Thursday, December 12, 2019

Winner of the WCGS Book Prize for 2018 announced

Book prize badge

The Waterloo Centre for German Studies is pleased to announce the winner of its 2018 Book Prize. Disruptive Power: Catholic Women, Miracles, and Politics in Modern Germany, 1918-1965written by Michael O'Sullivan

Tuesday, November 19, 2019

The Canadian Year in Freiburg is now accepting applications

Freiburg im Breisgau

Study for a year at the University of Freiburg and earn Canadian university credits

For over three decades,the Canadian Year in Freiburg exchange program has offered students the opportunity to study at one of Germany’s top academic universities, to immerse themselves in German culture and society and to explore Europe.

Tuesday, November 19, 2019

WCGS 2018 Book Prize - Finalists Announced

WCGS Book Prize 2018 Book covers

The Waterloo Centre for German Studies (WCGS) is pleased to announce the eight finalists for the WCGS Book Prize. The prize, valued at CAD $2000, is for books in any area of German studies published by first-time authors in 2018.

The shortlist demonstrates the rich and diverse nature of German studies scholarship today. The Waterloo Centre for German Studies congratulates the authors on their fine achievement. Check out the finalists here.

Monday, October 28, 2019

CfP: Decentering German Cinema

CfP: Decentering German Cinema (November 13-14, 2020)

Keynote address by Dr. Sabine Hake (The University of Texas at Austin)

1n 1996, Marc Silberman asked, “What is German in the German cinema?” In challenging the easy definition of national cinemas based on linguistic or geo-political borders, he illustrated the difficulty of pinpointing exactly what is “German” cinema, especially when taking into account the often multi- and transnational aspects of its history. His conclusion that “the form of the question tends to determine the way it is answered” suggested that the way German cinema was understood largely owed to the limitations scholars put on it in the framing of their own scholarship. The categories of German cinema, then, are self-defined and, thus, self-limiting. Similarly, both Anton Kaes and Sabine Hake have wrestled with how to define German cinema, both issuing calls to action to develop case studies (Sabine Hake) and “new cinema history” (Anton Kaes) to explore new ways of approaching and defining the what and who that comprise German cinema.  

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