodulen sind dagegen Wahlmöglichkeiten eingeführt worden. Von den 30 KP des Aufbaucurriculums müssen 6 KP in der Sprachpraxis, sowie je mindestens 3 KP in den Teilfächern Literaturwissenschaft, British/ American Studies und Sprachwissenschaft belegt werden. Die restlichen 15 KP können je nach Präferenz und angestrebtem späteren Berufsziel frei auf die Teilfächer verteilt werden.
:* Studierende, die kein Lehramt anstreben, sind in ihrer Wahl völlig frei.
:* Studierende, die später einen M.Ed.Gym. belegen wollen, müssen sechs ihrer 15 „freien“ KP in der englischen Fachdidaktik belegen (und können deshalb nur 9 weitere KP frei vergeben),
:* Studierende, die später einen M.Ed.GHR belegen wollen, brauchen insgesamt nur 24 KP im Aufbaucurriculum; sie haben deshalb nur 9 „freie“ KP, von denen 6 in der englischen Fachdidaktik zu belegen sind.
:* (Studierende des M.Ed.WiPäd. und des M.Ed.SoPäd. studieren das Aufbaucurriculum des BA im Rahmen ihres M.Ed. nach dem Muster des der BA-Studierenden, die später einen M.Ed.Gym. anstreben.

==Lehrangebot im Wintersemester 2007-08: AM-Veranstaltungen==

===Integrierte Sprachpraxis - Integrated Language Skills===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .061
|bgcolor=#efefef valign="top" align="left"| Elements of Film
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-|-
|bgcolor=#efefef valign="top" align="left"| .062
|bgcolor=#efefef valign="top" align="left"| Shakespeare: Romeo and Juliet
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .063
|bgcolor=#efefef valign="top" align="left"| Short Stories from the English-Speaking World
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .064
|bgcolor=#efefef valign="top" align="left"| Asian Communities in Britain
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .065
|bgcolor=#efefef valign="top" align="left"| Varieties of English: US American Social Dialects
|bgcolor=#efefef valign="top" align="left"| Graydon, Deidre
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .066
|bgcolor=#efefef valign="top" align="left"| The American Roller Coaster: WW I through the Roaring Twenties to the Great Depression
|bgcolor=#efefef valign="top" align="left"| McLaughlin, Robert
|bgcolor=#efefef valign="top" align="left"|
|}

===Britische/Amerikanische Literaturwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .71
|bgcolor=#efefef valign="top" align="left"| Malory, Mort D’Arthur and Arthurian Fiction / Fantasy
|bgcolor=#efefef valign="top" align="left"| Simons, Olaf
|bgcolor=#efefef valign="top" align="left"| AM2a, AM3a, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .73
|bgcolor=#efefef valign="top" align="left"| Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries
|bgcolor=#efefef valign="top" align="left"| Kirchhofer, Anton
|bgcolor=#efefef valign="top" align="left"| AM2b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .75
|bgcolor=#efefef valign="top" align="left"| Harlem Renaissance
|bgcolor=#efefef valign="top" align="left"| Schröter, Harald
|bgcolor=#efefef valign="top" align="left"| AM2b, AM2c, AM3b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .76
|bgcolor=#efefef valign="top" align="left"| Zadie Smith’s Multicultural World
|bgcolor=#efefef valign="top" align="left"| Auguscik, Anna
|bgcolor=#efefef valign="top" align="left"| AM2c, AM3b, AM11
|}

===British/American Studies===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .72
|bgcolor=#efefef valign="top" align="left"| English Reformation
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2a, AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .74
|bgcolor=#efefef valign="top" align="left"| Constituting the Public
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2b, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .77
|bgcolor=#efefef valign="top" align="left"| New Ethnic Communities in the US: Hispanics and Asians
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2c, AM4b
|-
|bgcolor=#efefef valign="top" align="left"| .92
|bgcolor=#efefef valign="top" align="left"| Women in the West
|bgcolor=#efefef valign="top" align="left"| Miller, Karen
|bgcolor=#efefef valign="top" align="left"| AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .151
|bgcolor=#efefef valign="top" align="left"| Britain and Europe
|bgcolor=#efefef valign="top" align="left"| Stinshoff, Richard
|bgcolor=#efefef valign="top" align="left"| AM10
|}

===Sprachwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .81
|bgcolor=#efefef valign="top" align="left"| History of the English Language
|bgcolor=#efefef valign="top" align="left"| Geluykens, Ronald
|bgcolor=#efefef valign="top" align="left"| AM3a, AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .91
|bgcolor=#efefef valign="top" align="left"| Language and Gender
|bgcolor=#efefef valign="top" align="left"| Ogiermann, Eva
|bgcolor=#efefef valign="top" align="left"| AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .121
|bgcolor=#efefef valign="top" align="left"| Bilingualism and Second Language Acquisition
|bgcolor=#efefef valign="top" align="left"| Hamann, Cornelia
|bgcolor=#efefef valign="top" align="left"| AM7a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .125
|bgcolor=#efefef valign="top" align="left"| Categorization in Language
|bgcolor=#efefef valign="top" align="left"| Pantiz, Florian
|bgcolor=#efefef valign="top" align="left"| AM7b, AM9
|}

===Fachdidaktik===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .122
|bgcolor=#efefef valign="top" align="left"| Knowledge, Skills, Abilities
|bgcolor=#efefef valign="top" align="left"| Gehring, Wolfgang
|bgcolor=#efefef valign="top" align="left"| AM7a, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .123
|bgcolor=#efefef valign="top" align="left"| Errors, Mistakes, Faults
|bgcolor=#efefef valign="top" align="left"| Pfingsthorn, Joanna
|bgcolor=#efefef valign="top" align="left"| AM7a, AM7b, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .124
|bgcolor=#efefef valign="top" align="left"| Primary English
|bgcolor=#efefef valign="top" align="left"| Leinweber, Anke
|bgcolor=#efefef valign="top" align="left"| AM7b, AM8
|}

Informationen zur neuen BA-Prüfungsordnung Anglistik (ab WS 2007-08)

2007-07-18T09:10:56Z

Joern Esch: /* Lehrangebot im Wintersemester 2007-08: AM-Veranstaltungen */

* Die neue BA Prüfungsordnung Anglistik gilt für Studierende mit Studienbeginn ab WS 2007/08. (Andere Studierende können nach Absprache mit dem Akademischen Prüfungsamt auf Wunsch in die neue Prüfungsordnung wechseln. Informationen für Studierende, die die Studienordnung nicht wechseln wollen gibt es weiter unten.)
* Die neue Prüfungsordnung erhöht die Flexibilität der Studierenden bei der innerfachlichen Schwerpunktbildung im Aufbaucurriculum. Die Basismodule sind gegenüber den Prüfungsordnungen 2005 bzw. 2006 unverändert. Bei den Aufbaumodulen sind dagegen Wahlmöglichkeiten eingeführt worden. Von den 30 KP des Aufbaucurriculums müssen 6 KP in der Sprachpraxis, sowie je mindestens 3 KP in den Teilfächern Literaturwissenschaft, British/ American Studies und Sprachwissenschaft belegt werden. Die restlichen 15 KP können je nach Präferenz und angestrebtem späteren Berufsziel frei auf die Teilfächer verteilt werden.
:* Studierende, die kein Lehramt anstreben, sind in ihrer Wahl völlig frei.
:* Studierende, die später einen M.Ed.Gym. belegen wollen, müssen sechs ihrer 15 „freien“ KP in der englischen Fachdidaktik belegen (und können deshalb nur 9 weitere KP frei vergeben),
:* Studierende, die später einen M.Ed.GHR belegen wollen, brauchen insgesamt nur 24 KP im Aufbaucurriculum; sie haben deshalb nur 9 „freie“ KP, von denen 6 in der englischen Fachdidaktik zu belegen sind.
:* (Studierende des M.Ed.WiPäd. und des M.Ed.SoPäd. studieren das Aufbaucurriculum des BA im Rahmen ihres M.Ed. nach dem Muster des der BA-Studierenden, die später einen M.Ed.Gym. anstreben.

==Lehrangebot im Wintersemester 2007-08: AM-Veranstaltungen==

===Integrierte Sprachpraxis - Integrated Language Skills===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .061
|bgcolor=#efefef valign="top" align="left"| Elements of Film
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-|-
|bgcolor=#efefef valign="top" align="left"| .062
|bgcolor=#efefef valign="top" align="left"| Shakespeare: Romeo and Juliet
|bgcolor=#efefef valign="top" align="left"| Carpenter, Kevin
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .063
|bgcolor=#efefef valign="top" align="left"| Short Stories from the English-Speaking World
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .064
|bgcolor=#efefef valign="top" align="left"| Asian Communities in Britain
|bgcolor=#efefef valign="top" align="left"| Duncan, Delia
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .065
|bgcolor=#efefef valign="top" align="left"| Varieties of English: US American Social Dialects
|bgcolor=#efefef valign="top" align="left"| Graydon, Deidre
|bgcolor=#efefef valign="top" align="left"|
|-
|bgcolor=#efefef valign="top" align="left"| .066
|bgcolor=#efefef valign="top" align="left"| The American Roller Coaster: WW I through the Roaring Twenties to the Great Depression
|bgcolor=#efefef valign="top" align="left"| McLaughlin, Robert
|bgcolor=#efefef valign="top" align="left"|
|}

===Britische/Amerikanische Literaturwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .71
|bgcolor=#efefef valign="top" align="left"| Malory, Mort D’Arthur and Arthurian Fiction / Fantasy
|bgcolor=#efefef valign="top" align="left"| Simons, Olaf
|bgcolor=#efefef valign="top" align="left"| AM2a, AM3a, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .73
|bgcolor=#efefef valign="top" align="left"| Patterns of Participation: Literature and Criticism in the 19th and 20th Centuries
|bgcolor=#efefef valign="top" align="left"| Kirchhofer, Anton
|bgcolor=#efefef valign="top" align="left"| AM2b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .75
|bgcolor=#efefef valign="top" align="left"| Harlem Renaissance
|bgcolor=#efefef valign="top" align="left"| Schröter, Harald
|bgcolor=#efefef valign="top" align="left"| AM2b, AM2c, AM3b, AM11
|-
|bgcolor=#efefef valign="top" align="left"| .76
|bgcolor=#efefef valign="top" align="left"| Zadie Smith’s Multicultural World
|bgcolor=#efefef valign="top" align="left"| Auguscik, Anna
|bgcolor=#efefef valign="top" align="left"| AM2c, AM3b, AM11
|}

