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Anglistik

Anschrift: FASK, IAAA, Postfach 1150, D-76711 Germersheim, Germany, Fax + 49 7274 508 35 447,
Leiter: Univ.-Prof. Dr. Klaus Peter Müller (Anglistik), Tel. +49 7274 508 35 240, E-mail kmueller@uni-mainz.de
Geschäftszimmer (Öffnungs- bzw. Sprechzeiten: Mo, Mi und Do jeweils 8.30-11.00 Uhr, Di 8.30-12.00 Uhr)
H. CECH (Anglistik, Scottish Studies), Zi. 247, Tel. + 49 7274 508 35 547, e-mail: cech@mail.fask.uni-mainz.de

Professors Klaus Peter Müller and Bernhard Reitz of the English departments of Mainz University are organizing a conference that will discuss Scotland and how it has been presented in various media. The conference is called 'Scotland's Cultural Standing and Identity'. The idea is to talk about different constructions and concepts of Scotland and think about how the medium employed as well as the cultural contexts provided by various periods have influenced different notions of Scotland's identity.

National concepts are important in this context as well as regional definitions of Scottishness or concepts of identities connected with Scottish cities. Literature is an evident medium for such an investigation, but so is film, television, history writing, and many other forms of thinking about and representing Scotland. As Germersheim has a special focus on translation, one or two speakers from here might investigate how translations have created special images of Scotland, Scottish regions, or Scottish cities. The number of topics that can be dealt with is quite impressive, and recent discussions about 'imagined' communities or nations provide intriguing backdrops one might use, in order to contradict them or investigate them in connection with Scotland.

Questions like these might be asked and answers for them should be provided in the course of the conference: How has Scotland been constructed in fact and fiction in Scotland, England, and the rest of Europe, esp. in Germany? How has Scotland been re-constructed in German translations of Scottish texts? How has Scotland re-constructed itself through translations? What kind of Scotland is created in contemporary Scottish fiction? What are Scotland's relations to England and to Europe in fiction, film, the arts, history writing, or politics? What have Scotland's relations to England and Europe been in history? What ideas have the English, the French, the Germans connected with, e.g., Mary Queen of Scots (currently topical on British TV), or with Bruce, with Carlyle, Hume, etc.? Surely, these ideas are different when Scotland and Scottish people are presented in a Hollywood film, such as 'Braveheart', than what is evoked in a novel by Scott. Or are they, perhaps, not really so different? How have Scottish towns and cities been presented in fiction, film, paintings, poems, plays, etc.? Ditto with regard to the landscape and countryside, specific regions, classes, and character types. What kinds of discourses and sign systems have been used by certain people, nations, or cultures at different periods in history? Is there a particular Scottish aspect in the success of Welsh's Trainspotting, or does the novel / play / film portray rather typical contemporary behaviour in Western culture? Similar questions could be asked about the work of many other people in the past (Hume, Carlyle, etc.) or in our own time.

The conference thus does not want to limit itself to a particular genre, group of people, or period in history, but intends to discuss all kinds of artefacts and sign systems and the ways they have been used at different times with particular intentions and effects with regard to Scotland.

The conference marks the publication of the 35th volume of Scottish Studies International, a series published by the Scottish Studies Centre of the Johannes Gutenberg-Universität Mainz, instituted in 1982 by Prof. Horst W Drescher as a department of interdisciplinary research and teaching in cultural studies.

Programme

of the international conference on

Scotland's Cultural Standing and Identity

Johannes-Gutenberg Universität Mainz

(organized by the English Departments of Faculties 14 and 23,

Professors Klaus Peter Müller and Bernhard Reitz)

25 – 27 February 2005

24 February

Arrival

7.30

Conference warming at the Hotel Kurfürst

Friday, 25 February

Registration: lecture room 329

9

Opening ceremony (lecture theatre 328)

9.30-10.30

Robert Crawford (St. Andrews): "Scotland and Nostalgia"

10.30-11 Coffee break

11-11.30 Bold, Valentina (Glasgow): "'Proud to be Scots': The Scottish Parliament Openings of 1999 and 2004"

11.30-12 Rieuwerts, Sigrid (Mainz): "'We are all becoming Scotish again': Sir Walter Scott’s Minstrelsy of the Scottish Borders"

12-12.30 Ashley, Katherine (Lethbridge, Canada): "Stevenson's Reception in France: Early Prose Translations"

12.30-1 Davison, Carol Margaret (Windsor, Canada): "Gothic Scotland/Scottish Gothic: Scotland as Gothic Space"

Lunch break

2.30-3.30

Christopher Harvie, (Tübingen): "Scotland the Semi-Nation, or Where Does the Grand Narrative Go From Here?"

3.30-4 Galbraith, Iain (Wiesbaden): "Gathering Twentieth Century Scottish Poetry in German Translation: An Interim Report"

4-4.30 Coffee break

4.30-5 Schwab, Sandra Martina (Mainz): "The Romantic Wilderness: Scotland in American Popular Romance Since the 1990s"

5-5.30 Gillespie, Stuart (Glasgow): "The Translation of Scottish Literature into German: Historical and Statistical Data and How to Use It"

5.30-6 Stein, Thomas M. (Mainz): "The Politics of Cityscape: William McIlvanney's Laidlaw Trilogy"

6-6.30 Kendrick, Robert (Chicago): "Gavin Douglas's 'Eneados' and the Refinement of Scottish Culture."

Saturday, 26 February

9-10

Ian Campbell (Edinburgh): "Getting to Know Scotland"

10-10.30 Schaff, Barbara (München): "The Invention of Heroic Scotland in Early 19th Century Literature"

10.30-11 Reitemeier, Frauke (Göttingen): "'Only to serve the Publick': Scotland as Seen Through the Eyes of Nathaniel Crouch"

11-11.30 Coffee break

11.30-12 Bell, Bill (Edinburgh): "'Whaer’s Wullie Shakespeare?' The Field of Scottish Literary Production"

12-12.30 Çaykent, Özlem (Gazimagoza, Turkey): "The Historical Novel and the Historical Choice of Scottish Character"

Lunch break

2.30-3.30

James Holloway (Edinburgh, Scottish National Portrait Gallery): "Strangers in Paradise: The first tourists in Scotland"

3.30-4.30

George Dalgleish (Edinburgh, Museums of Scotland): "Representing Scotland's Past in the Museum of Scotland"

