Fachbereich 05: Sprache, Literatur, Kultur - Komparatistik - Master of Arts (Studienbeginn ab Wintersemester 2017/18)

Die jüngste Verfilmung von Momo zeigt einmal mehr, wie präsent die Werke verschiedener "kanonisch" gewordener Autor*innen der fantastischen Kinder- und Jugendliteratur nach wie vor sind. Im Seminar werden mit "Momo" von Michael Ende, der "Tintentrilogie" von Cornelia Funke, der "Edelstein-Trilogie" von Kerstin Gier und "Die kleine Hexe" von Otfried Preußler und weiteren Werken verschiedene Gestaltungsmöglichkeiten und literaturwissenschaftliche Theorien des Fantastischen erforscht. In internationalen Perspektiven werden verschiedene Trends der fantastischen Kinder- und Jugendliteratur vergleichend betrachtet. Mit einem medienkomparatistischen Blick werden auch verschiedene Adaptionsformen in anderen Medien wie beispielsweise Literaturverfilmungen und Hörspieladaptionen in den Blick genommen.

Es gehört zu den faszinierenden Eigenschaften von Literatur, räumliche und kulturelle Grenzen zu überschreiten. Oftmals werden solche Grenzüberschreitungen in literarischen Texten thematisiert oder als wichtiges Strukturmerkmal genutzt. Zudem wird die Lektüre selbst häufig als dynamisches Phänomen vorgestellt, das Mobilität impliziert.
In diesem Sinne widmet sich das Seminar der Aufgabe, die Beweglichkeit der Lektüre zu entdecken und anhand von gemeinsamen Favoriten konzeptuell auszuloten.

Die jüngste Verfilmung von Momo zeigt einmal mehr, wie präsent die Werke verschiedener "kanonisch" gewordener Autor*innen der fantastischen Kinder- und Jugendliteratur nach wie vor sind. Im Seminar werden mit "Momo" von Michael Ende, der "Tintentrilogie" von Cornelia Funke, der "Edelstein-Trilogie" von Kerstin Gier und "Die kleine Hexe" von Otfried Preußler und weiteren Werken verschiedene Gestaltungsmöglichkeiten und literaturwissenschaftliche Theorien des Fantastischen erforscht. In internationalen Perspektiven werden verschiedene Trends der fantastischen Kinder- und Jugendliteratur vergleichend betrachtet. Mit einem medienkomparatistischen Blick werden auch verschiedene Adaptionsformen in anderen Medien wie beispielsweise Literaturverfilmungen und Hörspieladaptionen in den Blick genommen.

Es gehört zu den faszinierenden Eigenschaften von Literatur, räumliche und kulturelle Grenzen zu überschreiten. Oftmals werden solche Grenzüberschreitungen in literarischen Texten thematisiert oder als wichtiges Strukturmerkmal genutzt. Zudem wird die Lektüre selbst häufig als dynamisches Phänomen vorgestellt, das Mobilität impliziert.
In diesem Sinne widmet sich das Seminar der Aufgabe, die Beweglichkeit der Lektüre zu entdecken und anhand von gemeinsamen Favoriten konzeptuell auszuloten.

When it was published in 1851, Herman Melville's novel Moby-Dick was a far cry from a commercial or critical success – many of its contemporary readers simply didn't know what to make of this strange, bulky book. Today, Moby-Dick is widely considered to be one of the "Great American Novels". In bibliographic databases and library catalogues, you'll be hard-pressed to find any other American novel that has generated more secondary literature.

To come to terms with its belated significance and ongoing relevance, this class is dedicated to (re-)reading just this one literary work: Moby-Dick. Throughout the semester, we will go through it bit by bit, immersing ourselves in its many themes, historical contexts, formal structures, and genres. In addition, we will familiarize ourselves with a variety of critical approaches, including recent works in eco-criticism, post- and decolonial approaches, feminist and queer readings, critical race studies, and world literature, among others.

