Difference between revisions of "Kolloquium"

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(→‎• Di. 3.6.2008: Christina Meyer: Trauma and Popular Culture. Art Spiegelman's ''In the Shadow of No Towers'')
(→‎• Di. 3.6.2008: Christina Meyer: Trauma and Popular Culture. Art Spiegelman's ''In the Shadow of No Towers'')
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Ever since he published his book ''Maus'' (1991), Art Spiegelman has established himself as a well-known author all over the continents, and has become a challenge (not only) for literary scholars. In ''Maus'' Spiegelman chooses the medium “comix” as a mode of inquiry and as a means to convey the events of the past. In his recent publication on the terror attacks of September 11, 2001 with the stirring title ''In the Shadow of No Towers'', Spiegelman has once again picked up the pen to narrate/draw the events of that day. Whereas he created a monochromatic montage full of silhouettes, black lines and shadings in ''Maus'', he now produces a collage of color images flickering on the paper-screen in front of the reader’s eye.
 
Ever since he published his book ''Maus'' (1991), Art Spiegelman has established himself as a well-known author all over the continents, and has become a challenge (not only) for literary scholars. In ''Maus'' Spiegelman chooses the medium “comix” as a mode of inquiry and as a means to convey the events of the past. In his recent publication on the terror attacks of September 11, 2001 with the stirring title ''In the Shadow of No Towers'', Spiegelman has once again picked up the pen to narrate/draw the events of that day. Whereas he created a monochromatic montage full of silhouettes, black lines and shadings in ''Maus'', he now produces a collage of color images flickering on the paper-screen in front of the reader’s eye.
 
The attacks on the WTC in the morning hours of September 11, 2001 are probably the most well documented events (be that in photographic images, in VHS-video images, official TV reportage, or any kind of digitalized pictures). All over the world, people would/could watch what was shown on TV (and on the Internet). In years to come, everybody will have a personal story at hand to tell where s/he was and what s/he did on that particular day.  
 
The attacks on the WTC in the morning hours of September 11, 2001 are probably the most well documented events (be that in photographic images, in VHS-video images, official TV reportage, or any kind of digitalized pictures). All over the world, people would/could watch what was shown on TV (and on the Internet). In years to come, everybody will have a personal story at hand to tell where s/he was and what s/he did on that particular day.  
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Spiegelman’s graphic text is his personal response to immense shock, disbelief, disorientation and incomprehension – feelings he shares with so many other people. The syntax of his text is built of framed images that capture all kinds of sensations (in words and images), only to be subverted in the next instance. Frames no longer hold the picture. Buildings and figures become elastic, they transgress borders. The only border then is the limited space available on a given page of the book. Content and form of Spiegelman’s ''In the Shadow of No Towers'' (and their interdependency) will be the center in my talk. His work represents an aesthetic challenge in the frame of postmodern strategies so widely discussed these days.
+
Spiegelman’s graphic text is his personal response to immense shock, disbelief, disorientation and incomprehension – feelings he shares with so many other people. The syntax of his text is built of framed images that capture all kinds of sensations (in words and images), only to be subverted in the next instance. Frames no longer hold the picture. Buildings and figures become elastic, they transgress borders. The only border then is the limited space available on a given page of the book. Content and form of Spiegelman’s ''In the Shadow of No Towers'' (and their interdependency) will be the center of attention in my talk. His work represents an aesthetic challenge in the frame of postmodern strategies so widely discussed these days.
  
 
==Vergangenes und Kommendes==
 
==Vergangenes und Kommendes==

Revision as of 17:40, 1 April 2008

Veranstaltungen im Sommersemester 2008

Liebe Kolleginnen und Kollegen,

unsere seminarinterne Veranstaltungsserie zum breiteren Austausch über unsere Fachbereiche geht in die zweite Runde. Ich freue mich die folgende Einladungen in diesem Zusammenhang aussprechen zu können:



Drittes Kolloquium des Seminars für Anglistik und Amerikanistik lädt ein zu einer Veranstaltung außerhalb des regulären Rahmens:

Prof. Dr. Cornelia Hamann,

Institut für Fremdsprachenphilologien,

und

Prof. Dr. Birger Kollmeier,

Institut für Physik

sprechen zu

Sprachverstehen im fluktuierenden Störschall.

Alle Interessierten des Studienbereichs Anglistik/Amerikanistik sind herzlich willkommen.

Donnerstag, 10.4.2008 20:30, Senatssaal



Die Planungen für das gesamte Semester sind noch nicht zur Gänze abgeschlossen. Vier Veranstaltungen stehen auf der Agenda - sechs sind das anvisierte Ziel, hier bin ich noch mit möglichen Vortragenden in Gesprächen. Einen Ausblick auf den aktuellen Plan bietet das folgende Inhaltsverzeichnis.

Mit den besten Wünschen und in der Hoffnung auf rege Teilnahme aus interessierten Kreisen der Studenten wie Kollegen,

Olaf Simons 17:28, 31 March 2008 (CEST)





• Do. 10.4.2008, 20:30, Senatssitzungssaal: Cornelia Hamann/ Birger Kollmeier: Sprachverstehen im fluktuierenden Störschall

Prof. Dr. Cornelia Hamann, Institut für Fremdsprachenphilologien und Prof. Dr. Birger Kollmeier, Institut für Physik sprechen zu Sprachverstehen im fluktuierenden Störschall.

• Di. 29.4.2008: Eva Ogiermann: "Universal Speech Acts? Theory vs. Practice"

Eva Ogiermann mit einem Vortrag unter dem Thema: "Universal Speech Acts? Theory vs. Practice"

• Do. 22.5.2008: Stefanie Gropper und Ingrid Hotz-Davies: "Exzentrische Positionierungen"

Stefanie Gropper und Ingrid Hotz-Davies: "Exzentrische Positionierungen"

• Di. 3.6.2008: Christina Meyer: Trauma and Popular Culture. Art Spiegelman's In the Shadow of No Towers

Christina Meyer with a talk on: "Trauma in Popular Culture, Art Spiegelman's In the Shadow of No Towers."

Ever since he published his book Maus (1991), Art Spiegelman has established himself as a well-known author all over the continents, and has become a challenge (not only) for literary scholars. In Maus Spiegelman chooses the medium “comix” as a mode of inquiry and as a means to convey the events of the past. In his recent publication on the terror attacks of September 11, 2001 with the stirring title In the Shadow of No Towers, Spiegelman has once again picked up the pen to narrate/draw the events of that day. Whereas he created a monochromatic montage full of silhouettes, black lines and shadings in Maus, he now produces a collage of color images flickering on the paper-screen in front of the reader’s eye. The attacks on the WTC in the morning hours of September 11, 2001 are probably the most well documented events (be that in photographic images, in VHS-video images, official TV reportage, or any kind of digitalized pictures). All over the world, people would/could watch what was shown on TV (and on the Internet). In years to come, everybody will have a personal story at hand to tell where s/he was and what s/he did on that particular day. Spiegelman’s graphic text is his personal response to immense shock, disbelief, disorientation and incomprehension – feelings he shares with so many other people. The syntax of his text is built of framed images that capture all kinds of sensations (in words and images), only to be subverted in the next instance. Frames no longer hold the picture. Buildings and figures become elastic, they transgress borders. The only border then is the limited space available on a given page of the book. Content and form of Spiegelman’s In the Shadow of No Towers (and their interdependency) will be the center of attention in my talk. His work represents an aesthetic challenge in the frame of postmodern strategies so widely discussed these days.

Vergangenes und Kommendes

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