Degree Requirements

The M.A. in German consists of a minimum of 32 credits.  Three options are available:

Plan A

  • 24 credits in coursework
  • 8 thesis credits
  • oral examination

Plan B

  • 29 credits in coursework
  • 3 essay credits
  • oral examination
  • Plan C
  • minimum 32 credits in coursework
  • 3 written examinations
  • oral examination

For all Plans, the Graduate School requires a minimum of 6 credits at the 7000 level or above. Students must also complete German 6100 (Critical Approaches to German Studies) for a minimum of 3 credits.

Advisor for M.A. in German

Professor Anne Rothe
453 Manoogian Hall

How to make an appointment: Email me

How to apply: Visit our Graduate Admissions page.

About M.A. Essays and Theses

The M.A. Essay in German is expected to be 30 pages in length.

The M.A. Thesis in German is expected to be 50 pages in length.


Congratulations to our recent M.A. students:

David Kraus (2015): “More than Hunger: Queer Survival in Herta Müller’s Atemschaukel” (directed by Lisa Hock). Currrently pursuing a Ph.D. in German and teaching Beginning-German and Gender-Studies Courses at WSU.

Asili Mugei Deeb (2015): "It Takes a Village: The Importance of Community Building For Afro-Germans in Branwen Okpako’s Dreckfresser and Tal der Ahnungslosen" (directed by Lisa Hock). Currently teaching private German lessons in the Detroit metropolitan area, including for the Detroit Opera, and at a local high school.

Stacey Connors (2013): “Gedächtnis und hypothesiertes Gedächtnis in Günter Grass’ Unkenrufe" (directed by Lisa Hock). Currently working as a translator for Volkswagen.

Corrina Peet (2011), "The Search for Jewish Identity in Jakob Hein's Memoir Vielleicht ist es sogar schön" (directed by Anne Rothe). Currently pursuing a Ph.D. in German at WSU.

Melissa Elliot (2011), Master Essay directed by Alfred L. Cobbs. Currently pursuing a Ph.D. in German at MSU.



Past Essay and Thesis topics have included:

  • Holocaust Studies
    • Constructing German Victimhood in Bernhard Schlink’s Der Vorleser (directed by Anne Rothe)
    • Holocaust Studies, Victim Culture, and Binjamin Wilkomirsk’s Holocaust Invention Story Bruchstücke (directed by Anne Rothe)
    • Die Amerikanische Rezeption von Ruth Klüger’s Holocaust Memoir weiter leben (directed by Anne Rothe)
  • Film Studies
    • Modern Magic: The Spectacle of Blurring Magic and Technology in Films of the Weimar Era (directed by Mark Ferguson)
    • The World of Gay Cinema in the Weimar Republic: Three Representative Films (directed by Mark Ferguson)
    • The Weimar Street Film: A Comparison Analysis of Karl Grune’s Die Strasse (1923) and Joe May’s Asphalt (1929)  (directed by Mark Ferguson)
    • Tom Tykwer’s Postmodern Run: Reconfiguring Chance in the City of Change (directed by Mark Ferguson)
  • Interdisciplinary Studies
    • The Cultural Challenge of Economic Integration after German Unification (directed by Mark Ferguson)
    • Weaving the Truth: The Reality of Bauhaus Ideals and their Impact on Bauhaus Women (directed by Mark Ferguson)
  • Literary Studies
    • Frank Wedekind's Spring Awakening and its Twenty-First-Century Reception on Broadway (directed by Lisa Hock) 
    • “Man muss stark sein, denn Genuss macht schwach” – A Study of Character in the 1918 and 1926 Versions of Brecht’s Baal (directed by Mark Ferguson)
  • Fairy Tale Studies
    • The Evolution of Fairy Tales: A Comparison of Contemporary and Classic Versions of "Little Red Riding Hood," "Hansel and Gretel," and "Cinderella" (directed by Donald Haase)
    • The Celluloid Storyteller: Walt Disney and the Adaptation of the European Fairy Tale (directed by Donald Haase)
    • Now and Then: Gender Issues in Fairy Tales (directed by Donald Haase)
    • The Powerful Triangle of Food, Desire, and the Female in Grimms’ Tales (directed by Donald Haase)
    • German Fairy Tales Written in Exile (directed by Donald Haase)
    • The City, Industry, and Consumerism in Romantic Fairy Tales of Novalis, E. T. A. Hoffmann, and Ludwig Tieck (directed by Donald Haase)
    • The Incest Motif in Ludwig Tieck’s Der blonde Eckbert (directed by Donald Haase)


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