Prerequisites: Students in this class should be capable of, and willing to, delve into such an extensive and complex work with the necessary depth and perseverance. Reading Moby-Dick is a marathon, not a sprint. Be prepared for an experience of slow reading. Familiarity with 19th-century (American) literature is beneficial but not a requirement. We're all at sea.

Requirements: All students are expected to give an oral presentation (ca. 20 minutes, followed by a discussion) that thoroughly introduces a specific critical approach to the novel.

For the sake of referenceability, it is crucial that all participants have a copy of the Oxford World's Classics edition of the novel (2022, ed. Hester Blum, ca. €10). Further material will be provided via StudIP.

When it was published in 1851, Herman Melville's novel Moby-Dick was a far cry from a commercial or critical success – many of its contemporary readers simply didn't know what to make of this strange, bulky book. Today, Moby-Dick is widely considered to be one of the "Great American Novels". In bibliographic databases and library catalogues, you'll be hard-pressed to find any other American novel that has generated more secondary literature.

To come to terms with its belated significance and ongoing relevance, this class is dedicated to (re-)reading just this one literary work: Moby-Dick. Throughout the semester, we will go through it bit by bit, immersing ourselves in its many themes, historical contexts, formal structures, and genres. In addition, we will familiarize ourselves with a variety of critical approaches, including recent works in eco-criticism, post- and decolonial approaches, feminist and queer readings, critical race studies, and world literature, among others.

Prerequisites: Students in this class should be capable of, and willing to, delve into such an extensive and complex work with the necessary depth and perseverance. Reading Moby-Dick is a marathon, not a sprint. Be prepared for an experience of slow reading. Familiarity with 19th-century (American) literature is beneficial but not a requirement. We're all at sea.

Requirements: All students are expected to give an oral presentation (ca. 20 minutes, followed by a discussion) that thoroughly introduces a specific critical approach to the novel.

For the sake of referenceability, it is crucial that all participants have a copy of the Oxford World's Classics edition of the novel (2022, ed. Hester Blum, ca. €10). Further material will be provided via StudIP.

When it was published in 1851, Herman Melville's novel Moby-Dick was a far cry from a commercial or critical success – many of its contemporary readers simply didn't know what to make of this strange, bulky book. Today, Moby-Dick is widely considered to be one of the "Great American Novels". In bibliographic databases and library catalogues, you'll be hard-pressed to find any other American novel that has generated more secondary literature.

To come to terms with its belated significance and ongoing relevance, this class is dedicated to (re-)reading just this one literary work: Moby-Dick. Throughout the semester, we will go through it bit by bit, immersing ourselves in its many themes, historical contexts, formal structures, and genres. In addition, we will familiarize ourselves with a variety of critical approaches, including recent works in eco-criticism, post- and decolonial approaches, feminist and queer readings, critical race studies, and world literature, among others.

Prerequisites: Students in this class should be capable of, and willing to, delve into such an extensive and complex work with the necessary depth and perseverance. Reading Moby-Dick is a marathon, not a sprint. Be prepared for an experience of slow reading. Familiarity with 19th-century (American) literature is beneficial but not a requirement. We're all at sea.

Requirements: All students are expected to give an oral presentation (ca. 20 minutes, followed by a discussion) that thoroughly introduces a specific critical approach to the novel.

For the sake of referenceability, it is crucial that all participants have a copy of the Oxford World's Classics edition of the novel (2022, ed. Hester Blum, ca. €10). Further material will be provided via StudIP.

Bekanntlich haben C.M. Wieland und J.W. Goethe bereits im 18. Jahrhundert den Begriff der Weltliteratur geprägt. Das Seminar widmet sich unterdessen der Frage: Was bedeutet World Literature im 20. und 21. Jahrhundert? Welche aktuellen Konzepte gibt es? Diskutiert werden sollen ferner beliebte Genres und Subgenres, die auf dem internationalen Buchmarkt Konjunktur haben. Darüber hinaus gilt es zu erkunden, welche neuen Autor- bzw. Autorinnenkonzeptionen sich herausbilden und welche Themen und Problematiken zentral sind. Schließlich ist zu diskutieren, wie sich die Literaturwissenschaft im 20. und 21. Jahrhundert zu Tendenzen der Globalisierung verhält.

