School of Humanities and Sciences
Showing 1-10 of 21 Results
BioColleen Anderson studies the culture, history, and technology of Cold War Germany. Her current project is a history of outer space travel in divided Germany.
Walter A. Haas Prof in the Humanities, Professor of Comparative Literature and Senior Fellow at the Hoover Institution
BioProfessor Berman joined the Stanford faculty in 1979. In 1982-83 he was a Mellon Faculty Fellow in the Humanities at Harvard, and in 1988-89 he held an Alexander von Humboldt Fellowship in Berlin. In 1997 he was awarded the Bundesverdienstkreuz of the Federal Republic of Germany. He has directed several National Endowment for the Humanities Summer Seminars for College Teachers. At Stanford, he has served in several administrative offices, including Chair of German Studies, Chair of Comparative Literature, Director of the Overseas Studies Program, and currently Director of Stanford Introductory Studies. In 2011 he served as President of the Modern Language Association. Professor Berman is the editor of the quarterly journal Telos
Professor of German Studies
BioElizabeth B. Bernhardt (Ph.D., University of Minnesota) is the John Roberts Hale Director of the Language Center and Professor of German Studies at Stanford University. She has spoken and written on second-language reading, teacher education, and policy and planning for foreign- and second-language programs. At the 2014 Annual Convention of the Modern Language Association (MLA), Dr. Bernhardt was presented with the 2014 Distinguished Service to the Profession Award, from the Association of Departments of Foriegn Languages (ADFL). Her book, Reading Development in a Second Language (1991), earned her the MLA’s Mildenburger prize as well as the Edward Fry Award from the National Reading Conference as an outstanding contribution to literacy research. Professor Bernhardt’s latest book, Understanding Advanced Second Language Reading, (2011) has appeared with Routledge. UNESCO has recently published her pamphlet on teaching second-languages and her work is appearing in the Encyclopedia of Diversity in Education; Debating Issues in American Education; and in the International Encyclopedia of Education. She has published in the Modern Language Journal, Applied Linguistics, the ADFL Bulletin, Foreign Language Annals, and Reading Research Quarterly. In 2014 she received the Association of Departments of Foreign Languages (ADFL) Award for Distinguished Service to the Profession and in 2015 was elected Honorary Member, American Association of Teachers of German (AATG). In 2018 she received the Wilga Rivers Award for Leadership in Foreign Language Education (Postsecondary).
Professor of German Studies and of Comparative Literature
BioMy research focuses on the long nineteenth century, in particular the intersection of literature, music and philosophy. My first book, "Zwillingshafte Gebärden": Zur kulturellen Wahrnehmung des vierhändigen Klavierspiels im neunzehnten Jahrhundert (Königshausen & Neumann, 2009), traces four-hand piano playing as both a cultural practice and a motif in literature, art and philosophy (an English edition of the book recently appeared as Four-Handed Monsters: Four-Hand Piano Playing and Nineteenth-Century Culture (Oxford University Press, 2014)). My second book Uncivil Unions - The Metaphysics of Marriage in German Idealism and Romanticism (University of Chicago Press, 2012), explored German philosophical theories of marriage from Kant to Nietzsche. My book Tristan's Shadow - Sexuality and the Total Work of Art (University of Chicago Press, 2013) deals with eroticism in German opera after Wagner. In 2015 I published The James Bond Songs: Pop Anthems of late Capitalism (Oxford University Press), which I co-wrote with Charles Kronengold. In 2016 I published a German-language book of essays entitled Pop-Up Nation (Hanser). I am a frequent contributor to periodicals and newspapers in the United States, Germany and Switzerland. My current book project will trace the fate of the dynasty in the age of the nuclear family. In addition, I have published articles on topics such as fin-de-siècle German opera, the films of Hans-Jürgen Syberberg, literature and scandal, the cultural use of ballads in the nineteenth century, and writers like Novalis, Stefan George, Walter Benjamin, Theodor Adorno and W.G. Sebald.
Edward Clark Crossett Professor of Humanistic Studies and Professor of Comparative Literature
BioAmir Eshel is Edward Clark Crossett Professor of Humanistic Studies. He is Professor of German Studies and Comparative Literature and as of 2019 Director of Comparative Literature and its graduate program. His Stanford affiliations include The Taube Center for Jewish Studies, Modern Thought & Literature, and The Europe Center at Stanford University’s Freeman Spogli Institute for International Studies. He is also the faculty director of Stanford’s research group on The Contemporary and of the Poetic Media Lab at Stanford’s Center for Spatial and Textual Analysis (CESTA). His research focuses on contemporary literature and the arts as they touch on philosophy, specifically on memory, history, political thought, and ethics.