4.30-5 Coffee break

5-5.30 Dickson, Beth (Glasgow): "The Re-Constituting of Scotland: Issues of Education, Globalisation and Anxiety in Alexander McCall's Popular Fiction featuring Professor Dr Moritz-Maria von Igelfeld"

5.30-6 Walker, Ron (Germersheim): "With A Hankering To Make Ourselves Gods: Human and Social Nature In Conflict In The Works Of John Galt"

9-10.30: Poetry Session with Robert Crawford and Iain Galbraith (at the Pfälzerwald-Verein)

Sunday, 27 February

9-10

Douglas Gifford (Glasgow): "From Saint Columba to Edwin Morgan: Making Poetry out of Scotland"

10-10.30 James, Annie Morgan (Cambridge): "Femmes Fatales, Witches and Whores, and Bonnie Lassies: Representations of Scotswomen in Cinema"

10.30-11 Dunnigan, Sarah M. (Edinburgh): "Mary, Queen of Scots and the Princesse of Cleves: History, Fiction, and Common Passions'"

11-11.30 Reizbaum, Marilyn (Brunswick, ME): "Mary, Medea, and the Tropical Deconstruction of Nationalism in Contemporary Scotland"

12 Lunch

Information on the speakers, their papers, and their careers

Ashley, Katherine (Lethbridge, Canada)

"Stevenson's Reception in France: Early Prose Translations"

In 1890, Stevenson bemoaned the fact that he 'might write with the pen of angels or of heroes, and no Frenchman be the least the wiser!' (letter to M. Schwob, 19 August 1890). A brief survey of French translations of his works shows that this is indeed the case: whilst Treasure Island and Jekyll and Hyde were serialised within a year of their English publication, and New Arabian Nights and The Master of Ballantrae were translated within 4 years of theirs, many other works only truly met with a French readership after the author's death. What reputation Stevenson did garner in France was due principally to two turn-of-the-century Symbolist authors, Marcel Schwob and Téodor de Wyzéwa. Schwob, a multi-lingual aficionado of English literature, defended Stevenson's work in salons, articles, essays and short translations. Wyzéwa, the director of the Revue wagnérienne, translated The Ebb-Tide and The Weir of Hermiston, translations that are still in print today. The aim of this paper is threefold. In the first instance, it will provide a quantitative analysis of early French translations of Stevenson's prose fiction. It will then analyse the poor reception of certain prose works, in an attempt to demonstrate that this reception is due to both the linguistic and thematic issues they raise. Finally, it will examine why Stevenson appealed to Symbolists like Schwob and Wyzéwa, and will compare their aims and approaches to translating his works. It will argue that Stevenson's allure was due, on the one hand, to the genre within which he worked, and, on the other, to his conception of fiction. In this way, his particular 'Scottishness' will be shown to relate to wider literary movements of the late-nineteenth and early-twentieth centuries.

Qualifications: PhD, French, University of Edinburgh, 2002; MPhil, European Literature, University of Cambridge, 1998; Maîtrise, English, Université de Rouen, 1997; BA (Hons), French and English, Acadia University, 1996.

Publications: Editor, Prix Goncourt, 1903-2003: essais critiques, Modern French Identities, vol. 23, Oxford, Peter Lang, 2004; 'France's First Prize', Times Literary Supplement, 7 November 2003, 5249, p. 16; French-English Translation: S. Bainbrigge and J. den Toonder, 'Interview with Amélie Nothomb', in Amélie Nothomb: Authorship, Identity and Narrative Practice, ed. by S. Bainbrigge and J. den Toonder, Belgian Francophone Library, vol. 16, New York, Peter Lang, 2003, pp. 477-207; 'Writers and Works: The Goncourt Brothers', in Encyclopedia of Life Writing, ed. by M. Jolly, London and Chicago, Fitzroy Dearborn, 2001, pp. 390-92; 'Authority and Intertext in the Goncourt Prefaces', Trivium, 32 (2000), 59-72.

In Press: Edmond de Goncourt and the Novel: Naturalism, Decadence and the Fin de Siècle, Amsterdam and Atlanta, Rodopi; 'Circus Intersections in Les Frères Zemganno', in Textual Intersections: Literature and the Arts in Nineteenth-Century Europe, ed. by R. Langford and G. Ni Dhuill, Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, Amsterdam and Atlanta, Rodopi; 'Policing Prostitutes: Adaptations and Reactions to Edmond de Goncourt's La Fille Elisa', Nineteenth-Century French Studies, Fall-Winter 2004.

Bell, Bill (Edinburgh)

"'Whaer's Wullie Shakespeare?' The Field of Scottish Literary Production"

While the so-called 'Golden Age' of Scottish literature is often attributed to the first three decades of the nineteenth century – sandwiched between an eighteenth century period of 'rise' and a late nineteenth century 'decline' – the real story is of course more complex.

The changing status of literary production in any period is intimately implicated in the economic and cultural history of its time. Throughout the eighteenth and nineteenth centuries the fate of Scottish literary production was tied, like many of its manufacturing interests, to the nation's rising fortunes as an international trading power.

By the middle of the nineteenth century it became increasingly difficult to speak in terms of a separate Scottish book trade. Pragmatic attitudes towards the business of literature meant that the Scottish publishers, while often trading on their Scottish credentials, were not always respecters of the idea of an indigenous Scottish literature.

The paper will conclude with a brief apologia for the importance of book history as a means of rethinking issues surrounding the question of national identity in this period, arguing that, in its emphasis on authorship and textuality, literary criticism has tended to ignore elements in the economics literary production that can lead us to think in new ways about the history of Scottish literature.

Bill Bell teaches English Literature at The University of Edinburgh, where he is also Director of 'The Centre for the History of the Book'. He has written extensively on the book trade in the nineteenth century and is General Editor of The Edinburgh History of the Book in Scotland, to be published by Edinburgh University Press in 4 volumes.

