Those of you familiar with the Oxford German Olympiad will know that the main Olympiad event is accompanied by a small number of satellite competitions with a shorter deadline. Well, this year is no different – read on to find out about the competitions in this year’s Round 2!
1. German Performance Prize
The first of the Round 2 competitions is open to individuals or groups (of up to 4 students) of school pupils between Year 5 and Year 13 (i.e. ages 10-18 years). This competition is carried out in collaboration with the Creative Multilingualism ‘Multilingual Performance Project’. and will be judged by members of the Oxford German Network and the MPP. Your team could win £100!
To enter: Submit a video clip or write the script for a brief comedy sketch which involves an encounter between 1 or 2 English speakers and 1 or 2 German speakers. For full details of the competition and judging criteria, download the entry guidelines here.
2. Camden House ECR Book Proposal Prize
This competition is presented in association with Camden House. It is open to Postgraduate Students of German currently studying at a British or Irish university, or an Early Career Researcher who completed their doctoral degree at a British or Irish university no more than 3 years prior to the date of entry.
Camden House was founded in 1979 and has become a driving force in the publication of scholarly books on German and Austrian literature and culture for English-speaking readers. The imprint of the British/American publisher Boydell and Brewer is committed to fostering highquality research across the period spectrum from the Middle Ages to contemporary culture and presenting this in appealing books that are written in a clear and accessible style. This competition invites participants to write a book proposal on a topic in the field of German literature and/or film that will make a successful and important book and that fits the profile established by Camden House in German studies.
Prize: £200 and consideration for publication with Camden House.
The deadline for all tasks is 12 noon on 16th May 2018. The prizegiving ceremony will take place in Oxford on 19th June, and winning entrants will be invited to attend with a guest. Reasonable travel expenses will be covered. Winners will be notified by 25th May 2018.
The deadline for the Oxford German Olympiad is drawing nigh! In fact, 16 March is the final date you can enter the competition. There’s just time for us to post one more friendship-themed blog post for your last-minute inspiration…
The ‘double-act’ or Komikerduo is a form of artistic partnership with its origins in comic theatre. Double-act often take the form of unlikely friends or contrasting types: two people with very different comic styles or physiques who play with and against each other for laughs. In general, the comedy emerges from the uneven nature of the relationship between the two figures, whether it is one of size and shape, intelligence, social background or character. It’s worth remembering, though, that even the figure that might be considered the “straight man” will still sometimes be the butt of the joke! At the end of the day, the relationship between the two in a double act might be a love-hate type of friendship, but ultimately they need each other in the double act.
German-language culture has a long tradition of comic double acts. They can be found in stage acts of the nineteenth century and in circus clown acts of the early twentieth century – and of course on the cabaret stage from 1910 onwards! A very popular form of the double act is the Doppelconférence, a kind of comic dialogue, full of puns, misunderstandings and miscomprehensions.
Two Austrian actors, Rudolf Walter and Josef Holub, are credited with appearing as early as 1914 as the first Komikerduo on the big screen as Cocl & Seff – a format which influenced Laurel and Hardy, among others. Unfortunately, many of their films have since been lost.
The long-running artistic partnership between Karl Valentin und Liesl Karlstadt began on the stage in cabaret performances from 1911, and later transferred into film. Their first short film Mysterien eines Frisiersalons (1932) was directed by Erich Engel and Bertolt Brecht. Click the picture above to watch it on YouTube.
More recent famous double acts include the collaboration between the caricaturist and comic Loriot and his dead-pan foil, the comic actress Evelyn Hamann – they appeared together in Loriot’s films (such as Ödipussi in 1988) and Hamann featured in a multitude of the sketches written by her partner in comedy, notably lisping her way towards a nervous breakdown while trying to pronounce the English combination ‘th’ as a continuity announcer – and the duo ‘Erkan und Stefan’, the fictional personalities of John Friedmann and Florian Simbeck, who brought exaggerated Turkish accents together with Bavarian dialect and English slang for comic effect (they owed some inspiration for their act to the British comic act Ali G).
