Jump to ContentJump to Main Navigation
Germany in the Loud Twentieth Century$

Florence Feiereisen and Alexandra Merley Hill

Print publication date: 2011

Print ISBN-13: 9780199759392

Published to Oxford Scholarship Online: January 2012

DOI: 10.1093/acprof:oso/9780199759392.001.0001

(p.xi) Contributors

Source:
Germany in the Loud Twentieth Century
Publisher:
Oxford University Press

  • Nicole Dietrich studied History and Anthropology at the University of Vienna, with a focus on Cultural Studies, Fin-de-Siècle Vienna, and modernity. She has authored many radio documentaries for ORF/Ö1, Austria’s Public Radio. Supported by the European Journalist Fellowship at Freie Universität Berlin, Dietrich researched “Soundmemories between East and West” for an exhibition on nostalgia in Berlin. Other published works include articles on the visualization of the radio in the 1920s, Zeppelin and early broadcasting, and pop charts in 1960s Vienna. Her current project is editing the autobiography of Jewish Fin-de-Siècle writer Emma Adler.

  • Florence Feiereisen studied German Cultural Studies and Literature at the University of Massachusetts Amherst, where she received a Ph.D. with a dissertation on Thomas Meinecke. As Assistant Professor of German at Middlebury College, she teaches classes on German literature, pop culture, national identity, gender, and sound. Her areas of research include investigating the relationship of selected German contemporary literary texts with other media such as photography and sound. Feiereisen has just published a monograph on the concept of literary sampling and remixing in contemporary German literature.

  • Sabine von Fischer is an architect, writer, Ph.D. student in architectural history and theory at ETH Zurich (see www.alltagsakustik.ch), and a 2010 collection research grant recipient at the Canadian Center for Architecture, Montréal (see www.cca.qc.ca/en/study-centre/1029-noise-versus-noise-geoff-manaugh). Her research focuses on technological and aesthetic changes at the intersection of architecture and sound in the twentieth century. Von Fischer is also the founder of diaphanarch, a studio for architecture as concept, construction, and criticism in the form of drawings and texts. She has taught and lectured in Switzerland, the United States, and India.

  • John Goodyear is a Ph.D. candidate in the German Department at Queen Mary, University of London and the co-director of English Conversation and Culture Oldenburg (ECCO), an English-language center for adult learners. In his doctoral research project he examines musical images in German literature as a part of the wider urban soundscape. Goodyear has given lectures on Theodor Lessing’s Antilärmverein in Germany, the United States, and the United Kingdom; a further publication on Lessing’s society in its wider international context is forthcoming in a Theodor Lessing Symposiums-Band.

  • (p.xii)
  • Alexandra Merley Hill is Assistant Professor of German at the University of Portland, where she teaches all levels of German language, literature, and culture. She received her Ph.D. in 2009 from the University of Massachusetts Amherst, after defending her dissertation on German writer Julia Franck. She has published and presented on diverse topics, including Soviet and post-Soviet art, contemporary German painting, propaganda, feminism, contemporary literature and film, motherhood, and teaching contemporary German culture. Hill is currently at work on a book manuscript on motherhood and domesticity in the works of Julia Franck.

  • Yaron Jean is a post-doctoral research fellow at the Simon Dubnow Institute for Jewish History and Culture in Leipzig. He studied at the universities of Tel Aviv, Munich, Cologne, and Jerusalem and received his Ph.D. from Hebrew University, Jerusalem in 2006 with a dissertation titled “Hearing Maps: Noise, Technology and Auditory Perception in Germany 1914–1945.” His current work is on the cultural history of passports and travel documents and their influence on the establishment of a Jewish sense of belonging in Europe during the nineteenth and the twentieth centuries.

  • Christiane Lenk is a Ph.D. student in English at the University of Massachusetts Amherst. She completed her undergraduate work at Georg-August-Universität Göttingen in Germany and at the University of California at Santa Barbara. In her current research she focuses on aspects of transnational theory in modernist literature. One of her recent papers analyzes a former meeting place for German exiles during World War II, the mansion “Villa Aurora” in Los Angeles, in that context. She currently lectures on her dissertation topic at the University of Stuttgart in Germany.

  • Jean-Paul Perrotte is Lecturer of Music Theory and Composition at the University of Nevada, Reno. He is currently completing his Ph.D. in Music Composition at the University of Iowa. His electro-acoustic works have been performed in the United States and in Europe. Recent commissions include the musical score for the ballet, Shanghaied, sponsored by the School of the Arts at UNR, which debuted in November 2010. In 2008, he received the honor of Meritorious Achievement in Composition from the Kennedy Center American College Theater Festival for his musical score (cello, percussion, and computer) for the theatrical production, The Burial at Thebes (Antigone).

  • Robert Ryder studied Music and Comparative Literature in Canada and the United States. In 2009, he completed his dissertation titled “Hearing Otherwise: Towards a Genealogy of the Acoustical Unconscious from Walter Benjamin to Alexander Kluge” at Northwestern University. In his research, Ryder introduces a new way of thinking about German radio and sound film in relation to theories of modernity and trends in psychology in the early twentieth century. He currently teaches courses on German literature and media at the University of Chicago.

  • Maria Stehle received her Ph.D. in German Studies with a Certificate in Advanced Feminist Studies from the University of Massachusetts Amherst in 2005. After teaching in the German Studies Department at Connecticut College, she joined the Department of Modern Foreign (p.xiii) Languages and Literatures at the University of Tennessee Knoxville in the fall of 2007. She has published various articles in the fields of Feminist German Studies, Cultural Studies, and Media and Communication Studies. Her book manuscript, Ghetto Voices in Contemporary German Culture: Textscapes, Filmscapes, Soundscapes, is currently under review.

  • Curtis Swope holds a Ph.D. in Germanic Languages and Literatures from the University of Pennsylvania and teaches at Trinity University. His research focuses on representations of architecture, cities, and space in twentieth-century German literature with a focus on socialist theater and novels. Swope’s most recent scholarly contribution is a forthcoming article on architecture and texts of childhood in the GDR. He is currently working on a book project, tentatively titled Building Socialism: Architecture and Literature in the GDR, about dramatists’ and novelists’ critiques of modernist architecture in East Germany from the 1950s to the 1970s.

  • David Tompkins holds a Ph.D. in History from Columbia University and is Assistant Professor of History at Carleton College, where he teaches courses on modern Central Europe. He is completing a book manuscript on music and politics in Stalinist East Germany and Poland. Tompkins has presented and published internationally on the “sound of the Stalinist era”; his most recent project looks at the formation and propagation of images of friends and enemies and their reception by the populations of the Soviet bloc.

  • Brett M. Van Hoesen is Assistant Professor of Modern and Contemporary Art History at the University of Nevada, Reno. She holds a Ph.D. in Art History from the University of Iowa. She is currently finishing a book manuscript on the legacy of Germany’s colonial history in the visual culture of the Weimar Republic. Topics of her recent publications include the tactics of Weimar photomontage and documentary photography as well as postcolonial readings of the Weimar New Woman. Van Hoesen’s current research project involves charting the role that new media plays in the construction and reauthorship of art museums in the digital age. (p.xiv)