This study was designed to test a new method of instruction for Japanese language students' re-acquisition of the Japanese relative clause structure. 10 Japanese language students who had already been exposed to the Japanese relative clause in their previous semester were asked to take a pretest that assessed their (a) knowledge of basic grammar concepts such as a "subject" and "predicate," (b) their ability to apply those basic grammar concepts to the Japanese language, and (c) their grasp of the rules applying to the formation of the Japanese relative clause. Students were then placed into a control group containing 6 students and an experimental group containing four students. The experimental group received additional lessons consisting of explicit instruction of basic grammar in both Japanese and English, as well as basic noun relativization rules in each language. The study found that the explicit instruction helped student comprehension of the relative clause structure, although some difficulties remain in identifying the relative clause and in constructing it on their own.

This thesis discusses second language acquisition and the theories behind various teaching methods implemented to facilitate incidental language acquisition as opposed to intellectual language learning. Through observations and data collected in two GER 101 classes at Arizona State University, I will analyze and compare the success of using a traditional lecture that relies on exposition to promote language learning to using a modern interaction strategy that relies on the students communicating in the target language to learn an aspect of German grammar as an acquisition-based method.

With the increase of academic courses moving to online instruction (Blake, 2011), it is only natural language education also would make the leap to online platforms. Following Vygotsky's (1978) Sociocultural Theory (SCT), the purpose of this study is to test the differential effect of the presence of a language learning orientation module in online environments as well as exploring the possible variables affecting student success in module and non-module containing courses. The effectiveness of the module is measured by triangulating student success as defined and tested by Kerr et al. (2006) using their quantitative TOOLS (Test of Online Learning Success) instrument and collecting qualitative data in the form of journal entries and surveys. Data were collected from 1st year university Spanish courses from both a control group (no module use), as well as an experimental group (module use). Case study data from both control and experimental groups showed trends related to student success and may help to shed light on the pedagogical implications of language orientation modules in both online and face-to-face language learning environments while providing avenues for future research designs to explore the effectiveness of the aforementioned modules in online environments.

The German Dada artist Hannah Höch is considered one of the most significant artists of photomontage. What is less discussed is Höch’s continued use of other mediums, particularly watercolor, and how the two mediums of watercolor and photomontage are combined in many of her artworks.

Berlin Dada criticized bourgeois artistic groups and mediums. The Berlin Dadaists Richard Huelsenbeck and Raoul Hausmann called for new ways of engaging with the medium of painting, which resulted in the group’s development of photomontage. However, other Dada artists such as George Grosz, Kurt Schwitters, Francis Picabia, and Hausmann, continued to engage with the traditional medium of painting.

Höch was integral to the development of photomontage. Like her Dada contemporaries, she also experimented with painting. She developed the new hybrid medium of photomontage-painting. I argue that Höch’s photomontages are better understood as photomontage-paintings. Höch’s photomontage- paintings combine the mediums of (watercolor) painting and photomontage into a singular medium. My reexamination of these works as photomontage-paintings presents a more accurate view of Höch as a multidimensional artist.

Shirin Neshat is recognized as the most prominent artist of the Iranian diaspora. Her two photographic series, Women of Allah (1993-97) and The Book of Kings (2012), are both reactions to the socio-political events and the change of female identity in Iran. The search for Iranian identity has a long tradition in Iranian photography. Neshat's figures, with their penetrating gazes, heavy draperies, and body postures, make reference to nineteenth-century Qajar photography. Through various cultural elements in her artworks, Neshat critiques oppression in Iranian society. Neshat employs and inscribes Persian poetry to communicate contradiction within Iranian culture.

To read Neshat’s photography, it is crucial to register her use of Persian language and historical poetry. Although the reading and understanding of the Persian texts Neshat inscribes on her photographs plays a fundamental role in the interpretation of her work, Neshat’s artworks are not entirely conceptual. The lack of translation of these included texts in Neshat’s exhibitions indicates a decorative use of Persian calligraphy. The Western eye can aesthetically explore this exotic Eastern decorative calligraphy. The formal qualities of Neshat’s photographs remain, even if the viewer is unable to read or understand the Persian texts.