Can you think of any other German-language double acts? Perhaps some of the literary friendships could be considered double acts – such as Max & Moritz – or are some double acts unintentional (like political double acts)?
A guest post this week: Dr Marie Isabel Matthews-Schlinzig explains the special place writing letters had for German-speakers in the eighteenth century…
Since ancient times, letter writing and friendship have been intimately connected in people’s imagination. For centuries, letters were even defined specifically as ‘a mutual conversation between absent friends’ (to quote from Erasmus’s treatise on letter writing, Opus de conscribendis epistolis, 1522). Correspondence between friends also came to be associated with a distinct epistolary type: the letter of friendship. Such letters were usually characterized by a familiar tone and a level of intimacy not found in other types of letters, e.g. official communication sent from a public institution to a citizen.
In German cultural and literary history, letters of friendship flourished particularly in the eighteenth century. In this period, which has been called both the ‘century of letters’ and the ‘century of friendship’, people began to celebrate personal friendships in new ways. Letters played a key role in creating and/or sustaining these friendships – sometimes over long distances and periods of time. The language correspondents used was often very sentimental: friends would, for instance, write at length about exchanging hugs and kisses to ensure each other of their mutual affection.
One of the historical persons who exemplify this particular culture of friendship is the German author Johann Wilhelm Ludwig Gleim (1719–1803). Not only was he a prolific (and published) letter writer; he also had a Freundschaftstempel (Temple of Friendship) in his house in Halberstadt. The Temple consisted of several rooms whose walls were covered with portraits of his friends (and can still be seen today in the Gleimhaus). Gleim also had a special writing chair made, which he would move around his temple in order to position himself in front of the portrait of the friend to whom he wanted to write a letter – or whose letter to himself he was about to open and read.
Letters of friendship were not the preserve of adults. On the contrary: letters were among the first types of text children learnt about. Entering a correspondence was part of their education as it helped them practise a range of skills, including their spelling and grammar, handwriting, understanding of social conventions – and also their knowledge of foreign languages. We can see aspects of this practice reflected in what may be the earliest German book of fictional children’s correspondence – August Rode’s Briefwechsel einiger Kinder (1776). Among others, it includes the letters exchanged between a group of boys: Carl, Albert, Casimir, Heinrich, and Hamilton. They correspond about all kinds of topics, including their relatives, new experiences, and games played. Since Hamilton is writing in his native French – a language which all the other boys are learning – Carl also uses it in his replies.
Ultimately, Rode’s book is just one example of many which illustrate that friendship, letter writing, and learning go well hand in hand – and that is as true today as it was in the eighteenth century!
Monday, 5 February 2018 marked the point at which the time the Berlin Wall no longer existed equalled the time that it had stood. As a potent symbol of division where there should be friendship, no trip to Berlin is complete without visiting some of the remains of the ‘Mauer’. Susan Reed at the British Library wrote a post for the European Studies Blog, showcasing a number of the Library’s holdings to trace the history of the Berlin Wall. Read on below…
5 February 2018 marks a curious anniversary: the date on which the Berlin Wall has been down for as long it stood. There were 10,315 days between 13 August 1961, when the first breezeblock-and-barbed-wire barriers appeared, and 9 November 1989 when crossing-points were opened and hundreds of East Berliners headed…
‘Sehr geehrte Frau Präsidentin’, ‘Sehr geehrter Herr Professor Unrat’, ‘Liebe Marie, lieber Max’, ‘Liebe Kunden’… Writing letters is an important mode of written communication, but they’re not just an exercise in learning how to address the right people in the right way. Sending and receiving letters is a way of fostering friendships, maintaining friendly relationships (including in business), conveying news, and even sending presents.
Until relatively recently, friends who lived in different places kept in touch by letter or (later) telephone. Sometimes, their private correspondence has been published so that everyone can read it and learn about their friendship: famous examples of this are the correspondence (‘Briefwechsel’ in German) between the writers Johann Wolfgang von Goethe (1749-1832) and Friedrich Schiller (1759-1805) or that between poets Ingeborg Bachmann (1926-1973) and Paul Celan (1920-1970).