Bold, Valentina (Glasgow)

"'Proud to be Scots': The Scottish Parliament Openings of 1999 and 2004"

This paper explores representations of Scotland, focussing on the Opening Ceremony of 1999 and the Parliamentary Building Opening in 2004. These events sought to represent Scotland as a modern democratic nation with living links to the past, blending 'tradition and [the] modern' (Susan Stewart). Drawing on tape-recorded interviews with participants—performers, spectators, organisers and MSPs—alternative opinions are cited, with references to an aspiration towards 'a different way of operation' in 1999 (Elaine Murray, MSP), and to an unconscious 'irony' (Tommy Sheridan MSP). The use of Burns' 'A Man's A Man' for the first event drew on the national bard's popular credentials to promote 'unity and equality' (Gary West); using the work of modern writers, like Crichton Smith (1999) and Morgan (2004) was a nod to the future. The understated 'ceremony' (Sheena Wellington) of 1999 differed from 2004's pageantry, which revived the pre-Union custom of the Riding of the Parliament. The paper builds on an essay, 'Lords of States and Lusty Banquetting: Public Representations of Scotland 1999-2003' in Caroline McCracken-Flescher's forthcoming Cultural Progress—this discussed the 1999 Opening and the 2003 exhibition, 'Scotland at the Smithsonian'—to reflect on the imagery of Parliament in its new home.

Valentina Bold is Senior Lecturer and Head of Scottish Studies at the University of Glasgow's Crichton Campus in Dumfries, Scotland.

Her publications include an edited volume, Smeddum: A Lewis Grassic Gibbon Anthology (Canongate, 2001) and a CD-rom, co-edited with Tom McKean, Northern Folk: Living Traditions of North East Scotland (University of Aberdeen, 1999). Forthcoming work includes Nature's Making: James Hogg and the Autodidacts, published by Tuckwell Press.

Campbell, Ian (Edinburgh)

"Getting to Know Scotland"

Ian Campbell has been in Edinburgh University's department of English since 1964, and is Professor of Scottish and Victorian Literature. He is one of the editors of the Duke-Edinburgh edition of the collected letters of Thomas and Jane Welsh Carlyle, and has written extensively on Scottish literature of the last two hundred years.

Çaykent, Özlem (Gazimagoza, Turkey)

"The Historical Novel and the Historical Choice of Scottish Character"

The historical novel of the nineteenth century in Scotland reveals not only the culture of that time but gives us clues about the different authors' choices of history they saw relevant for the development of national character. Two early-nineteenth century Scottish authors, Walter Scott and John Galt, were prized with their profundity in reflecting Scottish character and characteristics. Their choices of specific historical periods and groups in the society gives clues to what they wanted to emphasize in the Scottish identity. That is, these writings played a particular role in the creation of a picture of the nation both for the country and for abroad.

This aspect clearly arises in Galt and Scott's approaches to the Covenanters of the seventeenth century. This paper will dwell on Scott's Old Mortality and Galt's Ringan Gilhaize to show their different efforts to define the historical development of the Scottish character. It will analyse these two readings as different guides to how to perceive the Covenanting century of Scotland. Scot's novel appeared first and depicted the Covenanters mostly as bigoted, uncultured and cruel people. Galt, writing his book as a reaction to Scott's, chose a more sympathetic approach by underlying the importance of Presbyterian faith in Scotland's history. According to him, Scott "treated the defenders of the Presbyterian church with too much levity, and not according to my impressions derived from the history of that time." As a result, these two novels represent the long lasting clash of identities in Scotland. Galt's attempt was to remind the readers of the long suppressed Lowland Presbyterian character; however, Scott's view of them as rioters prevailed still for a long time after.

Lecturer in history at Eastern Mediterranean University, Gazimagoza, Turkey.

Ph.D. 1997-2003, Bilkent University, Dept. of History, Ankara, Turkey. "The History of John Galt: Past and Present in the Wake of Enlightenment." Directed by Dr C. D. A. Leighton.

Articles: "Enlightened Conservatism: John Galt on Law, Morality and Human Nature," History of European Ideas 30 (2004) pp. 183-196; "An Archive on its Way," Journal of Cyprus Studies (Summer, 2004).

Crawford, Robert (St. Andrews)

"Scotland and Nostalgia"

The lecture will range from prehistory to Trainspotting and beyond, and will argue that fear of nostalgia must not lead to Scotland losing sense of its complex cultural history.

Professor of Modern Scottish Literature and Head of the School of English at the University of St Andrews (cf. http://www.st-andrews.ac.uk/english/crawford/home.html)

Dalgleish, George (Edinburgh)

"Representing Scotland's Past in the Museum of Scotland"

Curator Scottish Collections at the National Museums of Scotland (cf. http://www.nms.ac.uk/home/index.asp).

Davison, Carol Margaret (Windsor, Canada)

"Gothic Scotland/Scottish Gothic: Scotland as Gothic Space"

My recently published monograph, Anti-Semitism and British Gothic Literature (Palgrave/Macmillan, August 2004), drew on scholarship in three areas — Gothic literature and criticism, British history, and Jewish studies — in order to illuminate both the Gothic genre's intervention in the "Jewish Question" and its significance to the formation of British national identity. With an eye to further illuminating the Gothic's relationship to British national identity construction, my current project, Gothic Scotland/Scottish Gothic, trains a historicist-materialist lens on both Scotland's role within, and the Scottish engagement with the Gothic genre.

This essay examines the notably popular cultural representation of Scotland as a Gothic space at the end of the eighteenth century into the nineteenth— both in Britain and in Europe — against the backdrop of the Scottish Enlightenment and Romantic movements. This essay takes as its polemical springboard Colin Manlove's observation that "Scotland is remarkable in having little or nothing to offer of the Gothic novels that flooded in such a stream from English presses from the 1760s through to the 1820s" (41). The socio-historic, cultural, and ideological reasons for this absence will be considered alongside why an image of a fallen, Gothic Scotland, notably divided between political feudalism and enlightened government, emerged concurrent with the Scottish Enlightenment and was subsequently featured in several English Gothic novels. The second section offers a general overview of how several of Scotland's major writers' engaged with the Gothic Scotland image over the course of the nineteenth century. During this era, as Cairns Craig has provocatively yet problematically claimed, major Scottish writers were preoccupied with the barbaric underbelly of civilized capitalism and "what lay beyond … [progressive] history." Due to length requirements, my primary textual focus is Sir Walter Scott's Waverley (1814), which I argue functioned as a cultural battlefield where the Gothic Scotland image was first consciously and cunningly contested.

Acting Director, Women's Studies; Assistant Professor, English Literature, University of Windsor, Canada.

Dickson, Beth (Glasgow)

"The Re-Constituting of Scotland: Issues of Education, Globalisation and Anxiety in Alexander McCall's Popular Fiction featuring Professor Dr Moritz-Maria von Igelfeld"

This paper will discuss the reasons why a German academic, Dr Moritz-Maria von Igelfeld – eccentric and somewhat lacking in self-awareness – is the central figure in a series of short stories by the Scottish author Alexander McCall Smith whose novels about Precious Ramotswe, a lady dectective from Botswana are, if anything more popular but even more distant from 'Scotland' than the stories set in Germany. Can these novels be described as 'Scottish' if they are not set in Scotland and do not feature any 'Scottish' characters, their claim to Scottishness seeming to reside wholly in the nationality of their author?

