Dr. Ada Bieber

Profil

Zusammenfassung

Dr. Ada Bieber erforscht Kinder- und Jugendliteratur sowie Film unter historischen und kulturellen Perspektiven. Ihr Schwerpunkt liegt auf der Analyse, wie Literatur und Medien für junge Menschen gesellschaftliche Themen wie Multikulturalismus, politische Ideologie, Kindheit und historische Traumata vermitteln und prägen – mit besonderem Fokus auf deutschsprachige und internationale Kontexte vom 20. Jahrhundert bis heute.

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Name

Dr. Ada Bieber

Titel

Dr.

Fakultät

Sprach- und literaturwissenschaftliche Fakultät

Institut

Institut für deutsche Literatur

Arbeitsgruppe

Neuere deutsche Literatur vom 18. Jahrhundert bis zur Gegenwart / Theorien und Methoden der literaturwissenschaftlichen Geschlechterforschung

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28.6.2026, 01:03:11

• 100 Jahre James Krüss: Narrative und Perspektivierungen zu Werk und Autor im Kontext von Geschichte, Sprache und den Künsten

  Quelle ↗

  Förderer: Fritz Thyssen Stiftung Zeitraum: 03/2026 - 11/2026 Projektleitung: Dr. Ada Bieber

• 100 JAHRE JAMES KRÜSS: NARRATIVE UND PERSPEKTIVIERUNGEN ZU WERK UND AUTOR IM KONTEXT VON GESCHICHTE, SPRACHE UND DEN KÜNSTEN

  Quelle ↗

  Zeitraum: 03/2026 - 11/2026 Projektleitung: Dr. Ada Bieber

• 100 JAHRE JAMES KRÜSS: NARRATIVE UND PERSPEKTIVIERUNGEN ZU WERK UND AUTOR IM KONTEXT VON GESCHICHTE, SPRACHE UND DEN KÜNSTEN

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  Förderer: Andere inländische Stiftungen Zeitraum: 03/2026 - 11/2026 Projektleitung: Dr. Ada Bieber

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• Who Is Welcome?: Images of Multiculturalism in German Picture Books Since 1989

  2022

  ˜The œLion and the unicorn · 3 Zitationen · DOI

  Who Is Welcome?:Images of Multiculturalism in German Picture Books Since 1989 Philip Nel (bio) and Ada Bieber (bio) 1. Introduction and Methodology Across the globe, racist nationalism threatens multicultural democracies. As many educators do, we wonder how multicultural children's literature might better counter these hatreds, nurturing curiosity about and respect for difference. Since racism is a global problem, we explore this question by considering what various visions of multiculturalism can learn from one another. We focus on the medium of literature read by the youngest children—the picture book—because antiracism, the foundation of successful multicultural education, must begin in early childhood. Contrary to the oft-repeated claim that children "Do not see color" or "Do not see race," children as young as six months already know what skin color they have (Katz and Kofkin 55), and children as young as two and three already know what advantages being White in a multicultural society confers (Wekker 166; Van Ausdale and Feagin 1–2; Hirschfeld). Because they reach especially impressionable readers, books for the youngest can be powerful refutations or endorsements of racist ideas. Though "multiculturalism" can include a wide range of identities, we use the term to indicate national, racial, and cultural identities—and any intersections thereof. We limit ourselves in this way because (though its use has expanded) this particular usage has the longest history, dating back to multiculturalism's origins in Everett V. Stonequist's "The Problem of the Marginal Man," which—as Debra Dudek notes—identifies "key issues that continue to inform debates about multiculturalism, in particular the [End Page 1] marginalization and prejudice that can occur when different cultural groups live in proximity to one another" (126). Limiting the term in this way allows us to define more clearly our data set of post-1989 multicultural German picture books. Because race, culture, nationality, and all the vectors of identity are embodied experiences, and because our embodied selves shape what we understand and misunderstand, we want to make explicit our potential strengths and deficits. So, here is a brief introduction to this essay's co-authors. Phil: As a White, cisgendered, heterosexual, American male, I arrive in this conversation with many deficits, but let me focus on two. First, I lack the lived experience of any minoritized group; the unearned privileges that I quite literally embody curtail my awareness of others' oppression. Or, to put that another way, the oppressive structures that enable me to flourish are also largely invisible to me. Second, though I have German-speaking family members and ancestry, I am not German. I only began studying the language in 2018. I am and will always be an outsider to German culture. Ada: I am a White mother of a young daughter, who is a Person of Color and German. As a White person I have always had various privileges in society, including seeing my culture, and to a large extent, a version of 'me' represented in German picture books or other literature available in Germany. That is not the case for my daughter. I wonder whether she will have that privilege in the future, and I want her to see herself represented in literature available to her during her childhood—not only at home but in bookstores, libraries, and schools. Therefore, I am more aware of the work that needs to be done by artists, writers, publishers, and educators in Germany. Yet, as a White mother and scholar, I recognize how my experience limits my perspective and my understanding. We focus on German picture books because, in 2016, the election of Trump along with Great Britain's exit from the European Union prompted many to proclaim Chancellor Merkel as "the leader of the free world" (Noack; Rubin; Moore). Germany's widely recognized efforts to come to terms with the Holocaust, and Merkel's welcoming of refugees (2014–16) inspired people to look to Germany as a model multicultural democracy, as the U.S. White-supremacist president implemented a series of racist policies. However, the stories of U.S. and German multiculturalism are far more complicated than that narrative suggests. To better understand these complexities, our essay places each country's version...