When it was published in 1851, Herman Melville's novel Moby-Dick was a far cry from a commercial or critical success – many of its contemporary readers simply didn't know what to make of this strange, bulky book. Today, Moby-Dick is widely considered to be one of the "Great American Novels". In bibliographic databases and library catalogues, you'll be hard-pressed to find any other American novel that has generated more secondary literature.

To come to terms with its belated significance and ongoing relevance, this class is dedicated to (re-)reading just this one literary work: Moby-Dick. Throughout the semester, we will go through it bit by bit, immersing ourselves in its many themes, historical contexts, formal structures, and genres. In addition, we will familiarize ourselves with a variety of critical approaches, including recent works in eco-criticism, post- and decolonial approaches, feminist and queer readings, critical race studies, and world literature, among others.

Prerequisites: Students in this class should be capable of, and willing to, delve into such an extensive and complex work with the necessary depth and perseverance. Reading Moby-Dick is a marathon, not a sprint. Be prepared for an experience of slow reading. Familiarity with 19th-century (American) literature is beneficial but not a requirement. We're all at sea.

Requirements: All students are expected to give an oral presentation (ca. 20 minutes, followed by a discussion) that thoroughly introduces a specific critical approach to the novel.

For the sake of referenceability, it is crucial that all participants have a copy of the Oxford World's Classics edition of the novel (2022, ed. Hester Blum, ca. €10). Further material will be provided via StudIP.

Bekanntlich haben C.M. Wieland und J.W. Goethe bereits im 18. Jahrhundert den Begriff der Weltliteratur geprägt. Das Seminar widmet sich unterdessen der Frage: Was bedeutet World Literature im 20. und 21. Jahrhundert? Welche aktuellen Konzepte gibt es? Diskutiert werden sollen ferner beliebte Genres und Subgenres, die auf dem internationalen Buchmarkt Konjunktur haben. Darüber hinaus gilt es zu erkunden, welche neuen Autor- bzw. Autorinnenkonzeptionen sich herausbilden und welche Themen und Problematiken zentral sind. Schließlich ist zu diskutieren, wie sich die Literaturwissenschaft im 20. und 21. Jahrhundert zu Tendenzen der Globalisierung verhält.

When it was published in 1851, Herman Melville's novel Moby-Dick was a far cry from a commercial or critical success – many of its contemporary readers simply didn't know what to make of this strange, bulky book. Today, Moby-Dick is widely considered to be one of the "Great American Novels". In bibliographic databases and library catalogues, you'll be hard-pressed to find any other American novel that has generated more secondary literature.

To come to terms with its belated significance and ongoing relevance, this class is dedicated to (re-)reading just this one literary work: Moby-Dick. Throughout the semester, we will go through it bit by bit, immersing ourselves in its many themes, historical contexts, formal structures, and genres. In addition, we will familiarize ourselves with a variety of critical approaches, including recent works in eco-criticism, post- and decolonial approaches, feminist and queer readings, critical race studies, and world literature, among others.

Prerequisites: Students in this class should be capable of, and willing to, delve into such an extensive and complex work with the necessary depth and perseverance. Reading Moby-Dick is a marathon, not a sprint. Be prepared for an experience of slow reading. Familiarity with 19th-century (American) literature is beneficial but not a requirement. We're all at sea.

Requirements: All students are expected to give an oral presentation (ca. 20 minutes, followed by a discussion) that thoroughly introduces a specific critical approach to the novel.

For the sake of referenceability, it is crucial that all participants have a copy of the Oxford World's Classics edition of the novel (2022, ed. Hester Blum, ca. €10). Further material will be provided via StudIP.

