Difference between revisions of "Kolloquium"
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Tue. Dec. 9, 2008<br> | Tue. Dec. 9, 2008<br> | ||
− | ''' | + | '''Christina Meyer, "Trauma Frames"''' |
− | + | 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. | ||
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Revision as of 22:16, 15 December 2008
- (In der Regel) Dienstags 18:15, Raum A6 2-212
- Veranstalter: Seminar für Anglistik und Amerikanistik der Universität Oldenburg
- Organisation: Dr. Olaf Simons
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Forschungskolloquium des Seminars Tue. Dec. 9, 2008 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. |
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Contents
- 1 Winter 2008/09
- 1.1 Tue. Nov. 4, 2008: Kalí Tal, "Trauma Theory and the Candidacy of John McCain"
- 1.2 Tue. Dec. 2, 2008: Isabel Karremann: "The Art of Forgetting in Literary and Cultural Studies"
- 1.3 Tue. Dec. 9, 2008: Angela Baier: "I feel, I feel the Deity within" - Georg Friedrich Händels Oratorien und der whiggistische Enthusiasmus
- 1.4 Tue Dec. 16, 2008: Christina Meyer, "Trauma Frames"
- 1.5 Tue Jan. 13, 2009: Holger Limberg, "Teacher-Student Interaction at University: The Discourse of Academic Office Hours"
- 1.6 Tue Jan. 20, 2009: Megan Macdonald, "Liturgical Lens: Performance Art and Christianity"
- 2 Summer 2009
Die Veranstaltung findet meist Dienstags (im Seminarratsraum A6-2-212) statt. In der Regel steht ein Vortrag von 45 Minuten bis einer Stunde im Zentrum einer offenen Diskussion. Interessierte alle Fächer sind zu jeder dieser Veranstaltungen herzlich eingeladen. Ansprechpartner für Ideen und Organisation (wie etwa die Aufnahme in die Mailinglist) ist
Winter 2008/09Tue. Nov. 4, 2008: Kalí Tal, "Trauma Theory and the Candidacy of John McCain"
Tue. Dec. 2, 2008: Isabel Karremann: "The Art of Forgetting in Literary and Cultural Studies"
Tue. Dec. 9, 2008: Angela Baier: "I feel, I feel the Deity within" - Georg Friedrich Händels Oratorien und der whiggistische Enthusiasmus
Tue Dec. 16, 2008: Christina Meyer, "Trauma Frames"
Tue Jan. 13, 2009: Holger Limberg, "Teacher-Student Interaction at University: The Discourse of Academic Office Hours"
Tue Jan. 20, 2009: Megan Macdonald, "Liturgical Lens: Performance Art and Christianity"http://www.drama.qmul.ac.uk/postgraduate/student/profiles/macdonald.html
Summer 2009Date under consideration: Maike Engelhardt: "Qualitative Forschung"Details folgen. Archive and Planning
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