Teaching

Cities are ambivalent places of encounter and separation, but also of the concentration of space, crowds and architectural styles. Historically, they are characterised by demarcations: Once framed by the city wall, divided into old and new town, intocentre (centre ville) and periphery(banlieue), a spatial order emerges in cities that reveals socio-economic and cultural boundaries, but at the same time creates spaces of transgression and encounter. In contemporary culture, this can be seen in urban art forms such as graffiti, hip-hop and slam. The lecture illuminates the variance of French and Francophone urban designs in poetry, romance, visual media and music from the 18th to the 21st century. In doing so, (literary) historical contexts as well as urban planning, architecture and spaces 'occupied' against their actual purpose are placed in relation to literary and artistic visions of the city. The interactive lecture focuses on historical and contemporary Paris as well as the French-speaking metropolises of Algiers and Montréal and traces their history from the colonial age to the present day.

From the 'discovery' of the Spanish-American continent by Christopher Columbus to the colonial baroque and Mexican neo-baroque, from André Breton's 'surrealist mission' in Mexico to the 'reconquest' of the United States through Spanish-language pop culture, e.g. Chicano literature, the Urban Latin music genre or the #NewLatinoBoom.The lecture is dedicated to the inter-, trans- and hypercultural negotiations between Europe, Hispanic America and the United States. Starting from a diachronic perspective, we analyse cultural contacts in and with Hispanic America in their literary, discursive and cultural dimensions. Conflicts as well as subversions and transgressions come to light. We use historical-literary texts such as the Chronicles of the Conquest, the baroque poetry of Sor Juana Inés de la Cruz, historical-allegorical figures such as the Malinche, the essays of Octavio Paz, the writings of Severo Sarduy and the romances of Gloria Anzaldúa, 20th century Mexican painting, 20th and 21st century Spanish-language hip-hop and the narratives of the US #NewLatinoBoom as examples. On the level of cultural theory, concepts from Hispanic America itself are applied, for example by Nestór García Canclini, Carlos Monsiváis or Walter Mignolo.

Since the early 19th century, the historical romance has developed into one of the central forms of literary engagement with the past, memory and cultural identity. Between fact and fiction, historiography and poetology, a productive field of tension unfolds in this genre that extends far beyond national literary traditions.

The interdisciplinary lecture series brings together perspectives from German language and literature, Romance studies, Slavic studies, British studies and american studies. The aim is to discuss the different theoretical and methodological approaches to the genre from a comparative perspective. The focus will be on the aesthetic and narratological processes of historical representation, the interweaving of literature and historical discourse, national and transnational forms of memory culture and processes of genre development from the Romantic to the postmodernism historical romance.

Exemplary works from various European literatures will be analysed to show how literary texts model, transmit and transform historical experience.

The lecture series is aimed at students and researchers of literature and cultural studies as well as anyone interested in the theoretical and historical reflection of literary historical representation.

La narrativa del escritor argentino Jorge Luis Borges no solo gira en torno al enigma irresoluble, sino que es en sí misma enigmática: se ramifica, como sugiere el título del relato "El jardín de senderos que se bifurcan", despliega misterios, y destaca por su densidad, metaficcionalidad y autorreferencialidad. En este seminario, concebido tanto para estudiantes de máster como para candidatos a exámenes estatales, analizaremos del enigma irresoluble y la escritura laberíntica en el contexto de la estética posmoderna hispanoamericana y la virtualidad. En este contexto se considerarán estructuras como el rizoma según Deleuze y Guattari y figuras como el espejo y el doble.

Le théâtre de Yasmina Reza témoigne du nouveau " Art du rire " (Müller-Lünenschloß, 2024) du théâtre contemporain, qui provocque des rires coincés dans la gorge et qui explores les limites de la douleur. Contrary to comedy, his plays, even if they are funny, do not necessarily end well and have thus been classified in the genre of "tragédie drôle" (ibid). In his dramatic work, Reza exposes the foils of the contemporary bourgeois-bobos: parents who are apparently hyper-correct, but at heart themselves enclined to the violence they condemn when it comes from others, art enthusiasts who are prone to thinking nothing of it, and white hipsters who are willing to take the POC.

In this seminar designed for master's students and candidates for the state examination, we will examine Reza's dramatic texts, as well as the concrete representations and changes in the media. Nous nous intéresserons aux questiones de genre et à la théorie du rire, mais aussi aux particularités esthétiques et structurelles du théâtre de Yasmina Reza.