By contextualising this fiction in the traditions of Scottish education, the educational links between Scotland and Germany, and the neo-nationalism through which Scotland now negotiates its place in a global context of limited and shared sovereignties, as well as the specifically literary traditions of popular fiction and comedy, this paper will argue that such fiction is a hopeful and profoundly Scottish construction of post-devolution Scotland.

Working at the Department of Curriculum Studies, Faculty of Education, University of Glasgow, Beth Dickson has published a number of articles on modern Scottish fiction – particularly women's fiction – and contributed the article on 'Annie S Swan and the Kailyard' to the seminal volume The History of Scottish Women's Writing edited by Douglas Gifford and Dorothy McMillan. She was an editorial assistant on Douglas Gifford's Scottish Literature in English and Scots where she contributed the article on Margaret Oliphant's 'Hester'. As a lecturer in the Faculty of Education she intends to combine her existing interests with new educational research into Scottish traditions of literacy.

Dunnigan, Sarah M. (Edinburgh)

"Mary, Queen of Scots and the Princesse of Cleves. History, Fiction, and Common Passions"

This paper seeks to analyse the representation of Mary Stewart, Queen of Scots (1428-87), in the prose fiction, La Princesse de Clèves (1678), by the French historical novelist, Madame de Lafayette (1634-93). Lafayette's novel, which radically shaped the emergent genre of the nouvelle historique, explores the political and erotic machinations at the French court a century earlier through the imaginative figure of the Princess of Clèves. The Princess's story is narratologically related through a series of interpolated, historical tales; that of Mary, Queen of Scots, in her early incarnation as the Dauphine of France, is a significant central thread. In this paper, I shall explore why the enduring symbolic power of the Scottish monarch so aptly served Mme. de Lafayette's desire to combine 'historicity', artistic invention, and psychological empathy. It argues that the novel depends on the reader's knowledge of the events of the Marian controversy in Scotland a decade earlier. The queen's consequent cultural standing as a complex and contradictory emblem of female passion, political fallibility, and religious martyrdom is a necessary 'subtext' by which to read or interpret the erotic, moral, and spiritual drama of the Princess of Clèves. Consideration of the imaginatively intertwined fates of the Scottish Queen and the French Princess allows us to understand Mary's symbolic and cultural identity in seventeenth-century France and, by extension, the fictional interpretation of Scotland, as she embodies it, in early modern Europe.

I am a lecturer in English Literature at Edinburgh University, with research interests in medieval and Renaissance Scottish literature, the ballads, and contemporary Scottish literature. I have recently published Eros and Poetry at the Courts of Mary Queen of Scots and James VI (Palgrave, 2002) and co-edited Scottish Literature (EUP, 2002) with Douglas Gifford and Alan McGillivray. I am presently completing a short monograph on traditional Scottish ballads.

Galbraith, Iain (Wiesbaden)

"Gathering Twentieth Century Scottish Poetry in German Translation: An Interim Report"

In 2000 I contributed to a volume entitled Anthologies of British Poetry – Critical Perspectives from Literary and Cultural Studies (ed. Barbara Korte et al., Amsterdam, 2000): "Written with a mind to debating certain problems encountered along the way towards a retrospective anthology of twentieth-century Scottish poetry with German translations" that piece – originally a paper addressed to a National Library of Scotland conference to mark the fifth anniversary of the Bibliography of Scottish Literature in Translation – was conceived in the spirit of a proposal weighing alternative strategies, an outline of a project still in its infancy, an invitation to those engaged in work of a similar or tangential nature to intervene in a plan for editorial practice: to lend their experience to the presentation of Scottish poetry to a German readership. The ensuing debate can be followed by turning to the pages of the journal Translation and Literature (Vol. 9, Part 2, Edinburgh University Press, 2000), where the essay was simultaneously published alongside responses from the bibliographer Paul Barnaby, the Scots language specialist John Corbett, the anthologist of Scottish literature Roderick Watson, and the Gaelic poet, anthologist and literary historian Christopher Whyte. It was clear to me from the outset that ideas – and many of those expressed by the contributors to that symposium have been formative – would not in the end be the sole factors determining the shape of the printed anthology. Economic restraint especially has come to bear on a project that may have been materially unrealistic from the outset. Notwithstanding setbacks, however, the project of gathering poetry from Scotland in English, Gaelic and Scots with facing German translations in a printed work has reached a stage of production in which its exhibitive intentions and the limits of presentation encountered in practice may be exposed to critical judgement – some translation strategies assessed, future alternatives proposed.

Iain Galbraith, born in Glasgow, raised in the village of Arrochar (Argyll), studied Languages and Comparative Literature at the universities of Cambridge, Freiburg and Mainz, where, aside from a break at Oxford University teaching German, he taught the English Language for ten years. As a poet his work has appeared in The Times Literary Supplement, New Writing Scotland, PN Review and other magazines and anthologies. He has also contributed essays, reviews and translations to a wide range of internationally respected journals, including Chicago Review, Granta, Liber, Sinn und Form, Frankfurter Allgemeine Zeitung, Schreibheft, Translation and Literature, Irish Pages, Promoteo, Études Écossaises, Theater Heute, Quadrant, and Leviathan Quarterly. Iain Galbraith has edited books by Robert Louis Stevenson, Walter Scott, James Hogg, James Boswell and Joseph Conrad, and is currently editing an anthology of 20th-century Scottish poetry in German, an anthology of recent German poetry in English, and two volumes of prose by Michael Hamburger in German translation. He has translated work by many German-language authors – Adolf Endler, Ludwig Fels, Antonio Fian, Robert Gernhardt, Peter Glaser, Peter Handke, Gerhard Köpf, Robert Schindel, Peter Weiss and Natascha Wodin among them – as well as poetry by Robert Crawford, John Burnside and Michael Hamburger into German. In 1997 he was commissioned by the director André Turnheim to translate Irvine Welsh's Trainspotting for the German stage. His drama translations have since been produced by more than a hundred theatres, including the Kammerspiele in Munich, Schaubühne in Berlin, Deutsches Schauspielhaus in Hamburg, Staatsschauspiel Dresden, the Vienna Volkstheater and the Schauspielhaus Zürich. He was the winner in 2004 of the "John Dryden Prize for Liter­ary Translation" – awarded jointly by the British Centre for Literary Translation and the British Comparative Literature Association – for his translations of poetry by the Austrian author Raoul Schrott. He lives in Wiesbaden.