In the eighteenth century, many authors wrote fictional letters as a way of telling a story. This form of writing is known as an ‘epistolary novel’: Goethe’s bestseller Die Leiden des jungen Werthers (The Sorrows of Young Werther, 1774/8) is told in this way, as a series of letters from the character of Werther to his friend Wilhelm. Women writers such as Sophie von la Roche and Bettina von Arnim also used this style of storytelling.
Letters can also give us an insight into the experiences, expectations and feelings of people who lived in the past, like this online exhibition of the last letters written by Jews around Europe during the Holocaust, in the days before they were transported to concentration camps in 1941, 1942, and 1943.
The digital age has transformed the way we make friends and keep in touch. Instead of laborious letter writing, most people now send emails and instant messages – peppered with their favourite emoji rather than written in beautiful longhand! Some people mourn the lost art of letter-writing, but others celebrate how much easier it is to find new friends, reconnect with lost ones or stay in contact with people from all over the world.
Nun hock’ ich hier an meinem Tisch und weiß nicht recht zu starten. Dort draußen sitzt man sicherlich auf einen Brief zu warten. Zu lange Zeit ist schon vergangen, daß wir einander nicht geschrieben, kein Brief ist hin und her gegangen – wo ist die Post geblieben?
…And we’re back! With apologies for the long silence, but we’ve been busy reading up on friendship again. Literary friendship this time – another aspect for you to explore when you enter the Oxford German Olympiad this year!
Es geht uns mit Büchern wie mit den Menschen. Wir machen zwar viele Bekanntschaften, aber nur wenige erwählen wir zu unseren Freunden.
We might agree, even over a century later, with Ludwig Feuerbach’s assertion that we treat books and people very similarly, reading/meeting many, but selecting only a very few to get to know (and like) very well – and the implication that we can sometimes feel that books are like friends to us. And literature truly is full of stories of friendships of all kinds and many friendships between writers and literary figures have, over the centuries, become almost legendary.
The long and intense friendship of the writers Johann Wolfgang von Goethe and Friedrich Schiller may be the most well-known example in the history of German literature: although they didn’t become firm friends on first meeting in 1788, their relationship grew stronger towards the end of the eighteenth century and they exerted considerable artistic influence over each other. Other prominent writers and thinkers have often been part of the same tight-knit friendship groups: the Schwäbische Dichterschule (1805-1808); the circle of Romantic poets around Clemens Bretano and the von Arnim family (around 1808); the Expressionist dramatists in Berlin at the end of the nineteenth century; or the GDR-based Sächsische Dichterschule which included Volker Braun and Sarah and Rainer Kirsch.
Books are full of descriptions of great friendships and their impact on people, communities and events. From Wilhelm and Werther in Goethe’s Leiden des jungen Werthers to Effi Briest and her loyal servant Roswitha in Theodore Fontane’s Effi Briest; the narrator’s relationship with her dead friend in Christa Wolf’s Nachdenken über Christa T.; the doomed and toxic relationship between Franz Biberkopf and Reinhold in Alfred Döblin’s Berlin: Alexanderplatz; Pilenz and Mahlke in Günter Grass’ Katz und Maus, or the close-knit band of friends who feature in Erich Maria Remarque’s Im Westen nichts neues, literature has explored the good and bad features of platonic relationships in all their forms. However, while they thematise friendship and thus inclusion, such books can also highlight aspects of identity in the ties of friendship and of exclusion from certain groups. For example, Remarque’s band of soldierly comrades is divided approximately into two groups by his narrator: the group of classmates who joined up together on the one hand and the group of older men with established jobs and families on the other.
