Department of German
Parent: UC Berkeley
eScholarship stats: Breakdown by Item for May through August, 2026
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 06t7z88k | “The Welser Phantom”: Apparitions of the Welser Venezuela Colony in Nineteenth- and Twentieth-Century German Cultural Memory | 1,003 | 138 | 865 | 13.8% |
| 4ht6w6zv | The Madonna in the Fur Coat | 669 | 173 | 496 | 25.9% |
| 1hh9d5h5 | Translingual Encounters: Freedom, Civic Virtue, and the Social Organism in Liang Qichao's Reading of Kant | 536 | 378 | 158 | 70.5% |
| 28x3x9r0 | Criss-Crossing in Global Space and Time: Fatih Akın’s <em>The Edge of Heaven</em> (2007) | 452 | 73 | 379 | 16.2% |
| 7bz7881d | Catalog of Everything | 422 | 42 | 380 | 10.0% |
| 9h79g172 | The Multilingual Experience: Insights from Language Memoirs | 402 | 175 | 227 | 43.5% |
| 7nm7g8vt | Good-bye, Germany! | 384 | 123 | 261 | 32.0% |
| 237303vn | Cohesion Without Coherence: Artificial Intelligence and Narrative Form | 378 | 194 | 184 | 51.3% |
| 1wq90314 | The Fourth Memory | 365 | 136 | 229 | 37.3% |
| 3r61h87r | The Province Always Rings Twice: Christian Petzold’s Heimatfilm noir <em>Jerichow</em> | 330 | 153 | 177 | 46.4% |
| 8z157865 | Gramática da Língua Neerlandesa, a língua dos holandeses e dos flamengos | 327 | 60 | 267 | 18.3% |
| 4fr0n8bw | Ming Wong’s Imitations | 323 | 204 | 119 | 63.2% |
| 4g25t3hw | World Conspiracy Literature and Antisemitism | 317 | 100 | 217 | 31.5% |
| 41w329g3 | <em>DaZ</em>—<em>Deutsch als Zweitsprache</em> and the Politics of Silence | 308 | 105 | 203 | 34.1% |
| 9vv4c23p | Bilingual Signs in Carinthia: International Treaties, the <em>Ortstafelstreit</em> , and the Spaces of German | 305 | 77 | 228 | 25.2% |
| 0fq2m874 | Countermemory and the (Turkish-)German Theatrical Archive: Reading the Documentary Remains of Emine Sevgi Özdamar’s Karagöz in Alamania (1986) | 297 | 78 | 219 | 26.3% |
| 2qs5b2f3 | Remediating Fassbinder in Video Installations by Ming Wong and Branwen Okpako | 285 | 84 | 201 | 29.5% |
| 1nd8r83v | The Courtyard in the Mirror | 282 | 58 | 224 | 20.6% |
| 9sh6n99m | When Texts Travel: Edward Dmytryk’s The Blue Angel (1959) Remake | 280 | 54 | 226 | 19.3% |
| 0s5217j0 | Translation Terminable and Interminable: Psychoanalysis Between Vienna and Calcutta | 276 | 87 | 189 | 31.5% |
| 8jp4268s | Memory Meetings: Semra Ertan’s Ausländer and the Practice of the Migrant Archive | 276 | 96 | 180 | 34.8% |
| 5sg5r8ms | Stefan Zweig's Fear of Postcolonialism | 275 | 56 | 219 | 20.4% |
| 6rs845mn | Spoofing Herzog and Herzog Spoofing | 266 | 155 | 111 | 58.3% |
| 8pg5p41w | The Digital Archive of Diaspora: Blogging (Post)Migration | 266 | 71 | 195 | 26.7% |
| 6kx510p3 | "Biohaus": The Bauhaus and the Biopolitics of Global Space | 246 | 101 | 145 | 41.1% |
| 9pf4z6vx | Merkel the German “Empress Dowager”? Reactions to the Syrian Refugee Crisis in China and other East Asian Countries | 246 | 106 | 140 | 43.1% |
| 2d14m6cp | Der Körper als experimenteller Ort der Extreme in Terézia Moras <em>Der einzige Mann auf dem Kontinent</em> | 245 | 66 | 179 | 26.9% |