===British/American Studies===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .72
|bgcolor=#efefef valign="top" align="left"| English Reformation
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2a, AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .74
|bgcolor=#efefef valign="top" align="left"| Constituting the Public
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2b, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .77
|bgcolor=#efefef valign="top" align="left"| New Ethnic Communities in the US: Hispanics and Asians
|bgcolor=#efefef valign="top" align="left"| Schwarzkopf, Jutta
|bgcolor=#efefef valign="top" align="left"| AM2c, AM4b
|-
|bgcolor=#efefef valign="top" align="left"| .92
|bgcolor=#efefef valign="top" align="left"| Women in the West
|bgcolor=#efefef valign="top" align="left"| Miller, Karen
|bgcolor=#efefef valign="top" align="left"| AM4a, AM10
|-
|bgcolor=#efefef valign="top" align="left"| .151
|bgcolor=#efefef valign="top" align="left"| Britain and Europe
|bgcolor=#efefef valign="top" align="left"| Stinshoff, Richard
|bgcolor=#efefef valign="top" align="left"| AM10
|}

===Sprachwissenschaft===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .81
|bgcolor=#efefef valign="top" align="left"| History of the English Language
|bgcolor=#efefef valign="top" align="left"| Geluykens, Ronald
|bgcolor=#efefef valign="top" align="left"| AM3a, AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .91
|bgcolor=#efefef valign="top" align="left"| Language and Gender
|bgcolor=#efefef valign="top" align="left"| Ogiermann, Eva
|bgcolor=#efefef valign="top" align="left"| AM4a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .121
|bgcolor=#efefef valign="top" align="left"| Bilingualism and Second Language Acquisition
|bgcolor=#efefef valign="top" align="left"| Hamann, Cornelia
|bgcolor=#efefef valign="top" align="left"| AM7a, AM9
|-
|bgcolor=#efefef valign="top" align="left"| .125
|bgcolor=#efefef valign="top" align="left"| Categorization in Language
|bgcolor=#efefef valign="top" align="left"| Pantiz, Florian
|bgcolor=#efefef valign="top" align="left"| AM7b, AM9
|}

===Fachdidaktik===

{|cellpadding=5 width=100%|
!bgcolor=#D5D5FF valign="top" align="left"| Veranstaltungsnummer
!bgcolor=#D5D5FF valign="top" align="left"| Titel
!bgcolor=#D5D5FF valign="top" align="left"| DozentIn
!bgcolor=#D5D5FF valign="top" align="left"| Kombinationsmöglichkeit mit
|-
|bgcolor=#efefef valign="top" align="left"| .122
|bgcolor=#efefef valign="top" align="left"| Knowledge, Skills, Abilities
|bgcolor=#efefef valign="top" align="left"| Gehring, Wolfgang
|bgcolor=#efefef valign="top" align="left"| AM7a, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .123
|bgcolor=#efefef valign="top" align="left"| Errors, Mistakes, Faults
|bgcolor=#efefef valign="top" align="left"| Pfingsthorn, Joanna
|bgcolor=#efefef valign="top" align="left"| AM7a, AM7b, AM8
|-
|bgcolor=#efefef valign="top" align="left"| .124
|bgcolor=#efefef valign="top" align="left"| Primary English
|bgcolor=#efefef valign="top" align="left"| Leinweber, Anke
|bgcolor=#efefef valign="top" align="left"| AM7b, AM8
|}

2007 OS Literature and Our PostSecular Condition

2007-06-21T11:18:07Z

Joern Esch: /* June 25, 2007 */

==Re-Scheduling our Seminar from Monday, April 30, onwards==
Please Note: From Monday, April 30, 2007, onwards, our seminar will be taking place at the new time of Monday, 10-12 h. Our venue will remain the same: A10 1-121a.
Note also: The meeting on Wed, April 25, at 18-20 h will still take place as planned.

==Course Description==

Oberseminar / Kolloquium Kirchhofer (mit Simons): Literature and our (Post)Secular Condition, Mi 18-20

Our point of departure will be the sudden and massive critical interest which the topic of religion has found lately. Is religion really about to “replace the triumvirate of race, class and gender as the center of intellectual energy in the academy” as Stanley Fish has predicted? Will the ‘postmodern condition’ give way to a ‘postsecular condition’? And what might be the consequences for the secular self-conception of Western societies and for the role which literature has had in this self-conception?
Our seminar offers an opportunity to address these questions both in a current and a historical perspective. We will look at the recent theoretical attention which the religious and the secular have received (the choice ranges from Foucault, Derrida or Habermas to ethnologists like Talal Asad), but we propose also to explore historical perspectives that extend between Jonathan Swift’s ''A Tale of a Tub'' (1704) and Salman Rushdie’s ''Satanic Verses'' (1988). Our precise programme will be agreed on at the beginning of the semester.
This course is open to students who have an interest in current issues in criticism and theory. It may also be used in order to prepare one topic for an oral exam.
Please note: enrolment is not via Stud.IP.
Please register in person.

==April 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2003_asad__formations_of_the_secular_chap1.pdf Asad, Formations of the Secular Intro]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Stanley Fish "One University, Under God?", ''The Chronicle of Higher Education'' 51:18 (January 7, 2005).]

==April 30, 2007==

Canceled

==May 7, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1717_swift__abolishing_of_christianity.pdf Swift, Abolishing of Christianity]

==May 14, 2007==

*[[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Pierre Daniel Huet, Treatise on the Origin of Romances (Paris, 1670).]]

==May 21, 2007==
Christopher Saur, a German Printer in Philadelphia.

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_klare_und_gewisse_wahrheit.pdf ''Klare und gewisse Wahrheit Ps. 119. v. 160. Titum 1, 9. Betreffend den eigendlichen Zustand, so wohl der wahren friedliebenden Christen und Gottesfürchtigen, als auch der verfallenen, Streit- oder Kriegs-Süchtigen, zusammt ihrer beyder Hoffnung und Ausgang'' (Germantown: Christopher Sower, 1747)]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_plain_truth.doc Plain Truth 1747?]

==June 4, 2007==

[[William Blake, Jerusalem (1804)|Wiliam Blake's ''Milton'']]

==June 11, 2007==

George Eliot's ''Middlemarch'' and Auguste Comte, Session 1

==June 18, 2007==

George Eliot and Auguste Comte, Session 2

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_comte_systeme_de_politique_positive.PDF Comte's "Calendrier Positiviste" from 1854, (poor quality, sorry [[User:Joern Esch|Joern Esch]] 14:41, 15 June 2007 (CEST))]

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1956_comte_ueber_den_geist_des_positivismus.PDF Comte: Rede über den Geist des Positivismus, 1956. Table of Contents]

The "Calendrier..." can be found in a cleaned version here - at least it is better legible and seems identical after a short glance: [http://www.louisg.net/calendrier_positiviste.htm Le calendrier positiviste] --[[User:Nico Zorn|Nico Zorn]] 23:34, 16 June 2007 (CEST)

==June 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1986_foucaul__iran_the_spirit_of_a_world_without_a_spirit.pdf Foucault, Michel: Iran. The Spirit of a World without Spirit.(Interview from 1979)]

Salman Rushdie's ''Satanic Verses'', Session 1

''' As you might have heard, Salman Rushdie has been knighted recently. His knighthood has attracted several controversies. If you are interested in that, here are some links to some recent Guardian articles. These are organised chronologically:'''

* "Literary world applauds Rushdie knighthood":
http://books.guardian.co.uk/news/articles/0,,2104513,00.html
* "Rushdie knighthood 'justifies suicide attacks'":
http://books.guardian.co.uk/news/articles/0,,2105740,00.html
* "Rushdie honour insults Islam, Iran says":
http://books.guardian.co.uk/news/articles/0,,2105363,00.html
* "Rushdie knighthood rekindles 18-year-old controversy":
http://books.guardian.co.uk/news/articles/0,,2106133,00.html
* "Rushdie furore stuns honours committee":
http://books.guardian.co.uk/news/articles/0,,2106966,00.html
* Letters: "Fatwas and literary freedoms":
http://books.guardian.co.uk/comment/story/0,,2107590,00.html
* "Reid cites Life of Brian over Rushdie award":
http://books.guardian.co.uk/news/articles/0,,2107872,00.html

==July 2, 2007==

Salman Rushdie's ''Satanic Verses'', Session 2

==July 9, 2007==

Salman Rushdie's ''Satanic Verses'', Session 3

==July 16, 2007==

Jacques Derrida's Religious Thinking

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1998_derrida__faith_and_knowledge.pdf Derrida, Jacques: Faith and Knowledge. The two "Sources" of Religion at the Limits of Reason alone, 1998]

==Reading Materials==
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Fish "One University, Under God?"]

[[Category:Course]]

2007 OS Literature and Our PostSecular Condition

2007-06-19T12:27:47Z

Joern Esch: /* July 16, 2007 */

==Re-Scheduling our Seminar from Monday, April 30, onwards==
Please Note: From Monday, April 30, 2007, onwards, our seminar will be taking place at the new time of Monday, 10-12 h. Our venue will remain the same: A10 1-121a.
Note also: The meeting on Wed, April 25, at 18-20 h will still take place as planned.

==Course Description==

Oberseminar / Kolloquium Kirchhofer (mit Simons): Literature and our (Post)Secular Condition, Mi 18-20

Our point of departure will be the sudden and massive critical interest which the topic of religion has found lately. Is religion really about to “replace the triumvirate of race, class and gender as the center of intellectual energy in the academy” as Stanley Fish has predicted? Will the ‘postmodern condition’ give way to a ‘postsecular condition’? And what might be the consequences for the secular self-conception of Western societies and for the role which literature has had in this self-conception?
Our seminar offers an opportunity to address these questions both in a current and a historical perspective. We will look at the recent theoretical attention which the religious and the secular have received (the choice ranges from Foucault, Derrida or Habermas to ethnologists like Talal Asad), but we propose also to explore historical perspectives that extend between Jonathan Swift’s ''A Tale of a Tub'' (1704) and Salman Rushdie’s ''Satanic Verses'' (1988). Our precise programme will be agreed on at the beginning of the semester.
This course is open to students who have an interest in current issues in criticism and theory. It may also be used in order to prepare one topic for an oral exam.
Please note: enrolment is not via Stud.IP.
Please register in person.

==April 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2003_asad__formations_of_the_secular_chap1.pdf Asad, Formations of the Secular Intro]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Stanley Fish "One University, Under God?", ''The Chronicle of Higher Education'' 51:18 (January 7, 2005).]

==April 30, 2007==

Canceled

==May 7, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1717_swift__abolishing_of_christianity.pdf Swift, Abolishing of Christianity]

==May 14, 2007==

*[[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Pierre Daniel Huet, Treatise on the Origin of Romances (Paris, 1670).]]

==May 21, 2007==
Christopher Saur, a German Printer in Philadelphia.

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_klare_und_gewisse_wahrheit.pdf ''Klare und gewisse Wahrheit Ps. 119. v. 160. Titum 1, 9. Betreffend den eigendlichen Zustand, so wohl der wahren friedliebenden Christen und Gottesfürchtigen, als auch der verfallenen, Streit- oder Kriegs-Süchtigen, zusammt ihrer beyder Hoffnung und Ausgang'' (Germantown: Christopher Sower, 1747)]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_plain_truth.doc Plain Truth 1747?]

