Last Language Standing Competition

Welcome 

Shea House

Kaffeestunde

Election Brunch

2017 Prize Ceremony

Last Language Standing Competition

Welcome 

Shea House

Kaffeestunde

Election Brunch

2017 Prize Ceremony

Events

Wednesday, September 26th

  1. Kaffeestunde
    • Where: New Cabell Hall 236
    • Start time: 03:30pm
    • End time: 04:30pm
  2. German Movie Night
    • Where: New Cabell Hall 236
    • Start time: 06:00pm
    • End time: 08:00pm
    • Co-sponsored by the Max Kade German House at Shea.

Wednesday, October 3rd

  1. Kaffeestunde
    • Where: New Cabell Hall 236
    • Start time: 03:30pm
    • End time: 04:30pm

Saturday, October 6th

  1. Reading Days

Wednesday, October 10th

  1. Kaffeestunde
    • Where: New Cabell Hall 236
    • Start time: 03:30pm
    • End time: 04:30pm
  2. German Movie Night
    • Where: New Cabell Hall 236
    • Start time: 06:00pm
    • End time: 08:00pm
    • Co-sponsored by the Max Kade German House at Shea.

Wednesday, October 17th

  1. Kaffeestunde
    • Where: New Cabell Hall 236
    • Start time: 03:30pm
    • End time: 04:30pm
  2. William Coker, "Novel or New Mythology? Hölderlin's Hyperion and Mary Shelley's Frankenstein"
    • Where: New Cabell Hall 236
    • Start time: 04:00pm
    • End time: 05:30pm
    • Friedrich Hölderlin’s Hyperion and Mary Shelley’s Frankenstein exemplify the European Romantic attempt to craft a distinctly modern mythology in an era marked by two revolutions: Kant’s Copernican turn in philosophy and the political revolution in Paris. Both works present a novelistic counterpoint to the German Idealist ambition of creating a “mythology of reason" (Mythologie der Vernunft). Enabling the sensuous experience of what for Kant are mere postulates of practical reason, this “new mythology” aims to bridge the gap between theory and practice, supplanting religion and philosophy as the medium for the culture’s highest truths. As experiments in “new mythology,” however, Hölderlin and Shelley’s novels can best be described as controlled failures, whose failure in fact indicates what distinguishes the post-Enlightenment novel from its myth-making precursors in epic and tragedy.