The province of Québec occupies a special position on the American continent as a francophone nation and thus as an exception culturelle. In addition to Francophones and Anglophones as well as members of various Premières Peuples, immigrants from all over the world make up the internal diversity of the modern country of immigration. It is therefore not surprising that national and cultural self-determination in the field of tension between transnational localisation and internal negotiation is particularly virulent and controversial in Québec. Québec defines itself through its history - its roots in a double French and British colonisation with its conflicts between the European founding nations as well as various phases of cultural contact, cultural conflict and the colonial domination and assimilation of the autochthonous peoples. It refers to the national specificity, the European heritage and discusses its anchoring in the divided space of America. Since the 1960s, these places of remembrance have been joined by those that reinvent Quebec as a future-oriented, modern and inclusive social project, integrating histories of migration, flight, exile and diaspora as well as integration achievements and the arrival of newcomers from the 1980s onwards. Conflicts and challenges of multicultural and intercultural coexistence are not left out, but the texts often contribute performatively to the goal of an integrative society. In the 21st century, the voices of autochthonous creative people are also being heard more and more, demanding that the crimes of colonial history be dealt with, that social disadvantage and marginalisation in the present be compensated for and that their cultural traditions be valued equally.

The lecture is intended as an introduction to the history, society and culture of Québec in the 20th and 21st centuries, with the various identity narratives and their dialogue forming a common thread. The lecture places a special focus on the contribution of narrative literature, literary film adaptations as well as feature films and documentaries to nation-building and the negotiation of places of memory, identities and social concepts. Guest lectures are also planned to complement the programme.

At a time when there is a clumsy debate in the media about the 'cityscape' of German municipalities, it is worth reflecting on the question: What makes a city worth living in for its citizens, a positive point of reference for identity, commitment to civil society and identification? Socio-economic indicators, infrastructure and the economic scope of city coffers certainly play an important role here. However, the attractiveness of cities is also 'culturally' made and discursively produced - by initiatives that semantically and performatively enhance the 'city' and launch corresponding local initiatives.

The city of Regensburg is in a privileged starting position here. It has been honoured twice as a UNESCO world heritage site. Only a few cities in the world can boast two UNESCO World Heritage titles! Regensburg belongs to this exclusive circle. The city received its first World Heritage title in 2006 for Regensburg's Old Town with Stadtamhof. the second title followed in 2021 for the Danube Limes from Roman times.

We first learn about the concept of world heritage from a multi-scalar perspective: As a global initiative, it creates enabling conditions in the region and locally. We will then look for concrete answers from actors in urban society who are involved in the cultural valorisation of "world heritage". They enhance the city as a place to live, but also attract tourists. World heritage is an economic factor, has an influence on urban utilisation and spatial planning, inspires creative people and is, of course, also the subject of scientific research.

The Free State of Bavaria (Freistaat Bayern) uses the preservation of tangible and intangible cultural heritage specifically for branding purposes: we visit the World Heritage Visitor Centre and the Haus der Bayerischen Geschichte (House of Bavarian History), talk to various stakeholders and look at the relevance of world heritage from a multidisciplinary perspective. Possible discussion partners include the World Heritage Coordination of the City of Regensburg, the Stadtmaus initiative and the Centre for Remembrance Culture at the University of Regensburg.

You will take part in excursions in the city and discussions with stakeholders and create a German-French documentation in a suitable media form (image, sound, film), from which we will put together a virtual exhibition. Own creative contributions are possible. On 4 July, you will present the results to a group of students from Québec at Dr Strätling's summer school (see exercise 36110a).

In the exercise for project seminar 36110, we will broaden our view of the valorisation of cultural heritage to include the surroundings of Regensburg and the city of Munich. Together with a project group of students from Québec, accompanied by Dr Strätling, we will look at the nation-building of Bavaria in the 19th century and the architectural heritage it left behind (Kelheim Liberation Hall, urban development of Munich). We will also discuss the relevance of intangible cultural heritage in the form of customs.

The programme includes two mandatory study days: one on intangible cultural heritage in the form of customs (Thursday, 2 July), where we will listen to experts on the topic, and a second (Saturday, 4 July), where we will present the results of the world heritage project from the project seminar to the Québecers and hear them present UNESCO world heritage projects from Québec.