Some of the best descriptions of friendship in literary works are in writing for children and young people. Many popular children’s books have been translated from other languages into German and have proved firm favourites. But children’s books by German-language authors have also traveled in the other direction and are very well known in English, especially for their depiction of friendship. The conspiratorial hijinks of Max and Moritz in Wilhelm Busch’s early cartoons have become embedded in the literary consciousness of many German speakers. The lively cast of characters in Erich Kästner’s children’s classic Emil und die Detektive (1929 – recently adapted for the British stage: take a look at a review here) showcased their independence and resourcefulness of children in making new friends and teamwork, while the capacity for friendship and affection is also explored in the well-known children’s classic Heidi, Johanna Spyri‘s 1881 tale of a Swiss orphaned girl’s friendships with those around her. A German-speaking audience will, however, also be familiar with the long-running Burg Schreckenstein series (1959-1988) by Oliver Hassencamp, about the adventures of a boys’ school (occasionally joined by their rival girls’ school).
More recently, themes of difference have begun to dominate much children’s literature. Two examples are Zoran Drvenkar‘s autobiographical Niemand so stark wie wir (1998), which looks at the balancing acts of intercultural friendships and family life of immigrant children in Berlin, and Uticha Marmon’s Mein Freund Salim (2015) in which two German children engage with a young Syrian refugee who can’t speak their language (read a sample from the book here).
Keep your eyes peeled – more posts on theme of friendship coming up…
One prizewinner in 2017’s ‘Deutsch(e) jenseits von Deutschland’, Beth Molyneux, first got involved with the Oxford German Olympiad right at its inception – and this year she was so enthused, she participated in every element of it that she possibly could! Beth was a joint winner in the ‘Migrating Communities’ essay category and a runner up in the Blog Post category. You can read her entries – and those of all the other winners – here. In this blog post, she explains what got her involved in the first place and what she loves about the competition.
The prize ceremony for the 2017 Oxford German Olympiad was the perfect culmination of what has been, for me and many other pupils around the country, an exciting, challenging and definitely worthwhile affair.
My involvement in the Olympiad started when I was in Year 8, with the theme Grimm Tales and featured me and my sister as Hansel and Gretel in a short film. At that time, I wasn’t aware of what the Olympiad was but certainly had fun making the video. It then wasn’t until sixth form when I was looking to extend my German outside of my A-level that this memory from year 8 came back to me along with the remembrance that there had been a sixth-former at our school who had helped us with our entry as well as submitting her own. Excited by this prospect, I gave ‘Oxford German Olympiad’ a quick Google and was pleased to find that it not only still existed but had been going strong for several years and, most importantly, entries were open for this year’s competition!
What I loved about the structure of the competition was how all the tasks tied into an overall theme but were so diverse, both within and across the age categories, which gave me a chance to explore aspects of German and Germany that I never would have before. The Olympiad provided me with a great opportunity to do some wider study of German culture and literature as well as the linguistic challenge of composing an essay in German, which was especially useful because I’m hoping to study German at university. I liked the sound of all the tasks in my age category and wanted to get as fully involved as possible so, instead of choosing between them, I decided to have a go at all three.
I started with the essay on Germany’s colonial history, which was probably the hardest task from a language point of view, as well as requiring the most research yet despite this I’d say it turned out to be my favourite task. After collecting the necessary initial research to find out what the story of Germany’s empire actually was, I thought it would be very easy for this kind of essay to turn out quite stale and technical but I wanted to make it come alive with a literary touch so I developed an extended metaphor, comparing Germany’s association with colonialism to an actor on a stage. This meant that I not only learned something new about Germany’s fascinating and unique history but was able to get creative and really have fun with what is a truly beautiful language. I think my enjoyment of this task showed in my entry and it definitely paid off, as this piece was joint winner in my age category.
For the second task, I researched the Austrian German dialect, struggling to fit all its quirks into just 400 words and for the third I chose to write about the author Thomas Mann, one of the many authors who left Germany as the Nazis came to power. He nevertheless fought hard for his beloved country jenseits von Deutschland, as you might say. This entry epitomised the competition for me because Mann is such a remarkable example of this year’s Olympiad title. My research into his life and work has gone beyond the competition as I’ve explored German Exilliteratur, even choosing it as the focus for my Extended Project Qualification in sixth form. Again, I had a chance to get creative with this task, choosing to narrate his history as a story, with dialogue and literary features, rather than as an essay, which was yet another discipline I would never have explored without the Olympiad.