==June 4, 2007==

[[William Blake, Jerusalem (1804)|Wiliam Blake's ''Milton'']]

==June 11, 2007==

George Eliot's ''Middlemarch'' and Auguste Comte, Session 1

==June 18, 2007==

George Eliot and Auguste Comte, Session 2

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_comte_systeme_de_politique_positive.PDF Comte's "Calendrier Positiviste" from 1854, (poor quality, sorry [[User:Joern Esch|Joern Esch]] 14:41, 15 June 2007 (CEST))]

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1956_comte_ueber_den_geist_des_positivismus.PDF Comte: Rede über den Geist des Positivismus, 1956. Table of Contents]

The "Calendrier..." can be found in a cleaned version here - at least it is better legible and seems identical after a short glance: [http://www.louisg.net/calendrier_positiviste.htm Le calendrier positiviste] --[[User:Nico Zorn|Nico Zorn]] 23:34, 16 June 2007 (CEST)

==June 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1986_foucaul__iran_the_spirit_of_a_world_without_a_spirit.pdf Foucault, Michel: Iran. The Spirit of a World without Spirit.(Interview from 1979)]

Salman Rushdie's ''Satanic Verses'', Session 1

==July 2, 2007==

Salman Rushdie's ''Satanic Verses'', Session 2

==July 9, 2007==

Salman Rushdie's ''Satanic Verses'', Session 3

==July 16, 2007==

Jacques Derrida's Religious Thinking

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1998_derrida__faith_and_knowledge.pdf Derrida, Jacques: Faith and Knowledge. The two "Sources" of Religion at the Limits of Reason alone, 1998]

==Reading Materials==
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Fish "One University, Under God?"]

[[Category:Course]]

2007 OS Literature and Our PostSecular Condition

2007-06-15T12:44:22Z

Joern Esch: /* June 18, 2007 */

==Re-Scheduling our Seminar from Monday, April 30, onwards==
Please Note: From Monday, April 30, 2007, onwards, our seminar will be taking place at the new time of Monday, 10-12 h. Our venue will remain the same: A10 1-121a.
Note also: The meeting on Wed, April 25, at 18-20 h will still take place as planned.

==Course Description==

Oberseminar / Kolloquium Kirchhofer (mit Simons): Literature and our (Post)Secular Condition, Mi 18-20

Our point of departure will be the sudden and massive critical interest which the topic of religion has found lately. Is religion really about to “replace the triumvirate of race, class and gender as the center of intellectual energy in the academy” as Stanley Fish has predicted? Will the ‘postmodern condition’ give way to a ‘postsecular condition’? And what might be the consequences for the secular self-conception of Western societies and for the role which literature has had in this self-conception?
Our seminar offers an opportunity to address these questions both in a current and a historical perspective. We will look at the recent theoretical attention which the religious and the secular have received (the choice ranges from Foucault, Derrida or Habermas to ethnologists like Talal Asad), but we propose also to explore historical perspectives that extend between Jonathan Swift’s ''A Tale of a Tub'' (1704) and Salman Rushdie’s ''Satanic Verses'' (1988). Our precise programme will be agreed on at the beginning of the semester.
This course is open to students who have an interest in current issues in criticism and theory. It may also be used in order to prepare one topic for an oral exam.
Please note: enrolment is not via Stud.IP.
Please register in person.

==April 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2003_asad__formations_of_the_secular_chap1.pdf Asad, Formations of the Secular Intro]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Stanley Fish "One University, Under God?", ''The Chronicle of Higher Education'' 51:18 (January 7, 2005).]

==April 30, 2007==

Canceled

==May 7, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1717_swift__abolishing_of_christianity.pdf Swift, Abolishing of Christianity]

==May 14, 2007==

*[[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Pierre Daniel Huet, Treatise on the Origin of Romances (Paris, 1670).]]

==May 21, 2007==
Christopher Saur, a German Printer in Philadelphia.

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_klare_und_gewisse_wahrheit.pdf ''Klare und gewisse Wahrheit Ps. 119. v. 160. Titum 1, 9. Betreffend den eigendlichen Zustand, so wohl der wahren friedliebenden Christen und Gottesfürchtigen, als auch der verfallenen, Streit- oder Kriegs-Süchtigen, zusammt ihrer beyder Hoffnung und Ausgang'' (Germantown: Christopher Sower, 1747)]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_plain_truth.doc Plain Truth 1747?]

==June 4, 2007==

[[William Blake, Jerusalem (1804)|Wiliam Blake's ''Milton'']]

==June 11, 2007==

George Eliot's ''Middlemarch'' and Auguste Comte, Session 1

==June 18, 2007==

George Eliot and Auguste Comte, Session 2

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_comte_systeme_de_politique_positive.PDF Comte's "Calendrier Positiviste" from 1854, (poor quality, sorry [[User:Joern Esch|Joern Esch]] 14:41, 15 June 2007 (CEST))]

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1956_comte_ueber_den_geist_des_positivismus.PDF Comte: Rede über den Geist des Positivismus, 1956. Table of Contents]

==June 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1986_foucaul__iran_the_spirit_of_a_world_without_a_spirit.pdf Foucault, Michel: Iran. The Spirit of a World without Spirit.(Interview from 1979)]

Salman Rushdie's ''Satanic Verses'', Session 1

==July 2, 2007==

Salman Rushdie's ''Satanic Verses'', Session 2

==July 9, 2007==

Salman Rushdie's ''Satanic Verses'', Session 3

==July 16, 2007==

Jacques Derrida's Religious Thinking

==Reading Materials==
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Fish "One University, Under God?"]

[[Category:Course]]

2007 OS Literature and Our PostSecular Condition

2007-06-15T12:41:06Z

Joern Esch: /* June 18, 2007 */

==Re-Scheduling our Seminar from Monday, April 30, onwards==
Please Note: From Monday, April 30, 2007, onwards, our seminar will be taking place at the new time of Monday, 10-12 h. Our venue will remain the same: A10 1-121a.
Note also: The meeting on Wed, April 25, at 18-20 h will still take place as planned.

==Course Description==

Oberseminar / Kolloquium Kirchhofer (mit Simons): Literature and our (Post)Secular Condition, Mi 18-20

Our point of departure will be the sudden and massive critical interest which the topic of religion has found lately. Is religion really about to “replace the triumvirate of race, class and gender as the center of intellectual energy in the academy” as Stanley Fish has predicted? Will the ‘postmodern condition’ give way to a ‘postsecular condition’? And what might be the consequences for the secular self-conception of Western societies and for the role which literature has had in this self-conception?
Our seminar offers an opportunity to address these questions both in a current and a historical perspective. We will look at the recent theoretical attention which the religious and the secular have received (the choice ranges from Foucault, Derrida or Habermas to ethnologists like Talal Asad), but we propose also to explore historical perspectives that extend between Jonathan Swift’s ''A Tale of a Tub'' (1704) and Salman Rushdie’s ''Satanic Verses'' (1988). Our precise programme will be agreed on at the beginning of the semester.
This course is open to students who have an interest in current issues in criticism and theory. It may also be used in order to prepare one topic for an oral exam.
Please note: enrolment is not via Stud.IP.
Please register in person.

==April 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2003_asad__formations_of_the_secular_chap1.pdf Asad, Formations of the Secular Intro]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Stanley Fish "One University, Under God?", ''The Chronicle of Higher Education'' 51:18 (January 7, 2005).]

==April 30, 2007==

Canceled

==May 7, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1717_swift__abolishing_of_christianity.pdf Swift, Abolishing of Christianity]

==May 14, 2007==

*[[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Pierre Daniel Huet, Treatise on the Origin of Romances (Paris, 1670).]]

==May 21, 2007==
Christopher Saur, a German Printer in Philadelphia.

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_klare_und_gewisse_wahrheit.pdf ''Klare und gewisse Wahrheit Ps. 119. v. 160. Titum 1, 9. Betreffend den eigendlichen Zustand, so wohl der wahren friedliebenden Christen und Gottesfürchtigen, als auch der verfallenen, Streit- oder Kriegs-Süchtigen, zusammt ihrer beyder Hoffnung und Ausgang'' (Germantown: Christopher Sower, 1747)]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1747_plain_truth.doc Plain Truth 1747?]

==June 4, 2007==

[[William Blake, Jerusalem (1804)|Wiliam Blake's ''Milton'']]

==June 11, 2007==

George Eliot's ''Middlemarch'' and Auguste Comte, Session 1

==June 18, 2007==

George Eliot and Auguste Comte, Session 2

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1854_comte_systeme_de_politique_positive.PDF Comte's "Calendrier Positiviste" from 1854, (poor quality, sorry [[User:Joern Esch|Joern Esch]] 14:41, 15 June 2007 (CEST))]

==June 25, 2007==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1986_foucaul__iran_the_spirit_of_a_world_without_a_spirit.pdf Foucault, Michel: Iran. The Spirit of a World without Spirit.(Interview from 1979)]

Salman Rushdie's ''Satanic Verses'', Session 1

==July 2, 2007==

Salman Rushdie's ''Satanic Verses'', Session 2

==July 9, 2007==

Salman Rushdie's ''Satanic Verses'', Session 3

==July 16, 2007==

Jacques Derrida's Religious Thinking

==Reading Materials==
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_fish__chronicle.pdf Fish "One University, Under God?"]

[[Category:Course]]

2007 OS Literature and Our PostSecular Condition

2007-06-12T08:14:33Z

Joern Esch: /* July 16, 2007 */

2007 OS Literature and Our PostSecular Condition

2007-06-12T08:14:15Z

Joern Esch: /* June 25, 2007 */

2007 HS Autobiography and Fiction in the Eighteenth Century

2007-06-08T09:04:18Z

Joern Esch: /* 14.06.2007 */

'''COURSE DESCRIPTION'''

This seminar will look at a spectrum of writings in the ‘autobiographical mode’ from the early to the late eighteenth century. We will read four texts which have in common that they presuppose a public interest in the account which the (real or fictitious) writer gives of his or her own life, but which otherwise differ vastly from each other. We will look at the stories which these texts they tell about their autobiographical subjects, at the type of public interest they anticipate, at the genre characteristics they use or play with, and at the truth claims and signs of fictionality they display.

The four texts are: [Delarivier Manley,] The Adventures of Rivella (1714), [Daniel Defoe,] The Fortunes and Misfortunes of the Famous Moll Flanders (1722), [Laurence Sterne,] The Life and Opinions of Tristram Shandy (1759—67), Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789).
All primary texts are available in ECCO (Eighteenth Century Collections Online) in the original versions. For Equiano’s ''Interesting Narrative'', please purchase the Norton Critical Edition. ''Tristram Shandy'' is available from Penguin Classics and Oxford World's Classics.

Requirements:
1. Regular attendance and active participation (you may miss up to two meetings, whatever the reasons).
2. An oral contribution in the form of an ‘invitation to discussion’ (you formulate questions or statements concerning a particular text and topic, and invite the seminar to discuss them).
3. A term paper (generally dealing with one or several of the issues raised in your oral contribution; length ca. 20 pages; deadline October 1, 2007).
The course may also be used as part of the BA Abschlussmodul or as preparation for the written exam in the Staatsexamen or Magister course of studies.