Gifford, Douglas (Glasgow)

"From Saint Columba to Edwin Morgan: Making Poetry out of Scotland"

Douglas Gifford will survey the range and diversity of poets' perspectives and conceptions of Scotland as a nation over fifteen hundred years. From the earliest Gaelic and Latin poetry to the poetry of contemporary Scotland, he will trace the fascinating shifts in attitudes towards and representation of the idea of Scotland as nation, moving through eight broadly recognizable periods: from Scotland emergent in the first millenium, Renaissance and Reformation, Union of the Crowns, Union of the Parliaments, the nineteenth century, the 'Scottish Renaissance' of the twentieth, the modern period from 1945 - and the present. Not all the perspectives will be those of Scottish poets; Swift, Keats and Bob Dylan are amongst the outside views. All three languages of Scotland will be represented; Gaelic, Scots (in its range of forms) and English. Throughout the main focus will be on ideas of Scotland as nation - with affirmative and negative visions of Scotland rising and falling in response to the varying outcomes of political, social and cultural history. The discussion will be aided with a representative anthology, distributed on the occasion.

In 1985 Douglas Gifford was asked to join Scotland's separate (and the world's only) department of Scottish literature, to take over the role of his former mentor Alexander Scott. He was Head of the department from 1994 till 2001, when Alan Riach took over. In 1995 Glasgow University appointed him to the first ever Chair of Scottish Literature. He is presently Head of the School of English and Scottish Language and Literature.

His publications include editions and anthologies of the work of several Scottish writers; the studies James Hogg (1976) and Neil Gunn and Lewis Grassic Gibbon (1984); and his editing and contributions to Scottish Literature: Nineteenth Century (1988), A History of Scottish Women's Writing (with Dorothy Macmillan, 1997), The Polar Twins: Scottish History and Scottish Literature (with Ted Cowan, 2000), and Scottish Literature in English and Scots (with Dunnigan and MacGillivray, 2002).

Outside university, he is the Honorary Librarian of Walter Scott's Library in Abbotsford, one of the finest writers' library in the world, and is conducting The Abbotsford Library Research Project there, in conjunction with the Advocates Library in Edinburgh. He co-convenes (with Professor Ian Campbell of Edinburgh University) The Saltire Society's Scottish Book of the Year Award Committee. With Janice Galloway, he represents literature on the Scottish Arts Council's Creative Arts Committee; and he represents the Scottish Universities on The Scottish Qualifications Authority's English and Communications Panel. In1996 he was elected a Fellow of The Royal Society of Edinburgh.

Gillespie, Stuart (Glasgow)

"The Translation of Scottish Literature into German: Historical and Statistical Data and How to Use It"

This talk draws on the 'Bibliography of Scottish Literature in Translation' database developed over recent years (and available online through the National Library of Scotland at http://boslit.nls.uk/). This resource functions as a guide to material translated in all periods and available for study. But it could also be used as a basis for statistical analysis of historical translating activity. This discussion will sketch out some of the possibilities it offers for this purpose in relation to the history (up to the present) of translation of Scottish writing into German.

Stuart Gillespie was born into an Anglo-Scottish family in the English Midlands in 1958. He took his BA, MA, and Ph.D at Cambridge (1977-87), and was appointed to a lectureship at the University of Glasgow in 1983. He is now Reader in English Literature at Glasgow.

He was in 1992 founding editor of Translation and Literature (Edinburgh University Press), now the preeminent scholarly journal in its field, which he continues to edit. His long-term project of recent years has been as joint General Editor (with Peter France) of The Oxford History of Literary Translation in English. This five-volume, 1,500,000-word work, with contributions from some 150 scholars worldwide, will be the first history of translation into English, from the Middle Ages to the present. It commences publication in late 2005.

Harvie, Christopher (Tübingen)

"Scotland the Semi-Nation, or Where Does the Grand Narrative Go From Here?"

The paper will look at the possible models for Scotland in the postmodern or neo-modern worlds.

Christopher Harvie is Professor of British Studies at Tübingen University (cf. http://www.uni-tuebingen.de/uni/nes/harvie.htm).

Holloway, James (Scottish National Portrait Gallery)

"Strangers in Paradise: The first tourists in Scotland"

James Holloway is the Director of the Scottish National Portrait Gallery (cf. http://www.nationalgalleries.org). He has worked on Scottish art since graduating from the Courtauld Institute of Art at London University in 1971.  His major projects include the exhibitions The Discovery of Scotland and Patrons and Painters: Art in Scotland 1650-1760 and Speaking Likeness. The first examined how the appreciation of landscape is subject to changing fashion. The second explored a little known period in British art through studying the tastes and activities of six Scottish families. The third integrated archival voice recordings with the Portrait Gallery's collection. James Holloway edits the National Galleries of Scotland's series of booklets, Scottish Masters for which he has written the volumes on James Tassie, Jacob More, William Aikman and the Norie family. He publishes articles and lectures frequently on Scottish art and collections.
Outside the National Galleries, James Holloway is a member of the Curatorial and Conservation Committees of the National Trust for Scotland and serves on the committees of the Hopetoun Preservation Trust and the Paxton House Trust.

James, Annie Morgan (Cambridge)

"Femmes Fatales, Witches and Whores, and Bonnie Lassies: Representations of Scotswomen in Cinema"

A gendered identity can both transcend and transform a sense of national identity. In Scotland's case the gender differences and frictions create contrasting images of Scottishness which are evident in their cinematic representations. Although there has been much written about representations of Scotsmen in film, there has, however, been little, if anything, written about the representation of Scotswomen in cinema. They have been neglected and often marginalised by the dominant male image. They are on the fringes and belong to the 'other' in terms of women in British film. Cinematic depictions of Scotswomen draw on the ethnicity, history, and literature of this small nation; they are women who always have something to say, whether bold or timid – their forthright moral opinions challenge male dominance. In analysing representations of Scottish women in film I will explore three recurrent categories: namely, Femmes Fatales, Witches and Whores and Bonnie Lassies. With reference to such films as Macbeth (Orson Welles1948) Macbeth (Roman Polanski1971 ), Mary Queen of Scotland, (John Ford 1936),The Prime of Miss Jean Brodie (Ronald Neame 1969), The Piano (Jane Campion1993), Bonnie Prince Charlie (Alexander Korda 1948), Gregory's Girl (Bill Forsyth 1980), this paper tries to redress the balance by analysing and reflecting upon the varying but insistent Scottish female roles.

