Difference between revisions of "S Queer Autobiographical Writing"

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    '''UNDER CONSTRUCTION!!!'''
 
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'''COURSE OUTLINE'''
 
'''COURSE OUTLINE'''
  
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* [Instructor] Dr. Christian Lassen
 
* [Instructor] Dr. Christian Lassen
  
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* [Time] Wednesday, 08.15 am - 09.45 am, i.e.: '''plenary session''', discussing the asynchronous presentation (8.15 am - 9.15 am); '''prepararory session for presentation groups''' 9.15 am - 9.45); '''nota bene''': ''presentations will not be given in class but they will be made available on Stud.IP the Friday before they are scheduled. Please watch the presentation in time for the relevant sessions.''
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* [Time] Wednesday, 08.15 am - 09.45 am, '''weekly session''', consisting of the following two parts: '''plenary session''', discussing the asynchronous presentation (8.15 am - 9.15 am); and '''prepararory session for presentation groups''' (9.15 am - 9.45 am); '''nota bene''': presentations will not be given in class but they will be made available on Stud.IP the Friday before they are scheduled, i.e. '''watching the presentations prior to the relevant sessions constitues a mandatory course requirement.'''
  
 
* [Room] A07 0-025
 
* [Room] A07 0-025
  
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* [Description] TBA
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* [Description] Queer lives demand queer forms of life writing; forms that account for the diverse byways often taken by an existence eschewing the telos of heteronormativity and its institutionalised path through life. In this seminar, we will look at the many stylistic, narratological, and medial means by which queer texts have questioned, parodied, and revised the time-honoured genre conventions of the autobiography. In terms of style, Quentin Crisp's ''The Naked Civil Servant'' shows us how camp notions of shamelessness, theatricality and dandyism serve as coping strategies in a time that is if not downright hostile, then at least inimical to the nurture of gender-fluid self-expressions. Christopher Isherwood's ''Christopher and His Kind'' challenges traditional genre expectations that call for a coherent self-narrative by splitting up identity into a number of different selves in what has, at the time, been considered the first 'out' autobiography – not least because its transatlantic scope, like no other, exposes the longstanding history of queerness in exile. Finally, Alison Bechdel's ''Fun Home'' brings the genre conventions of the autobiography face to face with a 'new' medium. Contrasting text and image, this graphic memoir opens up new layers of representing time, space, and identity in a text that serves as both a lesbian coming-of-age story and a tribute to the queer sense of belonging between herself and her late father. As such, ''Fun Home'' also acknowledges the various queer subtexts that lie, closeted, beneath the heteronormative narratives that inform traditional autobiographies.
  
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* [Office Hours] Wednesday, 11.00 am - 12.00 am
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* [Office Hours] Monday, 09.00 am - 10.00 am
  
  
 
'''PRIMARY TEXTS (Mandatory Reading)'''
 
'''PRIMARY TEXTS (Mandatory Reading)'''
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* Bechdel, Alison. ''Fun Home: A Family Tragicomic''. London: Jonathan Cape, 2006. Print.
  
 
* Crisp, Quentin. ''The Naked Civil Servant''. 1968. New York and London: HarperCollins, 2007. Print. [or any other edition]
 
* Crisp, Quentin. ''The Naked Civil Servant''. 1968. New York and London: HarperCollins, 2007. Print. [or any other edition]
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* Isherwood, Christopher. ''Christopher and His Kind''. 1976. London: Vintage, 2012. Print.
 
* Isherwood, Christopher. ''Christopher and His Kind''. 1976. London: Vintage, 2012. Print.
  
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* Bechdel, Alison. ''Fun Home: A Family Tragicomic''. London: Jonathan Cape, 2006. Print.
 
  
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'''FURTHER TEXTS (Recommended Reading)'''
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''Primary Texts''
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* Bechdel, Alison. ''Are You My Mother?: A Comic Drama.''. Boston and New York: Mariner, 2012. Print.
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* Isherwood, Christopher. ''Lions and Shadows''. 1938. London: Vintage, 2013. Print.
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* Isherwood, Christopher. ''My Guru and His Disciple''. 1980. London: Vintage, 2013. Print.
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* Stein, Gertrude. ''The Autobiography of Alice B. Toklas''. 1933. London: Penguin, 2020. Print.
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* Winterson, Jeanette. ''Why Be Happy When You Could Be Normal?'' London: Vintage, 2012. Print.
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''Secondary Texts''
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* DiBattista, Maria and Emily O. Wittman, eds. ''The Cambridge Companion to Autobiography''. Cambridge: CUP, 2014. Print.
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* Kilian, Eveline and Hope Wolf, eds. ''Life Writing and Space''. London and New York, NY: Routledge, 2016. Print.
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* Lejeune, Philippe. ''On Autobiography''. Minneapolis: U of Minnesota P, 1989. Print.
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* Rusk, Lauren. ''The Life Writing of Otherness''. London and New York, NY: Routledge, 2002. Print.
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* Smith, Sidonie and Julia Watson. ''Reading Autobiography: A Guide for Interpreting Life Narratives''. Minneapolis: U of Minnesota P, 2010. Print.
  