==19.04.2007==
Introduction. Technicalities. -- Private Lives and Public Interest: An Approach.

==26.04.2007==
Public and Private: The Prefaces to ''Rivella''

'''Reading''' ''Rivella'', 2nd ed., "Translator's Preface", "Key", "Introduction"; ''Rivella'', 4th ed., "To the Reader"

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_rivella_2ed.pdf Rivella, 2nd. ed., 1715, incl. Key]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1724_rivella_4ed.pdf Rivella, 4th. ed., 1724, with new preface]

==03.05.2007==
Truth and Fiction: The Preface to ''Moll Flanders''

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1721_defoe__mollflanders.pdf Defoe, Moll Flanders, 1721]

==10.05.2007==
''Rivella'' -- Rivella, Delarivier Manley, and the 'Roman a clef'

==17.05.2007==
Ascension Day, public holiday

==24.05.2007==
''Moll Flanders''

Discussion Questions:

1) Does Moll develop or change as a character over the course of the novel?

2) Discuss the narration in "Moll Flanders".

3) Taking into consideration that "Moll Flanders" is supposed to be a memorandum, is her story and character believable? What truth claims or signs of fictionality can be found to support your argument?

4) What genre characteristics are used and what does this mean for the novel?

==31.05.2007==
''Moll Flanders''

(presentation: Lindsay Petrowski)

Discussion questions (to prepare for Thursday's meeting):

1) How are 17th and 18th century women presented in "Moll Flanders"? What do we learn about gender roles? What is Moll's/Defoe's message to women? To men? Do you think that "Moll Flanders" is an early feminist novel?

Before class on Thursday, please think about the above questions while reading the following passage. Can you think of other passages that may support your argument?

- The passage is about 2 pages in length, beginning with "Nothing is more certain than that the Ladies always gain of the Men by keeping their Ground, and letting their pretended Lovers see they can Resent being slighted, and that they are not afraid of saying No" and ending with "...but if she precipitates herself, it is ten Thousand to one but she is undone".

pp. 120-122 in the Penguin Classics version
pp. 85-88 in the original, downloadable copy

2) What kind of gratification does "Moll Flanders" offer? Does the novel have any weaknesses?

3) What major topics are discussed in "Moll Flanders"? Referring to the following quote, which position do you agree with? Can you find any irony in "Moll Flanders"?

"We are left with two possibilities. Either "Moll Flanders" is a collection of scandal sheet anecdotes naively patched together with the platitudes that form the morality of an impoverished soul (Defoe’s), a "sincere" soul but a confused and degraded one; or "Moll Flanders" is a great novel, coherent in structure, unified and given its shape and significance by a complex system of ironies."

(From: Van Ghent, Dorothy, 1970: "On Moll Flanders", in: Robert C. Elliott (ed.): Twentieth Century Interpretations of "Moll Flanders". A Collection of Critical Essays. Englewood Cliffs: Prentice-Hall, p. 38.)

==07.06.2007==
''Tristram Shandy'' (esp. vols. 1-4)

-What are the main differences between traditional autobiographies and ''Tristram Shandy''?

-What do we usually expect from an autobiography (no matter if it is fictional or not)?

-What do we get here? What is this writing all about?

-What purposes of autobiographical writing can you think of?

-What could be the purpose of the kind of autobiographical writing we find in ''Tristram Shandy''? What does the text itself tell us about its purpose/ its status?

-Who is the narrator? Can we distinguish between experiencing self and narrating self?

Tristram... 
...on digressions: I,22 (p.63/64, "What these [...] out of my book.") 
...on his writing's temporal structure: II,29 (p.128/129, "I have dropp'd [...] interruption."); IV,10 (p.253, "Is it not a shame [...] or rules to follow him?") 
...on writing as conversation: II,11 (p.96/97, "Writing, when properly managed [...] point of
entering upon action.")

Additional material: tabulation of the story-line of ''Tristram Shandy'' from Pfister, Manfred: Laurence Sterne, Tavistock 2001 (will be provided as handout).

==14.06.2007==
''Tristram Shandy'' (esp. vols. 1-4)

* '''Contemporary Reviews and Reception:''' [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1974_howes(ed.)__sterne_the_critical_heritage.pdf Howes (Ed.): Sterne. The Critical Heritage]

==21.06.2007==
Equiano, ''Interesting Narrative''

(presentation Melanie Waschkowski)

==28.06.2007==
Equiano, ''Interesting Narrative''

==05.07.2007==
to be re-scheduled
"Grand Theory" and the Relationship of Autobiography and Fiction.

==12.07.2007==
Course Evaluation. -- Final Discussion. Private Lives and Public Interest: A Review.

==19.07.2007==
Feedback on Evaluation. -- Presentation of Research Projects

==Reading Materials==
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_rivella_2ed.pdf Rivella, 2nd. ed., 1715, incl. Key]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1724_rivella_4ed.pdf Rivella, 4th. ed., 1724, with new preface]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1721_defoe__mollflanders.pdf Defoe, Moll Flanders, 1721]

==Further Reading==
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1989_lejeune__on_autobiography_chap1.pdf Lejeune, Philippe: On Autobiography, Chapter 1, 1989]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1989_lejeune__on_autobiography_chap6.pdf Lejeune, Philippe: On Autobiography, Chapter 6, 1989]

==Minutes==
* [[4/27/07]]
* [[5/3/07]]
[[Category:Course]]

2007 AM1 Outsiders in Victorian and Modernist Fiction

2007-06-04T15:13:21Z

Joern Esch: /* 29.05.2007 */

'''Questions and Materials'''

*[[Woman Writers in the first half of the nineteenth century -- an unsystematic list]]

*[[Writers and their Pseudonyms]]

==17.04.2007==

Introduction. Technicalities.
Discussing a focus: What will we be doing in this course?

Just a reminder, if you need help formulating your questions or just want me to look them over before your presentations, you can contact me at: lindsay.petrowski@mail.uni-oldenburg.de

If you have any questions or need advice on anything please let me know, and I'll try my best to help!

==24.04.2007==
Communicating with the Victorian audience.

Texts: ''Wuthering Heights'', "Biographical Notice of Ellis and Acton Bell", "Editor's Preface to the New Edition" (p. 319ff and 324ff in Oxford World's Classics Edition)
''Jude the Obscure'', "Preface to the first edition" (1895), "Postscript" (1912)

==1.05.2007==
public holiday

==8.05.2007==
Narration, mediation, time structure in ''Wuthering Heights''

==15.05.2007==
Wuthering Heights, Thrushcross Grange and the moor: spatial structure in ''Wuthering Heights''

==22.05.2007==
Characters, outsiderdom, and the relevance of the social in ''Wuthering Heights''

==29.05.2007==
''Wuthering Heights'': The Contemporary Reception

* [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1972__bronte_wuthering_heights_an_authoritative_text_with_essays_in_criticism.pdf Sale (Ed.): Wuthering Heights. An Authoritative Text with Essays in Criticism, 1972]

* [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1974__allot_the_brontes_the_critical_heritage.pdf Allot (Ed.): The Brontes. The Critical Heritage, 1974]

==5.06.2007==
''Jude the Obscure'': Narration and Space

==12.06.2007==
''Jude the Obscure'': Character Constellations and Problematic Marriages

==19.06.2007==
''Jude the Obscure'': Education and Class, Education and Failure

==26.06.2007==
''Jude the Obscure'': The Contemporary Reception and Hardy's public status

* [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1970_cox_hardy_the_critical_heritage.pdf Cox (Ed.): Thomas Hardy. The Critical Heritage, 1970]

==3.07.2007==
Period Features: Outsiderdom and the Characteristics of the Victorian and Modernist periods

==10.07.2007==
Course Evaluation. - (Final Discussion)

''Wuthering Heights'' goes pop: Kate Bush's song / video and the book

==17.07.2007==
Feedback on Course Evaluation. - Presentation of Reseach Paper Projects.

2007 AM1 Outsiders in Victorian and Modernist Fiction

2007-06-04T15:09:15Z

Joern Esch: /* 26.06.2007 */

'''Questions and Materials'''

*[[Woman Writers in the first half of the nineteenth century -- an unsystematic list]]

*[[Writers and their Pseudonyms]]

==17.04.2007==

Introduction. Technicalities.
Discussing a focus: What will we be doing in this course?

Just a reminder, if you need help formulating your questions or just want me to look them over before your presentations, you can contact me at: lindsay.petrowski@mail.uni-oldenburg.de

If you have any questions or need advice on anything please let me know, and I'll try my best to help!

==24.04.2007==
Communicating with the Victorian audience.

Texts: ''Wuthering Heights'', "Biographical Notice of Ellis and Acton Bell", "Editor's Preface to the New Edition" (p. 319ff and 324ff in Oxford World's Classics Edition)
''Jude the Obscure'', "Preface to the first edition" (1895), "Postscript" (1912)

==1.05.2007==
public holiday

==8.05.2007==
Narration, mediation, time structure in ''Wuthering Heights''

==15.05.2007==
Wuthering Heights, Thrushcross Grange and the moor: spatial structure in ''Wuthering Heights''

==22.05.2007==
Characters, outsiderdom, and the relevance of the social in ''Wuthering Heights''

==29.05.2007==
''Wuthering Heights'': The Contemporary Reception

==5.06.2007==
''Jude the Obscure'': Narration and Space

==12.06.2007==
''Jude the Obscure'': Character Constellations and Problematic Marriages

==19.06.2007==
''Jude the Obscure'': Education and Class, Education and Failure

==26.06.2007==
''Jude the Obscure'': The Contemporary Reception and Hardy's public status

* [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1970_cox_hardy_the_critical_heritage.pdf Cox (Ed.): Thomas Hardy. The Critical Heritage, 1970]

==3.07.2007==
Period Features: Outsiderdom and the Characteristics of the Victorian and Modernist periods

==10.07.2007==
Course Evaluation. - (Final Discussion)

''Wuthering Heights'' goes pop: Kate Bush's song / video and the book

==17.07.2007==
Feedback on Course Evaluation. - Presentation of Reseach Paper Projects.

Talk:5/3/07

2007-05-15T13:58:13Z

Joern Esch:

"Consequently, the Puritan Defoe was used to the very strict moral code, the simplicity in worship, and the believe that money could corrupt ones morals. Regardless of his Puritan upbringing, he did not want to moralize. He rather wanted to show to the reader that other choices are possible in life, regardless which way one would take, for him, even though he was brought up with strictly Puritan values, it does not matter."

'''--> I think this is not what we discussed in class, is it? [[User:Joern Esch|Joern Esch]] 15:33, 11 May 2007 (CEST) '''

2007 HS Autobiography and Fiction in the Eighteenth Century

2007-05-14T09:40:58Z

Joern Esch: /* Reading Materials */

Talk:5/3/07

2007-05-11T13:33:14Z

Joern Esch:

"Consequently, the Puritan Defoe was used to the very strict moral code, the simplicity in worship, and the believe that money could corrupt ones morals. Regardless of his Puritan upbringing, he did not want to moralize. He rather wanted to show to the reader that other choices are possible in life, regardless which way one would take, for him, even though he was brought up with strictly Puritan values, it does not matter."