Annie Morgan James, Head of English Language Studies:

I was born and brought up in Edinburgh. I am currently Principal Lecturer and Head of English Language Studies at APU in Cambridge, where I teach both English as a Foreign Language and courses on film, such as British Filmic Identity and European Cinema and Nation. At present I am completing my PhD on Scottish identity in film, entitled Scottishness in Cinema: from the rural Highlands to the urban wastelands.

I have given the following papers and published the following articles: Myth and Reality: Filmic Images of Scotland, at XL Congrès de la Société des Anglicistes de l'Enseignement Supérieur Université d'Angers France, May, 2000. Scottish Highland Landscape in Film, Research Seminar for Arts and Letters and Languages and Social Sciences, Anglia Polytechnic University, May 23 2001. Landscaping Scotland, at 'Scotch Brit' Festival: l'Écosse Du Film Britanique at Nantes, December 2001. Landscaping Scotland, at 'Screening Identities' the 2nd Annual Conference of the European Cinema Research Forum, Aberystwyth, January 2002. James Bond: The last Man of Empire at the 4^th Annual Conference European Research Seminar, Northumbria University Newcastle, July 2004. Myth and Reality:Filmic Images of Scotland in RFCB Volume X1 Number 2; "Le Cinéma Britannique", May 2001 Postcolonial Reflections of Scottish Landscape in Cinema in European Cinema Inside Out Images of Self and Other in Post Colonial European Film, (eds.) Rikki Morgan- Tamosunas & Guido Rings Universitätsverlag Winter Heidelberg, 2003 Scottish Landscape and Identity in Representing the Rural: Place and Identity in Films about the land, (eds). Catherine Fowler & Gillian Helfield Wayne State University Press (pending).

Kendrick, Robert (Chicago)

"Gavin Douglas 'Encados' and the Refinement of Scottish Culture"

Gavin Douglas's translation of Virgil rejects the medieval translation and adaptation practices of Chaucer and Caxton in order to produce a Scottish Aeneid that adheres to the spirit of what Virgil wrote. Douglas innovates by preserving Virgil's artistic integrity in a vernacular form. Despite conservative assessments of his achievement by Priscilla Bawcutt among others, the Scottish poet sets aside medieval notions of authorship as described by Rita Copeland, A. J. Minnis, and Christopher Baswell. He does this in order to transmit the Aeneid's moral lessons to Scotland.

Douglas further innovates in the way he expands his translation's didactic function. On one level, as Lois Ebin and A. E. C. Canitz note, Douglas's prologues guide the Scottish reader's moral understanding of the ancient poem. On a more practical level, both Douglas's prologues and translation serve the Scots language itself. The Eneados extends the language's expressiveness and transmits this improved expressive capacity to the classroom and the illiterate audience hearing the work read aloud. The translator implicitly proposes a nationalist linguistic model in the contrast he establishes between Scots and "sudron", i.e., English. In choosing Scots, even though he confesses that Latin, French, and English supplement Scots' limited vocabulary, Douglas promotes his translation as both a moral guide and a means of linguistic and cultural refinement for fellow Scotsmen.

Ph. D. Program in Comparative Literature, University of Chicago, degree expected spring 2005. Dissertation: "De raptu interpretis: Translation, Imitation, and Negotiating the Ancient Past in the Italian and English Renaissances." Committee: Michael Murrin, Joshua Scodel, Armando Maggi. M.A., Comparative Literature, University of Chicago, 2002. B. A., University of Texas at Austin, 1995. Awards: Whiting Dissertation Fellowship, University of Chicago, 2003-4; University Fellowship, University of Chicago, 1997-2001.

My dissertation, "De raptu interpretis: Negotiating the Ancient Past in the Italian and English Renaissances", argues against notions of homogeneity in humanist translation practice, both in Latin and vernacular cultures. The first three chapters analyze Latin translations of the Iliad in fifteenth-century Italy, including Leonardo Bruni's, Lorenzo Valla's, Nicola della Valle's, and Angelo Poliziano's; I demonstrate that each translator's understanding of history shapes his version of Homer. At the same time, each of these translations is committed to rhetorical splendor. In the dissertation's second half, I maintain that vernacular translations and imitations of Homer and Virgil largely reject humanist rhetorical translation, despite vernacular translators' and imitators' explicit claims to the contrary. By discarding the humanist commitment to rhetoric, vernacular authors display greater sensitivity to an ancient text's meaning as a historical and, hence, changing phenomenon. In the vernacular chapters, Torquato Tasso's use of Valla's Homer in Gerusalemme liberata, the Scots poet Gavin Douglas's Eneados, and Christopher Marlowe's Dido, Queene of Carthage all exhibit unease with humanist oratorical manipulations of classical texts.

Reitemeier, Frauke (Göttingen)

"'Only to serve the Publick': Scotland as Seen Through the Eyes of Nathaniel Crouch"

Nathaniel Crouch, English bookseller, printer, compiler and writer, has received very little attention in the past years. Towards the end of the seventeenth century, however, he was a well-known and respected author, publishing profusely – if not always originally – on a great diversity of subjects. His aim was to introduce the literate but in financial and educational terms less well-off readership to the various subjects he covers. One of his first books was a collection of Scottish proverbs; later he also published on the history and geography of Scotland. In other texts he continually touched on Scotland, too. What is his interest in Scotland? What image does he present to his readers? Earlier English texts often contain a multitude of errors and prejudices. Does Crouch use English, or Scottish sources, or both, and how does he deal with them? I propose to analyse Crouch's texts on Scotland with these and similiar questions in mind, focussing on controversial episodes in Anglo-Scottish history (e.g. Wars of Independence, Mary Queen of Scots), and by contrasting the results with the more descriptive passages. Time permitting, I intend to relate my findings to the images and techniques other 'popularisers' of the time present to their readership.

Frauke Reitemeier works in the English Department of the Georg-August-Universität Göttingen. Post-doctoral thesis (in progress): "Terra incognita? Zur Entwicklung des Schottlandbildes in der englischsprachigen Literatur zwischen dem späten 15. und dem frühen 19. Jahrhundert" (Arbeitstitel). Ph.D. thesis "Englisch-deutsche Beziehungen: Der historische Roman Sir Walter Scotts und seine deutschen Vorläufer" (published in 2001).

