PhD students 3rd cohort

Tabea Lamberti, M.A.

Tabea Lamberti, M.A.
Friedrich-Schiller-Universität Jena
DFG-Graduiertenkolleg „Modell Romantik“
Bachstraße 18k | R. 105
07743 Jena
+49 3641 944-187

Curriculm Vitae

2013-2020 Teaching degree in German, History and Educational Studies (1st state exam) at the Otto-Friedrich-University Bamberg and University of Gothenburg (SWE)

2015-2020 Student assistant at the chair of School Pedagogy at the Otto-Friedrich-University Bamberg

2017 Qualification in DaF (German as a foreign language) at the Otto-Friedrich-University Bamberg

since 2017 Freelance DaF-teacher

2019-2020 Chair of the student journal for literary criticism Rezensöhnchen

since 09/2019 Co-editor of the literary anthology fortississimo. Bamberger Edition Junger Texte

2020 PUSh / Special Gender Award - Award of the University Women's Representatives for the Outstanding Achievement of Female Students at the Otto-Friedrich-University Bamberg

2020-2021 Master’s degree in German Studies (Master of Arts) at the Otto-Friedrich-University   Bamberg

2020-2021 Gallery Manager at Galerie REITER | Leipzig

04-09/2021 Teaching position at the Otto-Friedrich-University Bamberg (Chair of Modern German Literature, Prof. Dr. Friedhelm Marx)

since 10/2021 PhD student and research associate at the Research Training Group “The Romantic Model”

PHD Project

Karoline von Günderrode's Work as "Projection Space Romanticism" in Christa Wolf's Work

"Projection Space Romanticism" is the title of the conversation between Christa Wolf and Frauke Meyer-Gosau (1982), denoting a tendency that emerged in the Democratic Republic of Germany in the early 1960s and even more clearly in the 1970s: the rediscovery of Romanticism. In her essay Der Schatten eines Traumes. Karoline von Günderrode - ein Entwurf (1979), her short story Kein Ort. Nirgends (1979) and her essay Nun ja! Das nächste Leben geht aber heute an. Ein Brief über Bettine (1980), Christa Wolf followed her own path regarding the reception of Romanticism in the GDR. Motivated by women’s "historylessness," Wolf focuses her work on women, wanting to make them visible.
Wolf used the historical period of Romanticism as a model to work on "present-day material". She was interested in finding the starting point of the "appalling division of people and society" and the suppression of the "female element" (WA 8, p. 238). Her interest lies with outsiders, their conceptions of individuality, and the resulting tensions thereof. This leads to the question of the significance of Romanticism in Wolf's work 1st as a model and 2nd as the starting point for her gender discourse. Both aspects will be examined in this dissertation project by using the reception of Karoline von Günderrode as an example. In this dissertation, the question will be examined as to why Günderrode in particular serves as a model for Wolf’s endeavor to trace the suppression of 'female elements', as will the question of the ways in which Wolf constructs Günderrode. The aim of this thesis is to find out what kind of model character Romanticism has for Wolf's writing. Wolf initially makes Romanticism the starting point for her reflection on "female writing". However, years later, even after the fall of the Berlin Wall, Wolf goes back to using mythology for her reflection on “female writing”. Therefore, the project attempts to find an answer to the following questions: does Wolf's recourse to Romanticism generate a form of "model Romanticism" (which as such also provides a template for others?) or does she use Romanticism as a historical model? In what relation do the progression and upheaval of Romanticism and the image of women Wolf portrays in the early Romantic period stand to each other? Against this background, Wolf's reception will be set in relation to the "model of Romanticism" by examining how Günderrode functions as a "projection space" for Wolf.


  • Verschiedene Zustände von Albrecht Dürers Eisenradierung Christus am Ölberg. In: Ehrl, Franziska / Juntunen, Eveliina (Hg.): Joseph Heller und die Kunst des Sammelns. Ein Vermächtnis im Herzen Bambergs. Bamberg 2020, S. 77.