| 0g88k3hr | "Almanya: A [Different] Future is Possible” Defying Narratives of Return in Fatma Aydemir's Ellbogen | 243 | 90 | 153 | 37.0% |
| 4rs3335n | Istanbul Next Wave and Other Turkish Art Exhibits: From Governance of Culture to Governance through Culture | 243 | 148 | 95 | 60.9% |
| 2p76v205 | Thinking Sexuality Differently: Hartmann von Aue, Michel Foucault, and the Uses of the Past | 241 | 63 | 178 | 26.1% |
| 72n41932 | German in Transit | 241 | 94 | 147 | 39.0% |
| 23t4g25g | Encounters on a Street Corner: <em>Sommer vorm Balkon</em> and the Return of the Berlin Film | 240 | 65 | 175 | 27.1% |
| 7b1182cz | Visible | 240 | 121 | 119 | 50.4% |
| 7q04w665 | Translating Surfaces: A Dual Critique of Modernity in Sabahattin Ali’s Kürk Mantolu Madonna | 240 | 108 | 132 | 45.0% |
| 97j2t1q1 | From Colonial to Neoliberal Times: German Agents of Tourism Development and Business in Diani, Kenya | 240 | 74 | 166 | 30.8% |
| 2t99f3ck | Escaping the Hamster Wheel: Creative Remembrance in Traveling Archives | 237 | 110 | 127 | 46.4% |
| 2g76q227 | Counterarchives, Appropriation and the Disobedient Gaze: Archival Structures in Ursula Biemann’s Contained Mobility and Charles Heller’s & Lorenzo Pezzani’s Death by Rescue | 235 | 126 | 109 | 53.6% |
| 2kd19619 | Archival Dispersals: Literary Magazines as Mobile and Fragmentary Archives | 234 | 75 | 159 | 32.1% |
| 22t314v5 | Re-Enacting the Holocaust in Maryan’s <em>Ecce Homo</em> (1975) | 232 | 63 | 169 | 27.2% |
| 51t4z80h | Displacement vs. Mobility; or, Who Owns the World: An Aesthetic Inquiry into Infrastructure, Common Possession, and Violence in Karim Aïnouz’s Documentary Film Central Airport THF (2017) | 230 | 81 | 149 | 35.2% |
| 9vv631q8 | Dejima and Huis Ten Bosch – Two Dutch Cities in Japan | 230 | 97 | 133 | 42.2% |
| 44s393tx | Introduction: Reexamining Turkish German Archive(s) | 228 | 46 | 182 | 20.2% |
| 3f08h6rr | “With whose blood were my eyes crafted?” Critical Concepts of Seeing, Knowing, and Remembering in Philip Scheffner’s and Merle Kröger’s Havarie (2016) | 226 | 75 | 151 | 33.2% |
| 40c0p443 | Towards a European Postmigrant Aesthetics: Christian Petzold's Transit (2018), Phoenix (2014), and Jerichow (2008) | 226 | 104 | 122 | 46.0% |
| 39j1t7dk | The Figure of the Exiled Writer in Comparison: Intertextuality in Lion Feuchtwanger's Exil (1940) and Abbas Khider's Der falsche Inder (2008) | 225 | 85 | 140 | 37.8% |
| 1fr6s5pw | At Home, Together: KUNSTASYL at the Museum of European Cultures | 224 | 66 | 158 | 29.5% |
| 7xh9710d | The New Diversity and the New Public: Impressions of dOCUMENTA (13) | 223 | 109 | 114 | 48.9% |
| 69d0g81v | Digital Humanities as Translation: Visualizing Franz Rosenzweig’s Archive | 222 | 116 | 106 | 52.3% |
| 52d3b5z5 | Letting the System Completely Absorb Me Would Be So Much Easier | 220 | 80 | 140 | 36.4% |
| 7dx4811v | Hardboiled Performance and Affective Intimacy: Remediations of Racism in the Cenk Batu Tatorte | 220 | 75 | 145 | 34.1% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.