Amir Eshel is the author of Poetic Thinking Today (Stanford University Press, 2019); German translation at Suhrkamp Verlag, 2020). Previous books include Futurity: Contemporary Literature and the Quest for the Past (The University of Chicago Press in 2013). The German version of the book, Zukünftigkeit: Die zeitgenössische Literatur und die Vergangenheit, appeared in 2012 with Suhrkamp Verlag. Together with Rachel Seelig, he co-edited The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018). In 2014, he co-edited with Ulrich Baer a book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen; and also co-edited a book of essays on Barbara Honigmann with Yfaat Weiss, Kurz hinter der Wahrheit und dicht neben der Lüge (2013).
Earlier scholarship includes the books Zeit der Zäsur: Jüdische Lyriker im Angesicht der Shoah (1999), and Das Ungesagte Schreiben: Israelische Prosa und das Problem der Palästinensischen Flucht und Vertreibung (2006). Amir Eshel has also published essays on Franz Kafka, Hannah Arendt, Paul Celan, Dani Karavan, Gerhard Richter, W.G. Sebald, Günter Grass, Alexander Kluge, Barbara Honigmann, Durs Grünbein, Dan Pagis, S. Yizhar, and Yoram Kaniyuk.
Amir Eshel’s poetry includes a 2018 book with the artist Gerhard Richter, Zeichnungen/רישומים, a work which brings together 25 drawings by Richter from the clycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. In 2020, Mossad Bialik brings his Hebrew poetry collection בין מדבר למדבר, Between Deserts.
Amir Eshel is a recipient of fellowships from the Alexander von Humboldt and the Friedrich Ebert foundations and received the Award for Distinguished Teaching from the School of Humanities and Sciences.
Associate Professor of Religious Studies and, by courtesy, of Classics and of German Studies
BioCharlotte Elisheva Fonrobert specializes in Judaism: talmudic literature and culture. Her interests include gender in Jewish culture; the relationship between Judaism and Christianity in Late Antiquity; the discourses of orthodoxy versus heresy; the connection between religion and space; and rabbinic conceptions of Judaism with respect to GrecoRoman culture. She is the author of Menstrual Purity: Rabbinic and Christian Reconstructions of Biblical Gender(2000), which won the Salo Baron Prize for a best first book in Jewish Studies of that year and was a finalist for the National Jewish Book Award in Jewish Scholarship. She also co-edited The Cambridge Companion to the Talmud and Rabbinic Literature (2007), together with Martin Jaffee (University of Washington). Currently, she is working on a manuscript entitled Replacing the Nation: Judaism, Diaspora and the Neighborhood.
Associate Professor of French and Italian and, by courtesy, of German Studies
BioMarisa Galvez specializes in the literature of the Middle Ages in France and Western Europe, especially the poetry and narrative literature written in Occitan and Old French. Her areas of interest include the troubadours, vernacular poetics, the intersection of performance and literary cultures, and the critical history of medieval studies as a discipline. At Stanford, she currently teaches courses on medieval and Renaissance French literature and love lyric, as well as interdisciplinary upper level courses on the medieval imaginary in modern literature, film, and art.
Her first book, Songbook: How Lyrics Became Poetry in Medieval Europe (University of Chicago Press, 2012, awarded John Nicholas Brown Prize from the Medieval Academy of America), treats what poetry was before the emergence of the modern category, “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. The first comparative study of songbooks, the book concerns three vernacular traditions—Occitan, Middle High German, and Castilian—and analyzes how the songbook emerged from its original performance context of oral publication, into a medium for preservation, and finally became a literary object that performs the interests of poets and readers.
Her second book, The Subject of Crusade:Lyric, Romance, and Materials, 1150-1300 (University of Chicago Press, 2020) examines how the crusader subject of vernacular literature sought to reconcile secular ideals about love and chivalry with crusade. This study places this literature in dialogue with new ideas about penance and confession that emerged from the second half of the twelfth century to the end of the thirteenth. Subject argues that poetic articulations are crucial for understanding the crusades as a complex cultural and historical phenomenon, and examines another version of speaking crusades, in which lyric, romance and materials such as tapestries, textiles, and tombstones manifest ambivalence about crusade ideals.
Professor of Music and, by courtesy, of German Studies
Current Research and Scholarly InterestsThis book project will involve a series of essays about the status of "beauty" as an aesthetic and critical concept in musical discourse and practice from the later 18th century through the advent of musical "modernism," starting with the reception of Wagner in the 1880s to c. 1900. The project seeks to mediate between philosophical conceptions of beauty (Kant and British aestheticians of the 18th century), criticism (Eduard Hanslick, centrally), and compositional practice over the long 19thC.