Online language learning is becoming increasingly popular with advances in technology that facilitate the acquisition of language in virtual environments (Duensing et al., 2006). Much of the recent literature on online foreign language instruction has focused on the possibilities presented by online technologies but has failed to examine the practical side of how and by whom online language courses are delivered. Several authors have published articles on the skills needed to be a successful online language teacher using empirical approaches (Comas-Quinn, 2011; Ernest et al., 2013; Shelly et al., 2006) and some focus more on the theoretical discussions (Compton, 2009; Hampel & Stickler, 2005). The current study drew on the existing frameworks in the previous literature to operationalize and measure the participants’ online language teaching skills while they taught a class online. These participants were graduate student instructors of Spanish at a large public university (n = 3). Using a case study approach to data analysis (Duff, 2008), and gathering data through a background questionnaire, pre-and post assessments, bi-monthly teaching journals, self- and researcher observations, an exit survey and a semi-structured post-interview, this study investigated how the participants online language teaching skills, proposed by Hampel and Stickler (2005) and Compton (2009), changed over the course of them teaching an online language course and the factors that seemed to influence more or less development in each skill area. Additionally, it compares the main findings from this study with those found in previous literature and offers recommendations of how to promote the development and sustainability of these online language teachers’ skills. This study serves as one of the few empirical studies conducted in the United States that concretely operationalizes and measures through carefully designed instruments the prescribed online language teaching skills in an effort to gain insights into what contributes to their development and how to sustain their continued growth.

ABSTRACT (English)

Heinrich Hoffmann`s renowned Struwwelpeter and the famous Grimm brothers' fairy tales have been the subject of exhaustive pedagogical and psychological scrutiny. By means of shocking and fascinating literary elements Struwwelpeter's revolutionary didactic horror-comedy as well as the instructive horror-fantasy inherent in fairy tales are able to cast an enchanting, enlightening spell on their audience. However, both Hoffmann's and the Grimm's adventurous stories have suffered harsh criticism particularly owing to their often gruesome, macabre and unrealistic subject matter. Notwithstanding the barrage of denunciating objections, the remarkable longevity of Fidgety Philip, Little Red Riding Hood and Co appears to know no bounds, as their ingenious formula for success comprising captivatingly shocking, spine-tingling elements of both entertaining and educational value continues to inspire contemporary adaptations. Several German dialects have also discovered and devoted themselves to the magical world of Hoffmann's chaotic rascals and the Grimm's fascinating fairy tale characters in furtherance of enlivening them with the identity, culture and local flavor of their respective region.

The current study aims to demonstrate the extent to which dialectal adaptations of the aforesaid tales succeed in not only revitalizing the original narratives including their pedagogical and psychodynamic quintessence but also in capturing the readers' hearts by virtue of their intimate parlance/phraseology. This particular philological approach illustrates the symbiotic interaction between regional German dialects and well-known (children's) Horror-stories.

ABSTRACT (German)



Bisher waren sowohl der renommierte Struwwelpeter Heinrich Hoffmanns als auch die berühmten Märchen der Brüder Grimm Objekte erschöpfender pädagogischer und psychologischer Betrachtungen. Die revolutionäre didaktische Gruselkomik der struwwelpetrigen Abenteuer sowie die lehrhafte Gruselphantastik der Märchen vermögen vermittels ihrer schockierenden und zugleich faszinierenden Elemente Menschen jeden Alters in ihren verzaubernden, lebenserhellenden Bann zu ziehen. Allerdings mussten die hoffmannschen und grimmschen Geschichten insbesondere auf Grund grausamer, wirklichkeitsfremder Inhalte auch als Zielscheibe heftigster Kritik fungieren. Nichtsdestotrotz scheint der steilen Karriere von Zappelphilipp, Rotkäppchen und Co keine Grenzen gesetzt, denn ihre raffinierte Erfolgsformel bestehend aus unterhaltsam-belehrenden Schock- und Zaubermotiven inspiriert stets neue Adaptionen. So haben auch die deutschsprachigen Mundarten längst das skurille sowie zauberhafte Reich der chaotischen Lausbuben und Märchencharaktere für sich entdeckt, um diese mit der jeweils eigenen regionalkolorierten Identität und Kultur zu beseelen.