'''--> I think this is not what we discussed in class, was it? [[User:Joern Esch|Joern Esch]] 15:33, 11 May 2007 (CEST) '''

Talk:2007 HS Autobiography and Fiction in the Eighteenth Century

2007-05-10T14:32:09Z

Joern Esch:

'''Minutes'''

I have created new pages for each minute so that we can discuss the minutes and other issues considering the singular session on these pages,

regards, [[User:Joern Esch|Joern Esch]] 16:32, 10 May 2007 (CEST)

4/27/07

2007-05-10T14:30:49Z

Joern Esch:

(Auto)Biography and Fiction – Sommersemester 2007
Prof. Dr. Anton Kirchhofer
Minutes April 26th 2007
Minute taker: Christina Beckers-Bunk

The session on April 26th dealt with two different prefaces to The Adventures of Rivella and to the fourth edition of 1724. Starting off with a discussion on the Frontispiece, we tried to figure out the constellation of characters in the prefaces, and to deal with the question of
authenticity and perceived authenticity of the book by contemporaries:

'''1. Structure (Frontispiece, Title and Subtitle)'''

'''2. Characters'''

'''3. Authenticity'''

----

'''1. Structure'''

'''1.1 Rivella, p. 1 – The Frontispiece'''

The Frontispiece of “Rivella”, which appears in both editions we worked with, shows two men standing in a garden near a river. Considering the story told in the translator’s preface, which is also included in both editions, the two men were identified to be Mr. Lovemore and the Young Chevalier D’Aumont. The picture seems to illustrate their conversation in Summer-House-Garden, which is discribed in the preface. According to the latter this conversation is the origin of the books contents.

'''1.2 Title and Subtitle'''

Dealing with title and subtitle of the book, several questions arose which should recur during the following discussion:
* Wouldn’t people know that the ‘New Atalantis’ was written by Mrs. Manley?
* And conclude from this account, that she was also the author of ‘Rivella’?
* Which reasons would drive Manley and her publisher to cover up her identity?
* And why would they finally give up this camouflage in 1724?
As it is the intention of a heading to hint at the message of the text it titles, these questions kept resurfacing during the session, and shall be dealt with later on.

'''2. Characters'''

Talking about the characters, more questions emerged. To begin with, it seemed hard to identify different protagonists of the book, respectivly the introduction and their function:
* The Ambassador – according to the introduction he is the French ambassador
* Chevalier D’Aumont in London who brought along his son or nephew, the young Chevalier D’Aumont. Whether or not the ambassador himself and his younger relative were real or only a means of the frame narrative couldn’t be determined. To do so, one would be advised to check with the Oxford Dictionary of National Biography (DNB). Arguing from within the text, we are to conclude that the ambassador was real as he is not listed in the key. On the other hand, it might not be of greater importance to clarify his authenticity. His – or rather – his young relative’s function seems to be to conceal the origin of the story told in the book and the identity of its author.
* A more important character, and even more drawn to speculation, is the figure of Rivella. As the subtitle of the book already indicates, Rivella is the author of The New Atalantis, a book which caused great discussion in 1709. The New Atalantis describes life on an island in the Mediterranean, which already makes one puzzle, as the author of this book claims to originate from that Island. The story of the life of Rivella is told to be set in England – a discontinuity which paves the way to the assumption that the general readership of The New Atalantis was aware of the fact, that this book was not describing the situation on this far removed Island but back home in England. And so does the Adventure of Rivella. Concerning Rivella several hints exist which point the way to the identity of its author: The most obvious would be the preface to the fourth edition. The printed corespondence between the publisher and Mrs. Manley is meant to reveal her authorship of the text. It also gives away the identity and function of another character we had troubles with, Mr. Charles Gildon: In her letters to the publisher Mrs. Manley asks to describe the life of the author of The new Atalantis herself – in reaction to the announcement of Mr. Gildon to write this ‘autobiography’. To prevent Gildon writing something unfavourable, Mrs. Manley feels pressed to write The advantures of Rivella. Aside from that, there are other hints which reveal Mrs. Manley to be the author of Rivella. For one, the name of Rivella might be the realisation of the second part of Manley’s christian name Delarivier. In Atalantis Manley calls her protagonist Delia. A contemporary critic used rivier to create‘Rivella, a name removed but yet identified with Manley to offend her.
Therefore The Adventures of Rivella are not solely linked to the New Atalantis but might also provide an answer to critique Manley had to face. Another hint to real identity of the author and Rivella is the fact that in the course of the book several passages from Manley’s plays are cited. To draw a conclusion: Even though we cannot be sure to identify Manley as the real author of Rivella, there are strong indications in favor such an argument. But obviously the question of authenticity and truth adds an important facette to the discussion of Rivella.

'''3. Authenticity'''
Considering the two different prefaces to the book, we are facing two different histories of origins.
The story of how the story made its way into the hands of the publisher in the 1715 preface is meant to blur traces:
Young Chevallier D’Aumont heard the story of Rivella’s life from Mr. Lovemore – who knew her in person. Young Chevallier passed on this story to a translator. Whether this translator is identical with the publisher or how the story got into the hands of the publisher, isn’t told. But more important than the idea of reality within such a chain of passing down stories, is the question why one should mention and even line out such a questionable source of information. The reason for that could be rather simple: As we assumed, it was meant to hide the real author, as he – or in this case: she – might suffer sever consequences if her identity was to be revealed.
The preface to the fourth edition of 1724 even strengthens this line of argument: Mrs. Manley died the same year, and after her death there was no reason to hide the identity of the author
of Rivella respectivly The New Atalantis any longer.
Considering this difficult attitude towars realtity and authenticity we were drawn to ask two major questions:
* Why was it neccessary for Manley to cover up her authorship?
* Were her contemporaries able to decipher her ‘codes’?
Discussiong the first question, it can certainly be stated that it is much easier to write freely for an unknown and somehow invisible author. As both books, The New Atalantis and Rivella presumably uncover some delicate information either of the contemporary socio-political system or individual politicians and parties, the author of such a book was exposed to hostilities from his/ her opponents.
Considering the second question, we came to conlude that probably contemporaries were able to align Rivella to Mrs. Manley – and to identify some of the characters described in the books with people from real life. The key, published since the second edition, supports this theory, as it doesn’t give full names but only initials in some delicate cases. The assumption that contemporaries knew about the needs of an author to hide his/ her identity whenever he/she was writing something offensive to people in charge is also strengthened by the subtitle:
Because the book is not only about Rivella herself, readers were able to conlude that Rivella was not the real name of the author. The pseudonym Manley chose to publish her recollections is a genre-convention which is indicated by these kinds of phrases.

To summarize the discussion of the different prefaces to Rivella it should be stated:
* the authorship of an (early modern) autobiography should be doubted as factors which we might not be able to identify might have caused necessities to hide the real identity
* in discussing autogigraphies, two different approaches could be chosen:

1. A definition of ‘autobiography’ must be established. That definition would then be applied to the texts we are going to read during the course of the seminar. This approach would yield an insight in a general genre of literature – but would eventually not be able to explain the function of autobiographies.

2. Departing from the assumption that all (auto)biographies are questionable in their claim of truth – even if the author was trying to be honest – can an author be objective after all? Therefore, taking uncertainty as a point of departure in the course of our seminar might lead us to an answer to the question, which elements appear to be certain to people of the time, which issues were to be discussed under which conditions, and finally, which role could a fictive autobiography play as a piece of literature.

To conclude the discussion, it was stated that Rivella is not a traditional biography as it uses public space and different devices to construct uncertainty to bring forward some other (political) causes.

'''Back to:''' [[2007 HS Autobiography and Fiction in the Eighteenth Century]]

4/27/07

2007-05-10T14:29:56Z

Joern Esch:

5/3/07

2007-05-10T14:14:14Z

Joern Esch:

Prof. Dr. Anton Kirchhofer
Hauptseminar: (Auto)biography and Fiction
Sommersemester 2007
Minutes: May 3, 2007
Minute taker: Claudia Pieper

----

* Introduction
* "Moll Flanders" - authentic or not?
* "Moll Flanders" - Why Defoe presented her as real?
* Puritan Motivation
* Summary

'''Introduction'''

The session on May 3, 2007 dealt with the question of truth and fiction in an 18th century novel. We started off with the preface to the book “The Fortunes and Misfortunes of the famous Moll Flanders”.

'''"Moll Flanders" – authentic or not?'''

Reading the preface to the book, the question was raised in class, whether the story of “Moll Flanders” is authentic or not. We found out that there are some inconsistencies concerning the late publishing of “Moll Flanders.” As for the character - Moll Flanders, she is supposed to be born at the beginning of the 17th century, but her memorandum has not been written until the late 17th century. Forty years later, the novel was published in 1722. How Daniel Defoe got hold of the story, is not told so far. Earlier he had written about criminals for various journals, and “Moll Flanders” increased his cachet as a writer about the lives of criminals.

'''"Moll Flanders" - Why Defoe presented her as real or authentic?"

Whether or not she was a real person, the important question is why Daniel Defoe presented her as real or authentic character? There are some incentives given:

* A scandalous story is always popular among people.
* Because of the fact that the character of “Moll Flanders” has had an immoral style of living, the character could be a good example for someone to improve his or her morals. But only if the reader believes, that she really had lived such a life.
* There is a possibility given, to get an insight into a mind of a criminal.

'''Puritan motivation'''

It has to be believed by the reader, that “Moll Flanders” really lived, to function as a morality tale. Therefore, we dealt with the Puritan motivation in class. The Puritans opposed the Anglican idea of supremacy in church, and, following Calvin, they argued that the only head of the church on earth and in heaven is Jesus Christ. They also believed in predomination. This means that it has already been settled before you are born, whether you are saved or damned. Consequently, the Puritan Defoe was used to the very strict moral code, the simplicity in worship, and the believe that money could corrupt ones morals. Regardless of his Puritan upbringing, he did not want to moralize. He rather wanted to show to the reader that other choices are possible in life, regardless which way one would take, for him, even though he was brought up with strictly Puritan values, it does not matter.

'''Summary'''

To summarize the discussion of the preface to “Moll Flanders” it should be stated that:

* Fiction creates an impression of truth and the reader can accept it as truth, although he knows it is fiction.
* The preface anticipates the reader to wonder about the truth
* This preface drags the reader away from the question and emphasises certain other points of view.
* The reader who first read “Moll Flanders” did not know that he was meant to interpret the text.

To conclude the discussion of the preface to “Moll Flanders” it should be stated that these questions of truth and fiction can not be answered by reading the first pages of the preface alone. Further questions on truth and fiction might lead to answers. If somebody is interested in investigating “Moll Flanders”, certain books might be helpful:

Resources:

* Defoe, Daniel: Moll Flanders, London, Penguin 1989
* Mengel, Ewald: Der englische Roman des 18.Jahrhunderts – Eine Einführung in seine Klassiker, Tübingen, Staufenbergverlag 1997.