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'''Further Texts (Recommended Reading)'''
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* Smyth, Adam. ''A History of English Autobiography''. Ed. Adam Smyth. Cambridge: CUP, 2016.  Print.
  
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* TBA
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* Walter-Egelhaaf, Martina, ed. ''Handbook of Autobiography/Autofiction''. Berlin and Boston: De Gruyter, 2019. Print.
  
  
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* [Prüfungsleistung]
 
* [Prüfungsleistung]
  
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M.A. English Studies: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25-30 Folien.) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP) + Project/ Essay (3 KP)
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M.A. English Studies: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25 Folien) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP) + Project/ Essay (3 KP)
  
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M.Ed. Gym.: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25-20 Folien) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP)
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M.Ed. Gym.: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25 Folien) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP)
  
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M.Ed. WiPäd: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25-30 Folien) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)] (6 KP)
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M.Ed. WiPäd: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25 Folien) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)] (6 KP)
  
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* [Aktive Teilnahme] Regular Attendance; 3 Abstracts (1 page each)
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* [Aktive Teilnahme] Regular Attendance; Course Preparation (i.e. watching the asynchounous presentations); 3 Abstracts (1 page each)
  
 
Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.
 
Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.
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__TOC__
 
__TOC__
  
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==Session 01, October 18: Introduction==
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==Session 01, April 20: Introduction==
  
  
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* Presentation Topics, Presentation Groups
 
* Presentation Topics, Presentation Groups
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Presentation Topics are specified on your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Add your audio commentary to the presentation, save the file and send it on to me so that we can discuss your presentation before you upload it. After that, you make your file available on Stud.IP on the Friday ''before'' your presentation is due so that all participants can read/ watch the presentation in time, i.e. before the session.
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Presentation Topics are specified on your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Add your audio commentary to the presentation, save the file and send it on to me so that we can discuss your presentation during your preparatory session before you upload it. After that, you make your file available on Stud.IP on the Friday ''before'' your presentation is due so that all participants can read/ watch the presentation in time, i.e. before the session.
  
 
Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, April 04th. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.
 
Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, April 04th. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.
  
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Preparatory Discussions for presentations take place in the second part of the weekly sessions, i.e. Wednesday 9.15 am - 9.45 am. Please make sure that you attend the video conference the week ''before'' your presentation is due.
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Preparatory Sessions for presentations take place in the second part of the weekly sessions, i.e. Wednesday 9.15 am - 9.45 am. Please make sure that you send me your presentation  at least one day prior to your preparatory session and that you attend said session the week ''before'' your presentation is due.
  
 
* Active Participation
 
* Active Participation
  
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Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to attend class regularly. Moreover, you will have to write three abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover each of the three materials. They are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date ''The Naked Civil Servant'': ???; due date ''Christopher and His Kind'': ???; due date ''Fun Home'': ???)
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Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to attend class regularly and watch the asynchronous presentations prior to the relevant sessions. Moreover, you will have to write three abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover each of the three materials. They are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date ''The Naked Civil Servant'': June 03; due date ''Christopher and His Kind'': June 24; due date ''Fun Home'': July 15)
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     Summary: Presentations
 
     Summary: Presentations
  
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1. Pick a presentation topic and contact me via e-mail (starting October 12th). Check below for available places. Presentation groups may consist of a maximum of 2 people.
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1. Pick a presentation topic and contact me via e-mail (starting April 04). Check below for available places. Presentation groups may consist of a maximum of 2 people.
  
 
2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation with audio commentary.
 
2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation with audio commentary.
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3. Send me your presentation 8 days before your presentation is scheduled.
 
3. Send me your presentation 8 days before your presentation is scheduled.
  
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4. Discuss your presentation with me in a video conference 7 days, i.e week, before your presentation is scheduled. Video conferences take place on Monday, 11-12 am.
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4. Discuss your presentation with me in your preparatory session 7 days, i.e week, before your presentation is scheduled. Preparatory sessions take place during the second part of class, i.e. Wednesday 9.15 am - 9.45 am.
  
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5. Upload your file on the Thursday ''before'' your presentation is scheduled.
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5. Upload your file on the Friday ''before'' your presentation is scheduled.
  
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6. Join the chat and be ready to answer questions on the day of your presentation. Chats take place on Monday, 10-11 am.
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6. Be ready to answer questions on the day of your presentation.
  
