CFP: UEBERSCHRIFTEN: NYU German Graduate Student Conference
October 1-2, 1999
Panels* (*subject to change)
1. Placing Memory. How do memories and the cognitive 'mappings' of the
world we carry around in our heads come to inflect our experience of
particular places and spaces? We invite contributions to an
interdisciplinary workshop that aims at exploring some of the theoretical
dimensions of such issues while providing a 'space' for the presentation of
individual projects that intersect in this field. Possible topics may
include the technical mediation of experience through apparatusses of
reproduction (film, television), transport or other machines that
'technify' the everyday. Or how do monuments, memorials and other places of
remembrance, such as the sites of former concentration camps, facilitate or
hinder acts of remembrance? What is the relationship between these public
acts of memorialization and the 'collected memories' of individuals as
victims, perpetrators or spectators? How do such sites 'place' spectators,
and how do spectators 'place' such sites in the 'memorial topography'
constituted by the many institutions of remembrance such as literature,
museums and archives? For more information, please contact Gilbert Meyns
gwm200@is5.nyu.edu.
2. Concentric Readings: The representation of women in German Literature.
This panel will focus on but not be limited to questions of identifying and
defining the female subject. We encourage essays addressing issues of
voice and gender in relation to authorship, autobiography and identity
through correspondences. For more information please contact Anja Behm
ab505@is9.nyu.edu.
3. Faust 2000. This panel will provide the opportunity to discuss different
contemporary scholarly approaches to Goethe's Faust, paying special
attention to the problem of reading Faust "after Faust," of encountering
"Faust 2000." We invite papers that deal with meta-discursive questions
concerning the reception, the construction, and the teaching of Faust, as
well as contributions that present concise critical readings of particular
passages, themes and tropes. For more information please contact Ulrich
Plass up203@is.nyu.edu.
4. Kafka, Komik, Kreaturen. Franz Kafka: the mere name possesses the
strange quality of instantly conjuring up visions of a dark, dismal and
unrelievedly depressing world.
Nevertheless, there have existed, throughout the course of Kafka's
"reception," readers who were incapable of not perceiving what is so
transparent as to be at times invisible: Kafka is hilarious, a comic writer
of a stomach-wrenching order. This said, however, one cannot help remaining
convinced that Kafka's work is ultimately, to repeat, dark, dismal, and
unmitigatedly depressing. How can these two things, this gloom and this
glee, be meaningfully articulated; how can they be spoken of in the same
interpretative breath? This, approximately, is the question to which
answers are herewith solicited. For further misinformation, please contact
either Aaron Davis at aed9944@is8.nyu.edu or Peter Rehberg at
pr243@is8.nyu.edu
Abstracts due June 15, 1999:
German Graduate Student Association
Department of Germanic Languages & Literature
New York University
19 University Place, 4th Floor
New York, NY 10003-4556
Phone: 212.998.8650
Fax: 212.995.4823
germangrad@nyu.edu
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