'''Back to:''' [[2007 HS Autobiography and Fiction in the Eighteenth Century]]

5/3/07

2007-05-10T14:11:22Z

Joern Esch:

Prof. Dr. Anton Kirchhofer
Hauptseminar: (Auto)biography and Fiction
Sommersemester 2007
Minutes: May 3, 2007
Minute taker: Claudia Pieper

----

* Introduction
* "Moll Flanders" - authentic or not?
* "Moll Flanders" - Why Defoe presented her as real?
* Puritan Motivation
* Summary

'''Introduction'''

The session on May 3, 2007 dealt with the question of truth and fiction in an 18th century novel. We started off with the preface to the book “The Fortunes and Misfortunes of the famous Moll Flanders”.

'''"Moll Flanders" – authentic or not?'''

Reading the preface to the book, the question was raised in class, whether the story of “Moll Flanders” is authentic or not. We found out that there are some inconsistencies concerning the late publishing of “Moll Flanders.” As for the character - Moll Flanders, she is supposed to be born at the beginning of the 17th century, but her memorandum has not been written until the late 17th century. Forty years later, the novel was published in 1722. How Daniel Defoe got hold of the story, is not told so far. Earlier he had written about criminals for various journals, and “Moll Flanders” increased his cachet as a writer about the lives of criminals.

'''"Moll Flanders" - Why Defoe presented her as real or authentic?"

Whether or not she was a real person, the important question is why Daniel Defoe presented her as real or authentic character? There are some incentives given:

* A scandalous story is always popular among people.
* Because of the fact that the character of “Moll Flanders” has had an immoral style of living, the character could be a good example for someone to improve his or her morals. But only if the reader believes, that she really had lived such a life.
* There is a possibility given, to get an insight into a mind of a criminal.

'''Puritan motivation'''

It has to be believed by the reader, that “Moll Flanders” really lived, to function as a morality tale. Therefore, we dealt with the Puritan motivation in class. The Puritans opposed the Anglican idea of supremacy in church, and, following Calvin, they argued that the only head of the church on earth and in heaven is Jesus Christ. They also believed in predomination. This means that it has already been settled before you are born, whether you are saved or damned. Consequently, the Puritan Defoe was used to the very strict moral code, the simplicity in worship, and the believe that money could corrupt ones morals. Regardless of his Puritan upbringing, he did not want to moralize. He rather wanted to show to the reader that other choices are possible in life, regardless which way one would take, for him, even though he was brought up with strictly Puritan values, it does not matter.

'''Summary'''

To summarize the discussion of the preface to “Moll Flanders” it should be stated that:

* Fiction creates an impression of truth and the reader can accept it as truth, although he knows it is fiction.
* The preface anticipates the reader to wonder about the truth
* This preface drags the reader away from the question and emphasises certain other points of view.
* The reader who first read “Moll Flanders” did not know that he was meant to interpret the text.

To conclude the discussion of the preface to “Moll Flanders” it should be stated that these questions of truth and fiction can not be answered by reading the first pages of the preface alone. Further questions on truth and fiction might lead to answers. If somebody is interested in investigating “Moll Flanders”, certain books might be helpful:

Recourses:

* Defoe, Daniel: Moll Flanders, London, Penguin 1989
* Mengel, Ewald: Der englische Roman des 18.Jahrhunderts – Eine Einführung in seine Klassiker, Tübingen, Staufenbergverlag 1997.

4/27/07

2007-05-10T14:11:01Z

Joern Esch:

4/27/07

2007-05-10T14:10:36Z

Joern Esch:

Prof. Dr. Anton Kirchhofer
Hauptseminar: (Auto)biography and Fiction
Sommersemester 2007
Minutes: May 3, 2007
Minute taker: Claudia Pieper

----

* Introduction
* "Moll Flanders" - authentic or not?
* "Moll Flanders" - Why Defoe presented her as real?
* Puritan Motivation
* Summary

'''Introduction'''

The session on May 3, 2007 dealt with the question of truth and fiction in an 18th century novel. We started off with the preface to the book “The Fortunes and Misfortunes of the famous Moll Flanders”.

'''"Moll Flanders" – authentic or not?'''

Reading the preface to the book, the question was raised in class, whether the story of “Moll Flanders” is authentic or not. We found out that there are some inconsistencies concerning the late publishing of “Moll Flanders.” As for the character - Moll Flanders, she is supposed to be born at the beginning of the 17th century, but her memorandum has not been written until the late 17th century. Forty years later, the novel was published in 1722. How Daniel Defoe got hold of the story, is not told so far. Earlier he had written about criminals for various journals, and “Moll Flanders” increased his cachet as a writer about the lives of criminals.

'''"Moll Flanders" - Why Defoe presented her as real or authentic?"

Whether or not she was a real person, the important question is why Daniel Defoe presented her as real or authentic character? There are some incentives given:

* A scandalous story is always popular among people.
* Because of the fact that the character of “Moll Flanders” has had an immoral style of living, the character could be a good example for someone to improve his or her morals. But only if the reader believes, that she really had lived such a life.
* There is a possibility given, to get an insight into a mind of a criminal.

'''Puritan motivation'''

It has to be believed by the reader, that “Moll Flanders” really lived, to function as a morality tale. Therefore, we dealt with the Puritan motivation in class. The Puritans opposed the Anglican idea of supremacy in church, and, following Calvin, they argued that the only head of the church on earth and in heaven is Jesus Christ. They also believed in predomination. This means that it has already been settled before you are born, whether you are saved or damned. Consequently, the Puritan Defoe was used to the very strict moral code, the simplicity in worship, and the believe that money could corrupt ones morals. Regardless of his Puritan upbringing, he did not want to moralize. He rather wanted to show to the reader that other choices are possible in life, regardless which way one would take, for him, even though he was brought up with strictly Puritan values, it does not matter.

'''Summary'''

To summarize the discussion of the preface to “Moll Flanders” it should be stated that:

* Fiction creates an impression of truth and the reader can accept it as truth, although he knows it is fiction.
* The preface anticipates the reader to wonder about the truth
* This preface drags the reader away from the question and emphasises certain other points of view.
* The reader who first read “Moll Flanders” did not know that he was meant to interpret the text.

To conclude the discussion of the preface to “Moll Flanders” it should be stated that these questions of truth and fiction can not be answered by reading the first pages of the preface alone. Further questions on truth and fiction might lead to answers. If somebody is interested in investigating “Moll Flanders”, certain books might be helpful:

Recourses:

* Defoe, Daniel: Moll Flanders, London, Penguin 1989
* Mengel, Ewald: Der englische Roman des 18.Jahrhunderts – Eine Einführung in seine Klassiker, Tübingen, Staufenbergverlag 1997.

2007 HS Autobiography and Fiction in the Eighteenth Century

2007-05-10T14:03:53Z

Joern Esch:

User talk:Karsten Sill

2007-04-30T09:13:51Z

Joern Esch:

Moin Karsten,

willkommen an Bord,

ahoy [[User:Joern Esch|Joern Esch]] 11:13, 30 April 2007 (CEST)

2007 OS Literature and Our PostSecular Condition

2007-04-26T14:13:44Z

Joern Esch: /* May 7, 2007 */

2007 OS Literature and Our PostSecular Condition

2007-04-26T14:13:25Z

Joern Esch: /* April 30, 2007 */

2007 OS Literature and Our PostSecular Condition

2007-04-26T14:12:54Z

Joern Esch: /* May 7, 2007 */

User:Joern Esch

2007-04-25T10:50:51Z

Joern Esch:

== Vita ==

* 2002 '''Abitur''' am Gymnasium Antonianum Vechta
* Sommer 2002 Grundwehrdienst in Delmenhorst
* seit SoSe 2003 '''Studium''' der '''Anglistik und '''Geschichtswissenschaft''' in Oldenburg

== Interessen ==

* vor allen Dingen '''Fußball''', d.h. spielen, zuschauen und die wissenschaftliche Auseinandersetzung mit seinem Gewordensein, seiner sozio-historischen Relevanz
* '''Philosophie''', '''Soziologie''', '''Geschichtswissenschaft''', vor allem die Arbeiten Michel '''Foucaults''', Pierre '''Bourdieus''' und Niklas '''Luhmanns'''

2007 OS Literature and Our PostSecular Condition

2007-04-24T09:36:33Z

Joern Esch: /* April 25, 2007 */

2007 BM1 Introduction to Literature, Part 2

2007-04-24T09:30:08Z

Joern Esch: /* Session 9: Fiction 2 */

The second part of our Basismodule focuses on techniques of textual analysis in the context of discussing literature. We are offering seven parallel courses (supported by tutorials). Please make sure that you are registered in Stud.IP both for the main page of the module and for your individual course.
All parallel courses have a common structure, but each course may differ in emphasis. You will find information relating to all the courses on this page, and the pages for the individual courses for information on your course:

* [[2007 BM1-A Introduction to Literature, Part 2|2007 BM1-A Olaf Simons, Mo 14-16]]
* [[2007 BM1-B Introduction to Literature, Part 2|2007 BM1-B Anton Kirchhofer, Tu 14-16]]
* [[2007 BM1-C Introduction to Literature, Part 2|2007 BM1-C Olaf Simons, Tu 14-16]]
* [[2007 BM1-D Introduction to Literature, Part 2|2007 BM1-D Anna Auguscik, Tu 14-16]]
* [[2007 BM1-E Introduction to Literature, Part 2|2007 BM1-E Olaf Simons, We 16-18]]
* [[2007 BM1-F Introduction to Literature, Part 2|2007 BM1-F Katharina Schneider, AK, OS, Fr 8-10]]
* [[2007 BM1-G Introduction to Literature, Part 2|2007 BM1-G Annika McPherson, Tu 12-14]]

* Tutorials:
:* [[2007 BM1T-A Introduction to Literature, Part 2|John Alistair Kühne, Mo 8-10, A10 1-121a]]
:* [[2007 BM1T-B Introduction to Literature, Part 2|Christina Stindl, Fr 12-14, A5 1-159]]

The texts for our courses will come from a common pool, though each course may have a different choice. You should make sure to read at least those texts that are dealt with in your course.

The "analytical tools" will be presented by the lectures (on a handout) in each meeting. The additional reading from which these 'tools' are taken is not obligatory, and it can be done either before or after.

Both the texts and the other materials will be made accessible to you electronically (cf. the links below) and as a master copy at Wersig.
In addition you will need to purchase the Shakespeare play read in your course in an Arden Edition (ca. 14 EUR at the CvO bookshop).

Course work: You will be asked to hand in three assignments (in week 4, 7 and 10 respectively) and produce a Research Paper Outline (due August 15 2007). The assignments are limited to a max. of 2-3 pages of text, formatted according to the style sheet, and will require you to analyse poetry, drama and fiction respectively. For the Research Paper Outline you will need to find your own topic to work on and document the preliminary work (this includes finding an appropriate title, writing a paragraph that describes your problem and your goal, and presenting a tentative table of contents and a short bibliography).