Im Rahmen dieser Arbeit gilt es nun zu demonstrieren, inwiefern es den dialektalen Petriaden und Märchenversionen gelingt, nicht nur die Erzählungen samt ihrer pädagogisch sowie psychodynamisch wertvollen Kerngehalte zu neuem Leben zu erwecken, sondern sich darüber hinaus in anheimelnder Weise die Herzen der Leserschaft zu erobern. Diese einzigartige philologische Perspektive beleuchtet die Erfolg versprechende Wechselwirkung zwischen den ortsspezifischen Sprachgeflechten und den (Kinder)-Gruselklassikern.

Approaches to Holocaust representation often take their cues from both academic and public discourse. General opinion demands serious engagement that depicts the full range of the brutality and inhumanity of the genocide and the victimization of targeted groups perpetrated by the National Socialists. Such a treatment is considered necessary to adequately represent the Holocaust for generations to come. The analysis of four texts will show that humor is not only appropriate but is also an important addition to Holocaust discourse. This study argues that humor plays an important role as a stylistic tool for discussing the Holocaust as well as for its remembrance and representation. Jurek Becker's novel Jakob der Lügner and Ruth Klüger's autobiography Weiter Leben: Eine Jugend are witness-texts by Jewish authors. Humor in these two works helps the authors engage and work their experiences. Klüger's autobiography also utilizes humor to critically engage in the discussion of Holocaust representation. This study also analyzes two non-witness Jewish texts: the stage play Mein Kampf by George Tabori and the feature film Mein Führer, die wirklich wahrste Wahrheit über Adolf Hitler by Dani Levy. These two works utilize overt humor to challenge established Holocaust representations. Drawing on ideas from Mikhail M. Bakhtin, Julia Kristeva, Giorgio Agamben, the core argument of this study demonstrates humor performs two main functions in the Holocaust literature and film chosen for this investigation. First, it restores a potential loss of dignity and helps victims endure the incomprehensible. Second, it challenges the prevailing truth and the established order.

Wolfgang Haas is an award-winning Austrian author known primarily for his entertaining and quirky detective novels which follow the misadventures of Simon Brenner, an Austrian private investigator. These novels are notable for their subtle and not-so-subtle critiques of contemporary Austrian society and culture, their sometimes grisly content, and their unique and colloquial use of the Austrian variety of the German language. Haas has received numerous literary awards in the German-speaking world and attributes his success to the unique way he tells his stories, rather than the stories themselves. Of the seven Brenner novels that have been published thus far, only one is available in English translation, and he remains virtually unknown in the English-speaking world. This thesis includes a brief biography of Haas and an overview of his career, an analysis of his unique writing style and the problems they pose for a translator, and an English translation of the first two chapters of the novel Silentium! (1999).

ABSTRACT This thesis investigates the acceptability of a new variety of English among the English teaching community in Germany. A number of linguists claim there is a new variety of English developing in continental Europe, also known as Euro-English. Their research has surfaced multiple features that are unique to European speakers of English. Twenty-one teachers participated in a survey. They answered a questionnaire consisting of two parts. Part one investigates the background of the teachers, their attitudes towards different varieties of English, and their awareness of the research regarding Euro-English. Part two tests the acceptability of ten features that have been claimed to be specific for mainland Europeans. Results of this study reveal that there is little awareness of non-native varieties and many find it hard to accept the features of Euro-English. However, the teachers show a genuine interest in this topic. Where there is a general preference in holding on to the guidelines of standard norms, many comments indicate that teachers think about issues of identity and how their teaching could be affected by a broader scope that exceeds traditional methods.