Fairy tales often occupy only a superficial role in German language classrooms, used to check a culture box and teach the simple past tense. However, teaching fairy tales can engage students' analytical faculties and expose them to the culturally and linguistically embedded nature of folktales, leading them to a deeper appreciation of language, culture, and history. This article examines a course titled "Fairy Tales and German National Identity," and discusses ways to incorporate fairy tales into a course focused on German and intercultural literacy. Instructors can assist in developing students' critical thinking and writing abilities by highlighting the deep connections between language, culture, politics, and history as well as cross-cultural awareness. Students apply cross-and intercultural lenses to the study of excerpts from Goethe's Das Märchen, a selection of Grimm tales (especially those that fall out of or were added to subsequent editions), Heine's Deutschland. Ein Wintermärchen, and other secondary and student-selected readings. Students learn to contextualize the tales within discreet German and contemporary political and historical frameworks through discussion, writing, and lectures. They may also adopt a new perspective on how high and low cultural artifacts influence social, cultural, and political attitudes.

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The confluence of art, politics, and aesthetics has a troubled and troubling history, and the article reflects on that by examining the aesthetics of Uli Edel’s filmDer Baader Meinhof Komplex in terms of its use of iconic historical and—in terms of film history—stereotypical images. The absence of conventional narrative structures in the film opens it up to methods of understanding and critique that use image and montage as a means of analysis, rather than examining a cogent (because absent) narrative. By cataloguing the use of different genre conventions and iconic film images and tropes, the article points toward the development of a “terror(ism)” genre.

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