• Voices from the Interior: Reimagining Childhood under Janusz Korczak's Care

  2018

  ˜The œLion and the unicorn · 3 Zitationen · DOI

  Voices from the Interior:Reimagining Childhood under Janusz Korczak's Care Ada Bieber (bio) "Without this house, I would never have known that there are honest people in the world, and that one can speak the truth. I wouldn't have known, there are fair laws possible in this world." (Miss Esther's Final Performance 33) Janusz Korczak was a famous doctor and director of his Jewish orphanage in Warsaw. He dedicated his life to the children in his care before and during the Nazi occupation, and died by the side of about 200 children in the Treblinka concentration camp in 1942. As Daniel Feldman1 notes, Korczak's writing "survived him and directly influenced the genesis of the United Nations Convention on Rights of the Child (UNCRC)" (29). Korczak is also associated with "the modern children's rights movement" (129) and the idea that children possess "rights of civic participation" (129). In his orphanage for Jewish children in Warsaw, Korczak redefined childhood in order to make it a democratic and a self-determined stage of life, particularly after the orphanage was forced into the Warsaw Ghetto, where life was hardly bearable.2 Today we know about Korczak's work from historical documents as well as from his essays, radio programs, and books. Consequently, his story has often led to biographical narratives presenting him as an important figure in Jewish and Polish history on the basis of his writing and historical material. However, the traditional perception of Korczak's legacy is challenged by the contemporary picture books by Iwona Chmielewka, as well as by Gabriela Cichowska (illustrator) and Adam Jaromir (author), as those picture books tell Korczak's story through the eyes of children. Despite Korczak's importance in children's literature, the children under his care [End Page 321] are less present in literature and in the collective memory. Reimagined child narrators are often avoided in books about Korczak, and "individual children are seldom named in Korczak's youth biographies," as Feldman points out (134). One of the reasons may originate in the concern about whether to produce "fiction after Auschwitz," which led to a tendency to draw on historical reports by survivors rather than reimagining lives of juvenile victims. Walter and March note that this tendency stems from the question of whether "imaginative works about the Holocaust, as opposed to factual texts such as autobiographies or histories, will somehow subvert the truth of what actually happened" (39). Although many different fictional accounts have been published, narratives keep a documentary approach, and closely stick with historical details. However, with respect to the children under Korczak's care, a clearly fact-based memory of the individual children is not easy, as many of them died in Treblinka, and as orphans, most had no family who would later remember their individual fates. There are only a few survivors among all of Korczak's children who could later report on their childhoods within Korczak's house (Zieve 6). As for the rare memories, the children may have often been overlooked as important actors within Korczak's story, and thus, reduced to silent beneficiaries in fiction and scholarship. I want to shift perspectives by focusing on visual narratives of Korczak's children as main figures in the contemporary Polish picture book Blumka's Diary: About Life in Janusz Korczak's Orphanage (2011) and the German-Polish picture book Miss Esther's Final Performance: A Story from the Warsaw Ghetto (2013),3 which both put at center stage the children's lives under Korczak's influence. Blumka's Diary, written and illustrated by Iwona Chmilewska, is addressed to early and middle-grade readers, narrated through a child's diary. The story in Miss Esther's Final Performance: A Story from the Warsaw Ghetto by Adam Jaromir and illustrator Gabriela Cichowska may address more advanced readers by extending the normal length of a picture book into a longer narration. For both picture books, I argue that focalizing through juvenile first-person narrators highlights the interior perspectives of the children, as they might have experienced living under Korczak's care and being guided by his pedagogical beliefs. Reimagining those childhoods from children's point of view...

• The Authority of Wax: The Child Flâneur in East German Cinema

  2021

  Children's literature · 1 Zitationen · DOI

  The article examines cinematic portrayals of child flâneurs in behind the Iron Curtain in East German cinema for youth (DEFA). While early films captured the utopia of the socialistic metropolis of Berlin, later films of the 1970s and 1980s reveal youth without prospects, living under restriction in East Germany. East German cinema for youth mirrors tensions between the ideal of socialism and the reality of a failing system, such as in Heiner Carow's <i>Sheriff Teddy</i> (1957), <i>Ikarus</i> (1975), and Dzuiba's <i>Sabine Kleist, 7 Jahre (Sabine Kleist, 7 Years</i>, 1982).

• Internationale Jugendbibliothek München

  100 Jahre James Krüss: Narrative und Perspektivierungen zu Werk und Autor im Kontext von Geschichte, Sprache und den Künsten

  other

• Ludwig-Maximilians-Universität München

  100 Jahre James Krüss: Narrative und Perspektivierungen zu Werk und Autor im Kontext von Geschichte, Sprache und den Künsten

  university