135042 PS PS Lit. Cross-Currents: Word and Music Studies (2018W)
On the Form and Function of Popular Music in Contemporary Fiction
Continuous assessment of course work
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Sa 01.09.2018 00:01 to Sa 22.09.2018 23:59
- Deregistration possible until We 31.10.2018 23:59
Details
max. 35 participants
Language: German
Lecturers
Classes (iCal) - next class is marked with N
- Wednesday 10.10. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 17.10. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 24.10. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 31.10. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 07.11. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 14.11. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 21.11. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 28.11. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 05.12. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 12.12. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 09.01. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 16.01. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 23.01. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
- Wednesday 30.01. 17:00 - 18:30 Seminarraum 3 Sensengasse 3a 1.OG
Information
Aims, contents and method of the course
Assessment and permitted materials
Lektüre-Aufgaben und Referat: 40%
Proseminararbeit (12-15 Seiten): 60%
Proseminararbeit (12-15 Seiten): 60%
Minimum requirements and assessment criteria
Examination topics
Reading list
AuswahlbibliographieBernhart, Walter; Steven Paul Scher und Werner Wolf (Hg.): Word and Music Studies: Defining the Field. Amsterdam, Atlanta/GA: Rodopi 1999.
Brown, Calvin S.: „The Relations between Music and Literature as a Field of Study“. In: Comparative Literature 22 (1970), Nr. 2. S. 97-107.
Eckstein, Lars: Reading Song Lyrics. Amsterdam, New York/NY: Rodopi 2010.
Frith, Simon und Andrew Goodwin (Hg.): On Record. Rock, Pop, and the Written Word. London, New York: Routledge 1990.
Frith, Simon: „Why do songs have words?“ In: Contemporary Music Review, 1989, Vol. 5, S. 77-96.
Gess, Nicola und Alexander Honold (Hg.): Handbuch Literatur & Musik. Berlin, Boston: De Gruyter 2017.
Hertz, Erich und Jeffrey Roessner (Hg.): Write in Tune. Contemporary Music in Fiction. New York, London: Bloomsbury 2014.
Middleton, Richard: Reading Pop. Approaches to Textual Analysis in Popular Music. New York: Oxford University Press 2000.
Rippl, Gabriele: Handbook of Intermediality. Literature – Image – Sound – Music. Berlin, Boston: De Gruyter 2015.
Scher, Steven Paul (Hg.): Literatur und Musik. Ein Handbuch zur Theorie und Praxis eines komparatistischen Grenzgebietes. Berlin: Schmidt 1984.
Viol, Claus-Ulrich: Jukebooks. Contemporary British Fiction, Popular Music, and Cultural Value. Heidelberg: Winter 2006.
Wolf, Werner: The Musicalization of Fiction: A Study in the Theory and History of Intermediality. Amsterdam: Rodopi, 1999.
Zima, Peter V. (Hg.): Literatur intermedial: Musik – Malerei – Photographie – Film. Darmstadt: WBG 1995.
Brown, Calvin S.: „The Relations between Music and Literature as a Field of Study“. In: Comparative Literature 22 (1970), Nr. 2. S. 97-107.
Eckstein, Lars: Reading Song Lyrics. Amsterdam, New York/NY: Rodopi 2010.
Frith, Simon und Andrew Goodwin (Hg.): On Record. Rock, Pop, and the Written Word. London, New York: Routledge 1990.
Frith, Simon: „Why do songs have words?“ In: Contemporary Music Review, 1989, Vol. 5, S. 77-96.
Gess, Nicola und Alexander Honold (Hg.): Handbuch Literatur & Musik. Berlin, Boston: De Gruyter 2017.
Hertz, Erich und Jeffrey Roessner (Hg.): Write in Tune. Contemporary Music in Fiction. New York, London: Bloomsbury 2014.
Middleton, Richard: Reading Pop. Approaches to Textual Analysis in Popular Music. New York: Oxford University Press 2000.
Rippl, Gabriele: Handbook of Intermediality. Literature – Image – Sound – Music. Berlin, Boston: De Gruyter 2015.
Scher, Steven Paul (Hg.): Literatur und Musik. Ein Handbuch zur Theorie und Praxis eines komparatistischen Grenzgebietes. Berlin: Schmidt 1984.
Viol, Claus-Ulrich: Jukebooks. Contemporary British Fiction, Popular Music, and Cultural Value. Heidelberg: Winter 2006.
Wolf, Werner: The Musicalization of Fiction: A Study in the Theory and History of Intermediality. Amsterdam: Rodopi, 1999.
Zima, Peter V. (Hg.): Literatur intermedial: Musik – Malerei – Photographie – Film. Darmstadt: WBG 1995.
Association in the course directory
BA M4
Last modified: Th 04.07.2024 00:13
Die Präsenz von Popularmusik in der Literatur, die bei der Charakterisierung von Figuren und Milieus mitunter eine wichtige Funktion im narrativen Geschehen ausübt, wird anhand von englischsprachigen Romanen seit 1960 besprochen (darunter Don DeLillo: Great Jones Street, Jonathan Lethem: The Fortress of Solitude, Salman Rushdie: The Ground Beneath Her Feet, Jennifer Egan: A Visit from the Goon Squad und Alan Warner: Morvern Callar). Einen weiteren Bestandteil der Lehrveranstaltung bilden Prosa und Lyrik literarisch-musikalischer ‚Grenzgänger‘ wie Leonard Cohen, Bob Dylan, Patti Smith und Nick Cave.