Where have all the linguists gone? The position of Linguistics in British German Studies from the mid-19th century until 2000

Retrospectively, Linguistics - understood as a scientific study of language - has been an important part of British German Studies. In fact, the establishment of modern language as academic disciplines in the UK is closely related to the Germanic philology and the interest in the history, and structure of languages. However, over the last few decades, a demise of Linguistics in the departments of modern languages has been observed. The aim of this paper is to survey the position of linguistic research and teaching in the discipline of German Studies in the UK. To begin with, I will give a brief account of the history of linguistic/ language studies in the discipline. Subsequently, the current position of Linguistics in research and teaching will be scrutinised. Finally, this paper will discuss the importance of linguistic insights for the discipline of German Studies, with particular reference to teaching.

Negotiating the British landscape

According to many accounts, a key paradigm for understanding art in Post WWII Britain is one of Englishness versus internationalism or abstraction versus realism . These terms have a rich inflection of meanings that have been subject to interrogation over the last few decades. Anwar Shemza came to Britain and practiced his art at a time when these competing claims were at their height. In a postcolonial reading entitled “Black Diaspora Artists in Britain: Three ‘Moments’ in Post-War Britain” Stuart Hall recently used David Scott’s framework of a ‘problem space’, that is discursively defined through questions, tensions and conjunctures, that couched the entry of what he describes as first waive British commonwealth artists into critical visibility in Britain. This can be characterized in part by the reviews of WG Archer and GM Butcher, both supporters of Shemza and prominent critics of the period. Hall includes Shemza in this framework that defines the work and his aspirations as constituted through the tensions of what was perceived to be anti-colonialist aims of modernism through universalism and the ‘nativist’ current in anti-colonial nationalism . This text will focus particularly on the problematic of Landscape as a ‘problem space’ of vernacular and modernism, over here and over there. The aim is not to define Shemza within the tradition of English landscape nor to exclude him but to position him within a discursive field of landscape and modernism in mid twentieth Century art.