Tutorials will help you to practise your analysis skills and support you in doing your assignments and Research Paper Outline.

__TOC__

==Session 1: A Poem==

'''Texts'''

[[Blake, Jerusalem (1804)]]

'''Skills and Activities'''

Group work with presentations:
# What is poetic about this poem?
# What are the Themes of the poem?
# What historical contexts?
# What is its cultural significance (then and later/now)?

Seminar discussion: What discourses did you employ? What traditions do they belong to? How does this relate back to the lecture of the Winter Term? Survey of the coming Term.

==Session 2: Poetry and Poetics==

'''Analytical Tools'''

* Handout [[Analysing Poetry 1]]
* Sources: [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1975_culler__structuralist_poetics.pdf Culler 161-178]; [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_ludwig__lyrikanalyse.pdf Ludwig, 31-33]; Cambridge Companion to Literatures in English

'''Texts'''

*[[Sir Philip Sidney, Not at first sight (1591)|Sir Philip Sidney, "Not at first sight" from ''Astrophil and Stella'']]
*[[Sir Philip Sidney, Loving in Truth (1591)|Sir Philip Sidney, "Loving in Truth" from ''Astrophil and Stella'']]
*[[William Percy, Sonnet II (1594)|William Percy, "Sonnet II" from ''Sonnets to the Fairest Coelia'']]
*[[William Shakespeare, Sonnet CXXX (1609)|William Shakespeare, "Sonnet CXXX" from ''The Sonnets'']]
*[[William Wordsworth, Scorn Not the Sonnet (1827)|William Wordsworth, "Scorn Not the Sonnet"]]
*[[Walt Whitman, One’s Self I Sing (1867)|Walt Whitman, "One's Self I Sing"]]
*[[Dante Gabriel Rossetti, The Sonnet (1880)|Dante Gabriel Rossetti, "The Sonnet" from ''The House of Life'']]
*[[Christina Rossetti, I wish I could remember (1881)|Christina Rossetti, "I wish I could remember" from ''A Pageant and Other Poems'']]
*[[Langston Hughes, The Negro Speaks of Rivers (1921)|Langston Hughes, "The Negro Speaks of Rivers"]]
*[[Langston Hughes, I, Too (1925)|Langston Hughes, "I, Too"]]
*[[Emily Dickinson, This was a Poet (1929)|Emily Dickinson, "This was a Poet"]]
*[[Edward Estlin Cummings, Pity This Busy Monster, Manunkind (1944)|e.e. cummings, "pity this busy monster, manunkind"]]

'''Skills and Activities'''

Structural approach to poetry: Communicative situation, themes, metrics and language. Acquire a basic checklist of what to look (first) for in a poem. Recapitulate the basics of metrics and rhyme patterns. Recognise the features of a particular genre and genre conventions: the Sonnet

==Session 3: Poetry and Poetics: Speaking about Beautiful/Artful Language==

'''Analytical Tools'''

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_ludwig__lyrikanalyse.pdf Ludwig, 47-60] [[from Ludwig, Arbeitsbuch Lyrikanalyse, Tübingen 1993|Excerpt from Ludwig]]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1969_leech__poetry.pdf Leech, 147-157] [[from Leech, A Linguistic guide to English Poetry, London 1969|Excerpt from Leech]]
*Handout: [[Figurative Speech]]

'''Texts'''

*[[George Herbert, The Deniall (1633)|George Herbert. "The Deniall"]] ''The Temple. Sacred Poems and Private Ejaculations''. University of Cambridge, T. Buck and R. Daniel, 1633.
*Emily Dickinson

'''Skills and Activities'''

Figurative language, interplay. Spot metaphors, similes, etc. the metric pattern and valorise the points where it is broken. Reinforce basic checklist of previous week. Analyse particular features of poetic language (figures of speech, metrical effects). [assignment 1 given]

==Session 4: Rhetoric==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1979_plett__einfuehrung.pdf Plett 3-22, 102-105] [[Plett, Einführung in die rhetorische Textanalyse, Hamburg 1971|Excerpt from Plett]]

'''Texts'''

One of the three Shakespeare plays
*[[Shakespeare, Richard III (1597)|''Richard III'' (1597)]]
*[[Shakespeare, Merchant of Venice (1600)|''Merchant of Venice'' (1600)]]
*[[Shakespeare, Hamlet (1603)|''Hamlet'' (1603)]]

'''Skills and Activities'''

A speech from the Shakespeare play of the next four sessions [assignment 1 due]

==Session 5: Dramatic Structures, Dramatic Communication==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1993_pfister__drama.pdf Pfister 49 - 57, 86 - 94, 126 - 147]
[[Pfister, Das Drama, München 1977|Excerpt from Pfister]]

Handout: [[Analysing Dramatic Communication]]

'''Texts'''

One of the three Shakespeare plays
*[[Shakespeare, Richard III (1597)|''Richard III'' (1597)]]
*[[Shakespeare, Merchant of Venice (1600)|''Merchant of Venice'' (1600)]]
*[[Shakespeare, Hamlet (1603)|''Hamlet'' (1603)]]

'''Skills and Activities'''

Exposition

==Session 6: Drama: Characters and Genre Aspects==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1993_pfister__drama.pdf Pfister 183 - 195]
[[Pfister, Das Drama, München 1977|Excerpt from Pfister]]

'''Texts'''

One of the three Shakespeare plays
*[[Shakespeare, Richard III (1597)|''Richard III'' (1597)]]
*[[Shakespeare, Merchant of Venice (1600)|''Merchant of Venice'' (1600)]]
*[[Shakespeare, Hamlet (1603)|''Hamlet'' (1603)]]

'''Skills and Activities'''

Distinguish modes of characterisation [assignment 2 given]

==Session 7: Drama and Fiction==

'''Analytical Tools'''

*Aristotle, Poetics
*[[Huet, Treatise of Romances (1672)|Huet, Pierre Daniel, ''Treatise of Romances'' [1670] (1672)]]
*[[Boileau, Art of Poetry (1687)|Nicolas Boileau-Despréaux, ''Art of Poetry'' (1687)]]

'''Texts'''

*Nathaniel Hawthorne. "Young Goodman Brown [1835]." ''The Heath Anthology of American Literature''. Vol. B. Fifth Edition. Ed. Paul Lauter. Boston, New York: Houghton Mifflin Company, 2006. 2258-2267.
*Coover, ''Magic Poker''

'''Skills and Activities'''

An understanding of genres in the context of traditional poetics, and of the transition from poetic genres to literary genres. [assignment 2 due]

==Session 8: Fiction 1==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_rimmonkenan__narrative_fiction.pdf Rimmon-Kenan 72-86]

[[Rimmon-Kenan, Narrative Fiction: Contemporary Poetics, London 1983|Excerpt from Rimmon-Kenan]]

Handout: [[Focalisation and Narration]]

'''Texts'''

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1835_hawthorne__brown.pdf Nathaniel Hawthorne. "Young Goodman Brown (1835)." ''The Heath Anthology of American Literature''. Vol. B. Fifth Edition. Ed. Paul Lauter. Boston, New York: Houghton Mifflin Company, 2006. 2258-2267.] (Source not noted on the pdf-scan. Please add source yourselves.)
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1922_mansfield__the_voyage.pdf Katherine Mansfield. "The Voyage." ''The Garden Party and Other Stories''. London: Constable and Company Ltd, 1922. 168-181.]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1909_bierce__occurrence_at_owl_creek_bridge.pdf Ambrose Bierce. "An Occurrence at Owl Creek Bridge."]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1969_coover__magic_poker.pdf Robert Coover. "Magic Poker." ''Pricksongs and Descants. Fictions'' (1969). New York: New American Library, 1970.]

'''Skills and Activities'''

Narration, Focalisation. [assignment 2 returned]

==Session 9: Fiction 2==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_rimmonkenan__narrative_fiction.pdf Rimmon-Kenan 59-71]

Handout: [[Characterisation]]

'''Texts'''

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1835_hawthorne__brown.pdf Nathaniel Hawthorne. "Young Goodman Brown (1835)." ''The Heath Anthology of American Literature''. Vol. B. Fifth Edition. Ed. Paul Lauter. Boston, New York: Houghton Mifflin Company, 2006. 2258-2267.] (Source not noted on the pdf-scan. Please add source yourselves.)
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1922_mansfield__the_voyage.pdf Katherine Mansfield. "The Voyage." ''The Garden Party and Other Stories''. London: Constable and Company Ltd, 1922. 168-181.]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1969_coover__magic_poker.pdf Robert Coover. "Magic Poker." ''Pricksongs and Descants. Fictions'' (1969). New York: New American Library, 1970.]

'''Skills and Activities'''

Plot and Characters. [assignment 3 given]

==Session 10: Film==

'''Analytical Tools'''

* Handout: [[Film Analysis]]
* David Bordwell et al.; Korte, Einführung in die Systematische Filmanalyse (2000)

'''Texts'''

Pulp Fiction

'''Skills and Activities'''

Spectacle, Narratives and Fiction. Film Analysis. [assignment 3 due]

==Session 11: Beyond the Canon 1==

'''Analytical Tools'''

'''Texts'''

[[Mandeville, Voyages (1705)|John Mandeville, ''Voyages'' [c. 1360] (1705)]]

'''Skills and Activities'''

Literary Analysis and non-literary materials, [assignment 3 returned]

==Session 12: Beyond the Canon 2==

'''Analytical Tools'''

'''Texts'''

Orientalist GEO, Time Life, Palestine, India etc.

'''Skills and Activities'''

Literary Analysis and non-literary materials

==Session 13: Term Paper Projects==

'''Skills and Activities'''

Brief Report on 'Work in Progress': Your Term Paper Projects

[[Category:Course|Basismodul]]

2007 BM1 Introduction to Literature, Part 2

2007-04-24T09:29:09Z

Joern Esch: /* Session 9: Fiction 2 */

The second part of our Basismodule focuses on techniques of textual analysis in the context of discussing literature. We are offering seven parallel courses (supported by tutorials). Please make sure that you are registered in Stud.IP both for the main page of the module and for your individual course.
All parallel courses have a common structure, but each course may differ in emphasis. You will find information relating to all the courses on this page, and the pages for the individual courses for information on your course:

* [[2007 BM1-A Introduction to Literature, Part 2|2007 BM1-A Olaf Simons, Mo 14-16]]
* [[2007 BM1-B Introduction to Literature, Part 2|2007 BM1-B Anton Kirchhofer, Tu 14-16]]
* [[2007 BM1-C Introduction to Literature, Part 2|2007 BM1-C Olaf Simons, Tu 14-16]]
* [[2007 BM1-D Introduction to Literature, Part 2|2007 BM1-D Anna Auguscik, Tu 14-16]]
* [[2007 BM1-E Introduction to Literature, Part 2|2007 BM1-E Olaf Simons, We 16-18]]
* [[2007 BM1-F Introduction to Literature, Part 2|2007 BM1-F Katharina Schneider, AK, OS, Fr 8-10]]
* [[2007 BM1-G Introduction to Literature, Part 2|2007 BM1-G Annika McPherson, Tu 12-14]]

* Tutorials:
:* [[2007 BM1T-A Introduction to Literature, Part 2|John Alistair Kühne, Mo 8-10, A10 1-121a]]
:* [[2007 BM1T-B Introduction to Literature, Part 2|Christina Stindl, Fr 12-14, A5 1-159]]

The texts for our courses will come from a common pool, though each course may have a different choice. You should make sure to read at least those texts that are dealt with in your course.