As the deadline for round one entries drew near and I was giving those final touches to my three pieces, I happened to check the Olympiad website again and was delighted to find that this wasn’t the end – there was a round 2! The tasks in round 2 were even more diverse, giving incredible scope for creativity. Having read some Kafka before, I enjoyed being mind-boggled as I read his Die Sorge des Hausvaters and barely knew where to start with a response. Having this chance to respond creatively to Kafka’s work helped me to delve deeper into his intentions and the thought processes behind his work as well as considering the weighty existential questions his work evokes.
The poetry of HC Artmann was, if possible, yet more bizarre than Kafka and undoubtedly a piece of literature which, without the Olympiad, I would never have been introduced to. The biggest challenge I faced in the HC Artmann task wasn’t understanding the German he used (helpfully provided alongside the original dialect version) but interpreting the poetry itself. Baffled, I simply chose to reflect this uncertainty in my response, writing two poems in response to his Kindesentführer, based on different readings of the poem which I had taken. Only Artmann himself knows whether either of my interpretations are correct (if there is ever a correct interpretation of poetry) but the responses were enough to win the prize for this competition, generously made possible by HC Artmann’s widow Rosa Pock.
Having submitted my grand total of five entries across Rounds 1 and 2 I felt not just immense satisfaction and pride at having accomplished this but also, most importantly, a passion for German literature, not initially kindled by this competition but certainly refreshed and burning brighter than ever because of it. I had dedicated a considerable amount of time to my entries and felt like I’d given a small piece of my heart and soul to the competition which was in a way its own reward. I probably didn’t realise how much the competition meant to me until I received the email with my results; I screamed so loudly that my parents came rushing upstairs thinking I had hurt myself! Besides the success itself was the exciting prospect of attending the award ceremony in Oxford at none other than the Bodleian library, an event which lived up to and surpassed expectations. I travelled down from Manchester with my Dad, the weather reflecting our mood in a sunny and more-than-usually beautiful Oxford and as we waited on the steps of the Weston Library, I realised the full scope of the competition as we saw students of all ages begin to gather. The event itself was incredibly well organised, managing to balance a comfortable and informal intimacy with the grandeur appropriate for a prize ceremony. Judges, organisers and participants alike were friendly, excited and welcoming. And the best part? With heavily book-based prizes, I left with yet more German literature to explore!
Fancy having a go at the Olympiad yourself? The next competition is just around the corner! We’ll be announcing the theme for the Oxford German Olympiad 2018 later in September!
Isobel Horsfall was a winner in this year’s Oxford German Olympiad ‘Deutsch(e) jenseits von Deutschland’ – and taking part took her to another land! Metaphorically speaking. You can read her entry here: Runner up Blog Post. This week, she describes how she went about writing her winning entry…
Starting A-Level German in September, I am guilty of never having visited a German speaking country. Therefore the task of researching somewhere that speaks German – ausserhalb Deutschland – appealed to me as a way for me to start exploring the deutschsprachige world from the comfort of my own bedroom. A quick internet search revealed many options for the topic of my entry. However, I decided upon South Tyrol as it presented itself as an idyllic region, nestled in the Dolomites, that I had never even heard of.
As I began to write, I put some thought to what I actually enjoy reading. Thus, my entry morphed into a travel piece for South Tyrol, not because this is what competition necessarily asked for, but because I thought if I wrote something I would feasibly enjoy reading myself then maybe others would too.
Through my fact-hunting I discovered many brilliant reasons to visit South Tyrol: from stunning scenery, to incredibly rich heritage, all the way back to 3300 BC (the era of Ice man Ötzi). The region has been disputed by various nations throughout history, resulting in the unique amalgamation of different cultures and languages there today; German, Italian and Ladin shared by the 500,000 inhabitants. Furthermore, my research re-raised a recurrent question to me of how much of our identity is connected to languages, especially in the ever-globalising world. Writing freischaffend also allowed me to be more creative than with my GCSE German, a chance I relished.