When it was published in 1851, Herman Melville's novel Moby-Dick was a far cry from a commercial or critical success – many of its contemporary readers simply didn't know what to make of this strange, bulky book. Today, Moby-Dick is widely considered to be one of the "Great American Novels". In bibliographic databases and library catalogues, you'll be hard-pressed to find any other American novel that has generated more secondary literature.

To come to terms with its belated significance and ongoing relevance, this class is dedicated to (re-)reading just this one literary work: Moby-Dick. Throughout the semester, we will go through it bit by bit, immersing ourselves in its many themes, historical contexts, formal structures, and genres. In addition, we will familiarize ourselves with a variety of critical approaches, including recent works in eco-criticism, post- and decolonial approaches, feminist and queer readings, critical race studies, and world literature, among others.

Prerequisites: Students in this class should be capable of, and willing to, delve into such an extensive and complex work with the necessary depth and perseverance. Reading Moby-Dick is a marathon, not a sprint. Be prepared for an experience of slow reading. Familiarity with 19th-century (American) literature is beneficial but not a requirement. We're all at sea.

Requirements: All students are expected to give an oral presentation (ca. 20 minutes, followed by a discussion) that thoroughly introduces a specific critical approach to the novel.

For the sake of referenceability, it is crucial that all participants have a copy of the Oxford World's Classics edition of the novel (2022, ed. Hester Blum, ca. €10). Further material will be provided via StudIP.

Exkursionszeiten: Samstag, 23. Januar 2027 sowie 5. und 6. Februar 2027 jeweils ganztägig von 8.00 - 19.00 Uhr. Eine digitale Vorbesprechung findet am Freitag, dem 22. Januar von 14.00 - 16.00 statt.
Das Seminar führt zu aktuellen Ausstellungen am Frankfurter Museumsufer und erkundet deren zugrundeliegenden Konzepte.
Weitere Informationen zu den Ausstellungen folgen zu Beginn des Wintersemesters.

Bekanntlich haben C.M. Wieland und J.W. Goethe bereits im 18. Jahrhundert den Begriff der Weltliteratur geprägt. Das Seminar widmet sich unterdessen der Frage: Was bedeutet World Literature im 20. und 21. Jahrhundert? Welche aktuellen Konzepte gibt es? Diskutiert werden sollen ferner beliebte Genres und Subgenres, die auf dem internationalen Buchmarkt Konjunktur haben. Darüber hinaus gilt es zu erkunden, welche neuen Autor- bzw. Autorinnenkonzeptionen sich herausbilden und welche Themen und Problematiken zentral sind. Schließlich ist zu diskutieren, wie sich die Literaturwissenschaft im 20. und 21. Jahrhundert zu Tendenzen der Globalisierung verhält.

Exkursionszeiten: Samstag, 23. Januar 2027 sowie 5. und 6. Februar 2027 jeweils ganztägig von 8.00 - 19.00 Uhr. Eine digitale Vorbesprechung findet am Freitag, dem 22. Januar von 14.00 - 16.00 statt.
Das Seminar führt zu aktuellen Ausstellungen am Frankfurter Museumsufer und erkundet deren zugrundeliegenden Konzepte.
Weitere Informationen zu den Ausstellungen folgen zu Beginn des Wintersemesters.

Bekanntlich haben C.M. Wieland und J.W. Goethe bereits im 18. Jahrhundert den Begriff der Weltliteratur geprägt. Das Seminar widmet sich unterdessen der Frage: Was bedeutet World Literature im 20. und 21. Jahrhundert? Welche aktuellen Konzepte gibt es? Diskutiert werden sollen ferner beliebte Genres und Subgenres, die auf dem internationalen Buchmarkt Konjunktur haben. Darüber hinaus gilt es zu erkunden, welche neuen Autor- bzw. Autorinnenkonzeptionen sich herausbilden und welche Themen und Problematiken zentral sind. Schließlich ist zu diskutieren, wie sich die Literaturwissenschaft im 20. und 21. Jahrhundert zu Tendenzen der Globalisierung verhält.