The "analytical tools" will be presented by the lectures (on a handout) in each meeting. The additional reading from which these 'tools' are taken is not obligatory, and it can be done either before or after.

Both the texts and the other materials will be made accessible to you electronically (cf. the links below) and as a master copy at Wersig.
In addition you will need to purchase the Shakespeare play read in your course in an Arden Edition (ca. 14 EUR at the CvO bookshop).

Course work: You will be asked to hand in three assignments (in week 4, 7 and 10 respectively) and produce a Research Paper Outline (due August 15 2007). The assignments are limited to a max. of 2-3 pages of text, formatted according to the style sheet, and will require you to analyse poetry, drama and fiction respectively. For the Research Paper Outline you will need to find your own topic to work on and document the preliminary work (this includes finding an appropriate title, writing a paragraph that describes your problem and your goal, and presenting a tentative table of contents and a short bibliography).

Tutorials will help you to practise your analysis skills and support you in doing your assignments and Research Paper Outline.

__TOC__

==Session 1: A Poem==

'''Texts'''

[[Blake, Jerusalem (1804)]]

'''Skills and Activities'''

Group work with presentations:
# What is poetic about this poem?
# What are the Themes of the poem?
# What historical contexts?
# What is its cultural significance (then and later/now)?

Seminar discussion: What discourses did you employ? What traditions do they belong to? How does this relate back to the lecture of the Winter Term? Survey of the coming Term.

==Session 2: Poetry and Poetics==

'''Analytical Tools'''

* Handout [[Analysing Poetry 1]]
* Sources: [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1975_culler__structuralist_poetics.pdf Culler 161-178]; [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_ludwig__lyrikanalyse.pdf Ludwig, 31-33]; Cambridge Companion to Literatures in English

'''Texts'''

*[[Sir Philip Sidney, Not at first sight (1591)|Sir Philip Sidney, "Not at first sight" from ''Astrophil and Stella'']]
*[[Sir Philip Sidney, Loving in Truth (1591)|Sir Philip Sidney, "Loving in Truth" from ''Astrophil and Stella'']]
*[[William Percy, Sonnet II (1594)|William Percy, "Sonnet II" from ''Sonnets to the Fairest Coelia'']]
*[[William Shakespeare, Sonnet CXXX (1609)|William Shakespeare, "Sonnet CXXX" from ''The Sonnets'']]
*[[William Wordsworth, Scorn Not the Sonnet (1827)|William Wordsworth, "Scorn Not the Sonnet"]]
*[[Walt Whitman, One’s Self I Sing (1867)|Walt Whitman, "One's Self I Sing"]]
*[[Dante Gabriel Rossetti, The Sonnet (1880)|Dante Gabriel Rossetti, "The Sonnet" from ''The House of Life'']]
*[[Christina Rossetti, I wish I could remember (1881)|Christina Rossetti, "I wish I could remember" from ''A Pageant and Other Poems'']]
*[[Langston Hughes, The Negro Speaks of Rivers (1921)|Langston Hughes, "The Negro Speaks of Rivers"]]
*[[Langston Hughes, I, Too (1925)|Langston Hughes, "I, Too"]]
*[[Emily Dickinson, This was a Poet (1929)|Emily Dickinson, "This was a Poet"]]
*[[Edward Estlin Cummings, Pity This Busy Monster, Manunkind (1944)|e.e. cummings, "pity this busy monster, manunkind"]]

'''Skills and Activities'''

Structural approach to poetry: Communicative situation, themes, metrics and language. Acquire a basic checklist of what to look (first) for in a poem. Recapitulate the basics of metrics and rhyme patterns. Recognise the features of a particular genre and genre conventions: the Sonnet

==Session 3: Poetry and Poetics: Speaking about Beautiful/Artful Language==

'''Analytical Tools'''

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2005_ludwig__lyrikanalyse.pdf Ludwig, 47-60] [[from Ludwig, Arbeitsbuch Lyrikanalyse, Tübingen 1993|Excerpt from Ludwig]]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1969_leech__poetry.pdf Leech, 147-157] [[from Leech, A Linguistic guide to English Poetry, London 1969|Excerpt from Leech]]
*Handout: [[Figurative Speech]]

'''Texts'''

*[[George Herbert, The Deniall (1633)|George Herbert. "The Deniall"]] ''The Temple. Sacred Poems and Private Ejaculations''. University of Cambridge, T. Buck and R. Daniel, 1633.
*Emily Dickinson

'''Skills and Activities'''

Figurative language, interplay. Spot metaphors, similes, etc. the metric pattern and valorise the points where it is broken. Reinforce basic checklist of previous week. Analyse particular features of poetic language (figures of speech, metrical effects). [assignment 1 given]

==Session 4: Rhetoric==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1979_plett__einfuehrung.pdf Plett 3-22, 102-105] [[Plett, Einführung in die rhetorische Textanalyse, Hamburg 1971|Excerpt from Plett]]

'''Texts'''

One of the three Shakespeare plays
*[[Shakespeare, Richard III (1597)|''Richard III'' (1597)]]
*[[Shakespeare, Merchant of Venice (1600)|''Merchant of Venice'' (1600)]]
*[[Shakespeare, Hamlet (1603)|''Hamlet'' (1603)]]

'''Skills and Activities'''

A speech from the Shakespeare play of the next four sessions [assignment 1 due]

==Session 5: Dramatic Structures, Dramatic Communication==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1993_pfister__drama.pdf Pfister 49 - 57, 86 - 94, 126 - 147]
[[Pfister, Das Drama, München 1977|Excerpt from Pfister]]

Handout: [[Analysing Dramatic Communication]]

'''Texts'''

One of the three Shakespeare plays
*[[Shakespeare, Richard III (1597)|''Richard III'' (1597)]]
*[[Shakespeare, Merchant of Venice (1600)|''Merchant of Venice'' (1600)]]
*[[Shakespeare, Hamlet (1603)|''Hamlet'' (1603)]]

'''Skills and Activities'''

Exposition

==Session 6: Drama: Characters and Genre Aspects==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1993_pfister__drama.pdf Pfister 183 - 195]
[[Pfister, Das Drama, München 1977|Excerpt from Pfister]]

'''Texts'''

One of the three Shakespeare plays
*[[Shakespeare, Richard III (1597)|''Richard III'' (1597)]]
*[[Shakespeare, Merchant of Venice (1600)|''Merchant of Venice'' (1600)]]
*[[Shakespeare, Hamlet (1603)|''Hamlet'' (1603)]]

'''Skills and Activities'''

Distinguish modes of characterisation [assignment 2 given]

==Session 7: Drama and Fiction==

'''Analytical Tools'''

*Aristotle, Poetics
*[[Huet, Treatise of Romances (1672)|Huet, Pierre Daniel, ''Treatise of Romances'' [1670] (1672)]]
*[[Boileau, Art of Poetry (1687)|Nicolas Boileau-Despréaux, ''Art of Poetry'' (1687)]]

'''Texts'''

*Nathaniel Hawthorne. "Young Goodman Brown [1835]." ''The Heath Anthology of American Literature''. Vol. B. Fifth Edition. Ed. Paul Lauter. Boston, New York: Houghton Mifflin Company, 2006. 2258-2267.
*Coover, ''Magic Poker''

'''Skills and Activities'''

An understanding of genres in the context of traditional poetics, and of the transition from poetic genres to literary genres. [assignment 2 due]

==Session 8: Fiction 1==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_rimmonkenan__narrative_fiction.pdf Rimmon-Kenan 72-86]

[[Rimmon-Kenan, Narrative Fiction: Contemporary Poetics, London 1983|Excerpt from Rimmon-Kenan]]

Handout: [[Focalisation and Narration]]

'''Texts'''

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1835_hawthorne__brown.pdf Nathaniel Hawthorne. "Young Goodman Brown (1835)." ''The Heath Anthology of American Literature''. Vol. B. Fifth Edition. Ed. Paul Lauter. Boston, New York: Houghton Mifflin Company, 2006. 2258-2267.] (Source not noted on the pdf-scan. Please add source yourselves.)
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1922_mansfield__the_voyage.pdf Katherine Mansfield. "The Voyage." ''The Garden Party and Other Stories''. London: Constable and Company Ltd, 1922. 168-181.]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1909_bierce__occurrence_at_owl_creek_bridge.pdf Ambrose Bierce. "An Occurrence at Owl Creek Bridge."]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1969_coover__magic_poker.pdf Robert Coover. "Magic Poker." ''Pricksongs and Descants. Fictions'' (1969). New York: New American Library, 1970.]

'''Skills and Activities'''

Narration, Focalisation. [assignment 2 returned]

==Session 9: Fiction 2==

'''Analytical Tools'''

[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_rimmonkenan__narrative_fiction.pdf Rimmon-Kenan 59-71]

Handout: [[Characterisation]]

'''Texts'''

*Nathaniel Hawthorne. "Young Goodman Brown [1835]." ''The Heath Anthology of American Literature''. Vol. B. Fifth Edition. Ed. Paul Lauter. Boston, New York: Houghton Mifflin Company, 2006. 2258-2267.
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1922_mansfield__the_voyage.pdf Katherine Mansfield. "The Voyage." ''The Garden Party and Other Stories''. London: Constable and Company Ltd, 1922. 168-181.]
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1969_coover__magic_poker.pdf Robert Coover. "Magic Poker." ''Pricksongs and Descants. Fictions'' (1969). New York: New American Library, 1970.]

'''Skills and Activities'''

Plot and Characters. [assignment 3 given]

==Session 10: Film==

'''Analytical Tools'''

* Handout: [[Film Analysis]]
* David Bordwell et al.; Korte, Einführung in die Systematische Filmanalyse (2000)

'''Texts'''

Pulp Fiction

'''Skills and Activities'''

Spectacle, Narratives and Fiction. Film Analysis. [assignment 3 due]

==Session 11: Beyond the Canon 1==

'''Analytical Tools'''

'''Texts'''

[[Mandeville, Voyages (1705)|John Mandeville, ''Voyages'' [c. 1360] (1705)]]

'''Skills and Activities'''

Literary Analysis and non-literary materials, [assignment 3 returned]

==Session 12: Beyond the Canon 2==

'''Analytical Tools'''

'''Texts'''

Orientalist GEO, Time Life, Palestine, India etc.

'''Skills and Activities'''

Literary Analysis and non-literary materials

==Session 13: Term Paper Projects==

'''Skills and Activities'''

Brief Report on 'Work in Progress': Your Term Paper Projects

[[Category:Course|Basismodul]]