Reizbaum, Marilyn (Brunswick, ME)

"Mary, Medea, and the tropical deconstruction of nationalism in contemporary Scotland"

This essay considers a prominent trope of national configuration in Scotland, the queen, through a contemporary literary address—Liz Lochhead’s recent translation and Theatre Babel’s production of Medea. In doing so, it seeks to locate the current discussions of devolutionary Scottish nationhood within an historical undercurrent of debate regarding gender and the nation.

Marilyn Reizbaum is Professor of English at Bowdoin College. (Cf. http://academic.bowdoin.edu/faculty/M/mreizbau/) She is a modernist who has written extensively on James Joyce, including James Joyce’s Judaic Other and Ulysses— En-gendered Perpsectives: Eighteen New Essays on the Episodes, coedited with Kimberly Devlin. She writes comparatively on contemporary Scotland and Ireland, for example, in such essays as “Canonical Double-Cross: Scottish and Irish Women’s Writing,” and the forthcoming “Gender and Nationalism in Scotland and Ireland: Making and Breaking the Waves,” from which her paper is excerpted. She is currently completing a book manuscript on degenerationism, and is residing in Berlin, where she is researching Magnus Hirschfeld. She has had visiting lectureships in Mainz (2000) as well as Tel Aviv University.

Rieuwerts, Sigrid (Mainz)

"'We are all becoming Scottish again': Sir Walter Scott's Minstrelsy of the Scottish Borders"

When the first volume of The Minstrelsy of the Scottish Borders was published in February 1802, it started a new debate on Scotland and the union. In his conversation with John Leyden, Archibald Constable summed up the work's reception in Edinburgh: "We are all becoming Scotish again, Sir; Scotish poems, Scotish history, Scotish antiquities - every thing is Scotish, Sir; we may overhaul the Union itself, some of these days ..." The Minstrely was not intended to "overhaul the Union itself" but in publishing from oral traditions, the Scottish manners and characters that are "daily melting and dissolving into those of her sister and ally", Scott nevertheless asked pointed questions about the Union and Scotland's role in it.

Drawing on rare and unpublished material, this paper will examine the (re)construction of Scottishness in Scott's Minstrelsy of the Scottish Borders.

Schaff, Barbara (München)

"The Invention of Heroic Scotland in Early 19^th Century Literature"

The Scottish Tourist Board has recently launched a marketing campaign in Germany which depicts grand highland scenes and reads: "Schottland. Da sieht die Welt schon anders aus." This image of Scotland as England's imaginary Other, as an archaic, heroic and predominantly masculine space, is a well-known, stereotypical label.

In my paper, I will trace the development of this myth of heroic Scotland from its early literary beginnings until today and show how it was generated in a nationalist literary discourse in the early 19^th century, and how it is still dominant in contemporary heritage films such as Rob Roy or Braveheart. Around 1800, Scotland was undergoing a thorough structural, social and economic change. A newly emerging sense of Britishness was then cut across by literary efforts to establish an image of Scotland as anti-English, anti-industrial and masculinist. Scott, Baillie, Byron and others framed Scottish history as a tradition of courageous rebellions against England, which worked against the dissolution of national identity. The image of a heroic Scotland was based on the homosocial clan culture of the Highlands, and on the conept of the Highlands as a space which resists domestication as well as a stage where heroes fight: In romantic Scottish literature, the Highlands serve as a metonymy for heroic Scottish masculinity. The Scottish highlands and clans are represented as an imaginary space for homosocial bonding and male rebellion, thus threatening Britain's political, social and gender order.

Texts: Joanna Baillie, Metrical Legends; George Gordon Lord Byron, "Lachin Y Gair"; Anne Grant, Letters from the Mountains, being the real Correspondence of a Lady between the Years 1773 and 1803; Sir Walter Scott, Waverley; or. ‚Tis Sixty Years Since.

Barbara Schaff studied English and Russian Literature at the Universities of Munich and Edinburgh. She took her PhD on contemporary English bio-plays at Passau University in 1990. From 1992 to 1996, she held a PostDoc position at the "Graduiertenkolleg" for Gender Studies in Munich. Since 1997 she has taught at Munich and Tübingen Universities. In 2002 she took her post-doctoral dissertation on "War, Gender and Memory. The First World War in British Cultural Memory". She has co-edited books on Authorship, English Fantasies of Venice and Bi-textuality, and published on travel literature, war literature, fakes and forgeries, and female authorship.

Schwab, Sandra Martina (Mainz)

"The Romantic Wilderness: Scotland in American Popular Romance Since the 1990s"

In 2002 romance fiction comprised one third of all popular fiction sold in the U.S.A. Furthermore, a reader survey showed that more than half of the romance readers in America were interested in novels set in Scotland. This interest is reflected by the high number of Scottish romances which have been published since the early 1990s, and can be regarded as a result of the success of Diana Gabaldon's Outlander-series (1991ff). Yet while in the early 1990s readers favoured historicals set during the Jacobite Risings, the trend has now shifted towards paranormals (e.g., Karen Marie Moning's The Immortal Highlander, 2004) and funny contemporaries with a Scottish setting (e.g., Katie MacAlister's Men in Kilts, 2003). Still, most Scottish romance novels share similarities in the depiction of the country and its people. On the basis of three aspects of Scottish romance – history, setting, and male protagonist –, my paper will explore how these novels use a specific form of landscape and specific features of Scottish culture (e.g., the kilt) in order to construct Scotland as a romantic wilderness, and how this wildness of place and man in turn enhances important aspects of the typical romance novel.

Sandra Martina Schwab teaches English literature at Mainz University and is currently working on her PhD thesis, "Of Dragons, Knights, and Virgin Maidens – Dragonslaying and Gender Roles from Richard Johnson to Modern Popular Fiction." Her fields of special interest include folk literature and popular literature (in particular fantasy and romance) as well as culture and society in the Regency. Recently, she wrote entries for The Encyclopedia of Themes in Science Fiction and Fantasy, ed. Gary Westfahl, and an article for the anthology Beyond Arthurian Romances and Gothic Thrillers: The Reach of Victorian Medievalism, ed. Loretta Holloway and Jennifer Palmgren. At this year's Romance Writers of America national conference in Dallas, she gave a paper on "Death, Mourning, and Femininity in 19th-Century Britain".

