Christina Kraenzle
Biographic Data
| ID | 5778181 |
|---|---|
| NAME | Christina Kraenzle |
| GIVEN NAMES | Christina |
| FAMILY NAME | Kraenzle |
| SIGNATURE | KRAENZLE C |
| AFFILIATIONS | York University |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Reframing German Cultural Studies: Displacement, Temporality, and Minority Discourses
Introduction: Thinking the Future Today
German Studies in the Era of Climate Change
Interview with Simon Schwartz
The interview with comics artist Simon Schwartz was conducted by Olivia Albiero on 12 July 2018
Spirou’s transnational travels: Historical memory and comics memory in Flix’s Spirou in Berlin
While Flix’s Spirou in Berlin can be enjoyed simply for its entertainment value and the novelty of a German-created Spirou story, it is more than just a slapstick spin-off. Flix’s latest Spirou adventure references the intertwined histories of Franco-Belgian and German comics while also reflecting on the mediated memories of divided Germany and the Peaceful Revolution of 1989. Spirou in Berlin thus offers a productive case study for thinking abou…
Transnationalism in German comics
Risking Representation: Abstraction, Affect, and the Documentary Mode in Birgit Weyhe’s Madgermanes
Birgit Weyhe’s Madgermanes was reviewed primarily as an attempt to recuperate a forgotten aspect of GDR history, but it also can be understood as an experiment with graphic documentary. In Madgermanes Weyhe employs a complex visual style to recount the history of Mozambican labour migration to the GDR and to recall the troubled history of visual representations of Africa and Africans in Germany. Weyhe’s aesthetic strategy—which in part mimics doc…
At Home in the New Germany? Local Stories and Global Concerns in Yüksel Yavuz's Aprilkinder and Kleine Freiheit
This paper situates Yüksel Yavuz's films in the context of discussions about identity politics and filmmaking style in Turkish‐German cinema. Scholars have recognized a shift from films of the 1970s and 1980s depicting migrants—characterized by oppression, nostalgia, and binary models of identity—to a contemporary cinema that eschews notions of essential Otherness. Many argue that shifting models of identity necessitate new cinematic styles, in w…
The Limits of Travel: Yoko Tawada's Fictional Travelogues
The article argues that many of Yoko Tawada's writings are best understood as forms of travel writing. An analysis of Talisman , ‘Wo Europa anfängt’, and Überseezungen demonstrates how they explore diverse experiences of mobility, from migration, to colonial expansion, to more cosmopolitan forms of leisure travel and tourism. In their emphasis on various forms of travel, Tawada's writings avoid the careless celebration of dislocation and instead …
The Limits of Travel: Yoko Tawada's Fictional Travelogues
The article argues that many of Yoko Tawada's writings are best understood as forms of travel writing. An analysis of Talisman , ‘Wo Europa anfängt’, and Überseezungen demonstrates how they explore diverse experiences of mobility, from migration, to colonial expansion, to more cosmopolitan forms of leisure travel and tourism. In their emphasis on various forms of travel, Tawada's writings avoid the careless celebration of dislocation and instead …
The Limits of Travel: Yoko Tawada's Fictional Travelogues
The article argues that many of Yoko Tawada's writings are best understood as forms of travel writing. An analysis of Talisman , ‘Wo Europa anfängt’, and Überseezungen demonstrates how they explore diverse experiences of mobility, from migration, to colonial expansion, to more cosmopolitan forms of leisure travel and tourism. In their emphasis on various forms of travel, Tawada's writings avoid the careless celebration of dislocation and instead …
At Home in the New Germany? Local Stories and Global Concerns in Yüksel Yavuz's Aprilkinder and Kleine Freiheit
This paper situates Yüksel Yavuz's films in the context of discussions about identity politics and filmmaking style in Turkish‐German cinema. Scholars have recognized a shift from films of the 1970s and 1980s depicting migrants—characterized by oppression, nostalgia, and binary models of identity—to a contemporary cinema that eschews notions of essential Otherness. Many argue that shifting models of identity necessitate new cinematic styles, in w…
Interview with Simon Schwartz
The interview with comics artist Simon Schwartz was conducted by Olivia Albiero on 12 July 2018
Spirou’s transnational travels: Historical memory and comics memory in Flix’s Spirou in Berlin
While Flix’s Spirou in Berlin can be enjoyed simply for its entertainment value and the novelty of a German-created Spirou story, it is more than just a slapstick spin-off. Flix’s latest Spirou adventure references the intertwined histories of Franco-Belgian and German comics while also reflecting on the mediated memories of divided Germany and the Peaceful Revolution of 1989. Spirou in Berlin thus offers a productive case study for thinking abou…
Transnationalism in German comics
Risking Representation: Abstraction, Affect, and the Documentary Mode in Birgit Weyhe’s Madgermanes
Birgit Weyhe’s Madgermanes was reviewed primarily as an attempt to recuperate a forgotten aspect of GDR history, but it also can be understood as an experiment with graphic documentary. In Madgermanes Weyhe employs a complex visual style to recount the history of Mozambican labour migration to the GDR and to recall the troubled history of visual representations of Africa and Africans in Germany. Weyhe’s aesthetic strategy—which in part mimics doc…
German Studies in the Era of Climate Change
Reframing German Cultural Studies: Displacement, Temporality, and Minority Discourses
Introduction: Thinking the Future Today
Art (7 works) · History (6 works) · German (5 works) · Sociology (5 works) · Aesthetics (4 works) · Comics and Graphic Narratives (4 works) · Literature (4 works) · Philosophy (4 works) · Political science (4 works) · Archaeology (3 works)