From conversations with other entrants at the ceremony, I can safely say we would all recommend the rewarding experience which facilitated using German in a refreshingly different way als im Klassenzimmer! The competition has also kindled my interest in exploring German-speaking regions soon, perhaps with a family holiday…
This week, Sofia Justham Bello, talks about her love of German, onomatopoeia and how she approached entering the biggest event in the Oxford German Network diary: the Oxford German Olympiad. Click here to read her version of Hansel and Gretel.
My underlying motivation for taking part in the 2017 Oxford German Olympiad was my love for the German language. What particularly draws me towards German is its poetic nature and ability to combine individual words to form a larger word and meaning; for example, in my entry I used the word Menschenmenge (crowd) which can be broken down to Menge (an amount) of Menschen (people).
Another reason that drew me towards entering the competition was the theme: “Deutsch jenseits von Deutschland”-German beyond Germany. This was intriguing as one could explore the role and power of German in any location, hence expressing the idea that language is not restricted to thrive in one place. In my opinion this theme is particularly encouraging and vital for our world today, as it reflects the need for different languages in our lives, increasing our ability to connect with people and understand each other’s cultures.
The category I took part in involved rewriting the story of “Hänsel und Gretel” in a different location. I chose to relocate them in modern day London, a multicultural city with an iconic landscape, which generates infinite possibilities for storytelling.
The timelessness of the Grimm tale was key to motivating me to write; personally, I find that Märchen offer a sense of comfort to the reader; despite their bizarre and often gory themes, one is fond of their nostalgic structure and magical familiarity. My story was similar to the original, but I altered small details to fit the setting, such as instead of following a white dove, the children follow a pigeon; and instead of stumbling across a life-size gingerbread house, my story ends with a cliffhanger that leaves them peering into a cake shop window.
Writing a short story in German was more of a challenge, and it took practice to write in the imperfect tense. However, it was fun to discover new verbs which I would have never encountered at school, such as when Gretel felt tired, and therefore dragged her feet along the street (Das süße Mädchen schleppte sich die Straße entlang – very onomatopoeic!).
I also found it fun to discover new idioms to illustrate the siblings’ resilience, such as Morgenstund hat Gold im Mund (“The Morning Riser has gold in their mouth”, i.e. the early bird gets the worm); such an idiom perhaps highlights the positivity and character the German language has, which is likely to have compelled so many people to take part in the Olympiad this year.
Since the Olympiad celebrations in June, the Oxford German Network team has had a little break – hence the ‘Funkstille’ on our blog. But while we were away, we asked some of the successful participants in ‘Deutsch(e) jenseits von Deutschland’ to tell us about their experience of taking part in the competition. We start with the group that came runner-up for their interview with a German native speaker living in the UK: Ellie, Laila and Hannah.
Our trip to Oxford was amazing! We had such a great time – this was a once in a lifetime opportunity and it is something that definitely doesn’t happen often! Oxford University is so eye-catching, with the stone walls and the old wooden doors, and the resources that are available are super helpful. Oxford city is beautiful with lots of sightseeing to do and ancient buildings with stories behind them. When we got there we had a tour of the university, after that we went to the awards ceremony at the Bodleian Library which looked like the perfect place to study in. The next day we got ready for another exciting day ahead of us. We went on a river boat to see the pretty trees and nature around us, later in we went to the cinema to get out of the scorching heat!
Overall our trip to Oxford was very memorable and we would love to go back again sometime.
The award ceremony was amazing! I would love to take part in another competition for the Oxford German Network. I liked doing the quiz about the Bodleian. I especially liked the rap video. My prize was an orange phone cleaner, an Oxford University postcard, Letters To A Young Poet [book], How a Ghastly Story Was Brought To light By A Common Or Garden Butchers Dog [book], Chess [book] and an Oxford German Network bookmark.
Besides going to the University and the award ceremony, we found Oxford town great. Everything was so pretty and it had such a nice scenery. Also everyone that we met in Oxford was so kind and always there if we needed help. The cinema was great and so was the mini river cruise we had so much fun. Overall our time in Oxford was amazing and we would love to go back and we will definitely be entering the next lot of Competitions, in the hope of having this magical experience again.