Stein, Thomas M. (Mainz)

"The Politics of Cityscape: William McIlvanney's Laidlaw Trilogy"

Research on McIlvanney's "Laidlaw Trilogy" (Laidlaw [1977]; The Papers of Tony Veitch [1983]; Strange Loyalities [1991]) focuses almost exclusively on two issues: "existentialism" (Martin Priestman, Gustav Klaus, Beth Dickson) and "the culture of the working-class" (Simon Dentrith, Jürgen Neubauer) or on what Dickson calls "the debate between socialism and existentialism which characterises McIlvanney's fiction". I propose to concentrate on the cityscape of Glasgow and will argue that a full comprehension of the "Laidlaw Trilogy" needs to pay specific attention to Glasgow's topography. Only through a combined appreciation of 'existentialism', working-class culture and the physical geography of Glasgow does a valid and comprehensive estimation of McIlvanney's achievement emerge.

McIlvanney's detective novels have been, rightly so, compared with Raymond Chandler's "hard-boiled" crime fiction. However, a thorough investigation of this important textual and figural relationship (Marlowe-Laidlaw) is still missing. I will include research on the cityscape in American crime fiction (Ralph Willett, Woody Haut, Hans Bertens and Theo D'haen) to argue that both Marlowe and Laidlaw "go down these mean streets" ("The Simple Art of Murder") to investigate the violent underbelly of their respective societies. What will turn out to be a specific issue of McIlvanney's fiction is that Glasgow features not merely as the space where Scottish culture and politics are negotiated by the "existentialist sleuth" (Klaus). Rather, McIlvanney posits Glasgow as an empowered agent (Glasgow is said to suffer a 'contemporary identity crisis' in The Papers of Tony Veitch [115]) essentially contributing to the solving of crime. Glasgow, then, emerges as the site where dystopian and utopian concepts of urbanity clash. It is in Glasgow's urban jungle ("urban deprivation"; "a nightmare vision"; "decaying industrialism"), in a contemporary version of Eliot's The Waste Land that Laidlaw, "with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness" (Chandler), seeks to come to terms with his torn identity. Only by investigating the cityscape, by confronting what McIlvanney calls "the Scottish urban experience", does Laidlaw survive. Glasgow's cityscape and Laidlaw's psyche form a symbiosis. Thus, a semiotic reading of the city will reveal both Laidlaw's and McIlvanney's vision of Scottishness.

Thomas Michael Stein is Professor of English Literature at Johannes Gutenberg-Universität Mainz. His publications include books on Jacobean Drama and on Patrick White. His recent research addresses contemporary British fiction (articles on Martin Amis, Graham Greene, Fay Weldon), crime and spy fiction (John le Carré, Amanda Cross, Walter Mosley and Dorothy L. Sayers), postcolonial writing (Wilson Harris, David Ireland, Elizabeth Jolley, George Lamming) and colonial discourse (Thomas Middleton).

Walker, Ron (Germersheim)

"With a Hankering to Make Ourselves Gods: Human and Social Nature In Conflict In The Works Of John Galt"

The convincing power of John Galt's characterisations, particularly, but not exclusively, of his first-person narrators is well known. From the beginning, his creations convinced as individuals and William Blackwood's mother was unlikely to have been alone in being taken in by the subtle, foible-laden and very human nature of Micah Balwhidder. Along with this concern to represent the individual, Galt displays an equal desire to comprehensively portray the mechanisms and effects of social change.

Ian Campbell has noted the tendency towards "order and regulation" in an author, who, after all, was both political idealist and active town planner, and Galt's career provides plenty of evidence of his faith in the power of commerce to serve and sustain the material progress of society. Yet, less concerned than Scott was with exemplifying and encouraging social progress, Galt focused on the psychological, sociological and anthropological issues implicit in societal coexistence. His interest is very often directed towards the fate of the individual, or towards highlighting the tension between the constants of human nature – its vices, virtues and follies – and life in a society still too much dominated by the proscriptive, systematising and generalising ethos of Enlightenment theory. Galt is at his most subtle and ironic when exploring this gap between actual human reality and the mechanistic and systematising tendencies of modern society and social theory.

Galt's characters are, then, individuals, but they are also social beings, products of their environment and of the forces impinging on their lives at a period when, as Scott put it, "no European nation . . . had undergone so complete a change as this kingdom of Scotland". The protagonists' attempts to understand, interpret, justify events are revealing of more than just their own comic inadequacy, and show their creator to be a man whose awareness of the interconnectedness of things seriously undermines any notion of an invisible hand of progress.

Among other things, my paper will explore how Galt's use of a texture of subtly shifting interrelationships creates a kind of relativity of surfaces, often confounding system in favour of the individual.

Ron Walker is a native Scot from Dundee. He has lived in Germany since 1990 where he works as a part-time lecturer at the Faculty of Applied Linguistics and Cultural Studies of the University of Mainz (Germersheim campus). From 1998-2003 he also taught at the University of Kaiserslautern. Graduating from the University of Stirling in 1984, he went on to take a MSc. in Scottish Literature at Edinburgh University from 1997-98. In 1990, he won the 'University of Edinburgh Walter Scott Essay Prize'. Free-lance copy-editing and translation work helps to keep the wolf on the right side of the doorstep.

For information on Germersheim, its location, how to get there, and about hotels, cf.
http://www.staedte-verlag.de/stadtplaene/stadt-stadtseite.php4?plz=76726
http://www.germersheim.de/tourismus/
http://www.germersheim.de/tourismus/hotels.phtml.

In case the links to the hotels on the above 'tourism/hotels' page do not work, try these as an alternative:

http://www.hotel-germersheimer-hof.de/
http://www.hotel-kurfuerst-germersheim.de/
http://www.ausgehen-in-germersheim.de/Partnerseiten/Hotel Post.htm
http://www.ausgehen-in-germersheim.de/Partnerseiten/Da_Michele.htm

Germersheim is located between Ludwigshafen and Karlsruhe. You can get there by train (via Ludwigshafen and Speyer, in case you come from the north (e.g. from Frankfurt), or via Karlsruhe from the south (from Stuttgart or Baden-Baden), or by car.

The nearest airports are
Frankfurt: http://www.frankfurt-airport.de/
Stuttgart: http://www.flughafen-stuttgart.de and (especially)
Baden-Baden: http://www.badenairpark.de/

Edited, and updated by L. Görke
Latest Update: 15 February, 2005

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