In addition, two excursions will be offered together with the Québecers, one to Munich (Monday 29 June) and a second to Kelheim and Weltenburg Abbey (Friday 3 July). You will be required to take part in one of the excursions, for which you must register in advance. You can take part in a second excursion voluntarily (after binding registration). The costs of the excursion will be covered by funds from the Franco-German University. You will receive the programme for the excursions at the beginning of the lecture period in the summer semester.

Two short presentations must be prepared for the exercise: one for the selected excursion and one for the study day on world heritage on Saturday. The presentations / handouts are to be archived in the seminar portfolio. Depending on the number of participants, you will work in a small group or individually.

At the same time as the tutorial, we recommend attending the lecture on Spanish (and Latin American) literary history from the 19th to the 21st century, which is offered in the winter semester.

While the lecture places the texts of the state examination canon in historical, ideological and literary-historical contexts, the exercise serves the students' own practical examination of the text under the guidance and supervision of the exercise instructor, especially on the basis of the tasks of the state examination exams of previous years.

The course is based on the canon for the state examination according to the new LPO I, which will be used from the autumn 2025 examination date.
As the canon will change in autumn 2025, we will also have the following 2 new topics on the schedule and will pay particular attention to them:
Federico García Lorca: La casa de Bernarda Alba; La zapatera prodigiosa (edition: Cátedra base)
Cristina Rivera Garza: El invencible verano de Liliana (edition: Random House)

The canon for drama and poetry also includes the following works, which have been under review for some time: Góngora, Sonetos amorosos (Castalia edition, ed. Biruté Ciplihauskaité, 118-162); Bécquer, Rimas; Gabriela Mistral, Tala/Lagar (Cátedra edition); Calderón, La vida es sueño, El gran teatro del mundo, La dama duende and José Sanchis Sinisterra, ¡Ay , Carmela!
The following works are relevant for narratives: Fernando de Rojas, La Celestina; Emilia Pardo Bazán, Los Pazos de Ulloa; Rafael Chirbes, En la orilla; Miguel de Unamuno, En torno al casticismo; Jorge Luis Borges, El Aleph, Ficciones.

The first session deals with the expectations of the exam and exam preparation techniques. The remaining hours will be devoted to working together on old state examination papers, covering all 12 topics. A more detailed programme can be found under G.R.I.P.S. before the start of the lecture.

All literary texts are to be read before the start of the lecture period, as there is still plenty of reading work to be done to work out the background and contexts anyway!

Are you planning to start writing your thesis soon? This tutorial is the perfect preparation! It is primarily aimed at students on the International Bachelor's degree programmes at the Institute of Romance Languages and Literature who have little experience in writing academic work in accordance with German university conventions (DFS, DIS, DSS). However, the exercise is also open to all interested students of the Institute of Romance Languages and Literature who are planning to write a degree or admission thesis in the near future.
On the first afternoon, the requirements for a (German) thesis will be discussed and the text type will be differentiated from related text types and the writing conventions of our romance partner countries. For example, what is behind the criterion of "scientificity" required by the Examination Regulations? We look at how to find a topic, how to develop a research design and what requirements a good idea must fulfil. Finally, we will discuss the structure and organisation of the thesis and the function of the individual parts.
The second afternoon will be devoted to the major topic of literature research, dealing with sources and compiling the bibliographical apparatus. Depending on the composition of the course, there will be an opportunity to address other relevant topics.

If you are a student at DFS or DSS and would like to write your bachelor's thesis under the supervision of Ms Schmelzer, this course is compulsory.

In this seminar we will focus on the history, culture, religions, conflicts and difficulties as well as the challenges of Haitian culture to define, build and defend its identity after centuries of French colonialism. The case of Haiti is unique as it was the first free "black" nation in the world after the end of the War of Independence in 1804. Since then, Haiti has opened a new chapter in its identity and cultural history, going through different phases, all of which are reflected in its literature. In this seminar, we will analyse literary works, especially essays, poems and stories, in order to learn about the culture and the importance of the search for and affirmation of Haitian identity

In this seminar we will focus on the richest periods of Cuban literature, modernism and the avant-garde. Modernism is considered the first authentically Hispano-American literary movement that developed throughout Hispano-America and created an original literature based on its cultural heritage, mainly Spanish-French, but with strong Hispano-American characteristics of its own. This movement was so innovative that it became a model for the Spanish literature of its time. Later, the reception of the European avant-garde in Cuba led to the Cuban avant-garde with its own unique characteristics, which, like modernism, reflected the Cuban identity during the wars of independence and after the final independence from Spain in 1898. Narrative texts, poems and essays are analysed.