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==Session 02, October 25: Theory Session - Paranoid and Reparative Readings I==
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==Session 02, April 27: Theory Session - Autobiographical Writing in Literary and Cultural Studies==
  
 
'''Theory Texts'''
 
'''Theory Texts'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Sedgwick_Paranoid_Reading_and_Reparative_Reading_gesichert.pdf Sedgwick, Eve Kosofsky. "Paranoid Reading and Reparative Reading. Or, You're So Paranoid, You Probably Think this Essay Is about You." ''Touching Feeling. Affect, Pedagogy, Performativity''. Durham: Duke UP, 2003. 123-51. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Anderson_HandbookAutobiography-Autofiction_Deconstruction_gesichert.pdf Anderson, Linda. "Deconstruction." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 39-44. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Holdenried_HandbookAutobiography-Autofiction_Cultural_Studies_gesichert.pdf Holdenried, Michaela. "Cultural Studies." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 30-38. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Loeschnigg_HandbookAutobiography-Autofiction_Narratology_gesichert.pdf Löschnigg, Martin. "Narratology." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 103-10. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Missinne_HandbookAutobography-Autofiction_AutobiographicalPact_gesichert.pdf Missinne, Lut. "Autobiographical Pact." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 222-7. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Schneider_HandbookAutobiography-Autofiction_DiscourseAnalysis_gesichert.pdf Schneider, Manfred. "Discourse Analysis." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 45-53. Print.]
  
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'''Guiding Questions'''
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'''Further Reading'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Smyth_introduction-the-range-limits-and-potentials-of-the-form_gesichert.pdf Smyth, Adam. "Introduction: The Range, Limits and Potentials of the Form." ''A History of English Autobiography''. Ed. Adam Smyth. Cambridge: CUP, 2016. 1-10.  Print.]
  
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''On Sedgwick:''
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==Session 03, May 04: Theory Session - Autobiographical Writing Across Disciplines==
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* What, according to Sedgwick, characterises a "paranoid" reading practice"? Why would Sedgwick classify currently dominant modes of critique - deconstructivism, discourse analysis, etc. - as "paranoid"? What are the benefits/ advantages of "paranoid" reading practices and what are their limits/shortcomings/disadvantages?
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* What affective responses do "paraniod" reading practices trigger? How would you describe the permanent impact and effects of these responses on the reader/scholar?
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* What affective responses are ignored or simply not addressed in "paranoid" reading practices? What are we looking for in a text? And what else could we be looking for?
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* How can one do better justice to texts that serve a different set of affective responses? Are they simply 'naive'/'sentimental'? Would "paranoid" reading practices allow for readings that are 'imaginative', 'consoling', even 'therapeutic'?
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* Does the fact that we, as cultural studies scholars, do share a (de-)constructivist and anti-essentialist perspective necessarily oblige us to limit our theoretical toolkit and to exclusively pursue only ever one epistemological approach/ mode of knowledge production?
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* Why is "the queer-identified practice of camp [...] misrecognized when it is viewed, as Butler and others view it, [solely] through paranoid lenses"?
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* Which aims and needs can camp meet beyond those of a political/paranoid agenda, i.e. beyond exposure, deconstruction and demystification? How can camp balance out the effects of a political/paranoid mindeset, i.e. anxiety, permanent alertness, the need to see through dominant/normative constructions and performances?
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* Why may these political/paranoid agendas be partly deficient (or not altogether rewarding)? Can we place ''all'' our faith in exposure? Does exposure automatically lead to change or to a shift in power relations? Think of Trump, etc. ...
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* How can camp make culture available for resignification? Can camp's subversions collapse culture into counterculture?
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==Session 03, November 01: Theory Session - Paranoid and Reparative Readings II==
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'''Theory Texts'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Depkat_HandbookAutobiography-Autofiction_History_gesichert.pdf Depkat, Volker. "History." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 73-80. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Fleig_HandbookAutobiography-Autofiction_GenderStudies_gesichert.pdf Fleig, Anne. "Gender Studies." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 54-63. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Schaser_HandbookAutobiography-Autofiction_Memory_gesichert.pdf Schaser, Angelika."Memory." ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 342-9. Print.]
  
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'''Primary Material'''
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'''Further Reading'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Campo_Her_Final_Show.pdf Rafael Campo. "Her Final Show." ''What the Body Told.'' Durkam and London: Duke UP, 1996. 25. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Walter-Egelhaaf_HandbookAutbiography-Autofiction_Intro_gesichert.pdf Walter-Egelhaaf, Martina. "Introduction: Autobiography/Autofiction Across Disciplines" ''Handbook of Autobiography/Autofiction''. Ed. Martina Wagner-Egelhaaf. Berlin and Boston: De Gruyter, 2019. 1-10. Print.]
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==Session 04, May 11: Theory Session - Queering Autobiographical Writing==
  
 
'''Theory Texts'''
 
'''Theory Texts'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Felski_Stakes_of_Suspicion_gesichert.pdf Felski, Rita. "The Stakes of Suspicion." ''The Limits of Critique.'' Chicago and London: The U of Chicago P, 2015. 14-51. Print.]
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* Anderson, Linda. "Autobiographical Travesties: The Nostalgic Self in Queer Writing." ''Territories of Queer Desire: Refiguring Contemporary Boundaries.'' Eds. David Alderson and Linda Anderson. Manchester: Manchester UP, 2000. 68-82. Print.
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Freeman_Time_Binds_Introduction_gesichert.pdf Freeman, Elizabeth. "Introduction: Queer and Not Now." ''Time Binds: Queer Temporalities, Queer Histories''. Durham, NC: Duke UP, 2010. 1-19. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Halberstam_Queer_Time_and_Place_Intro_gesichert.pdf Halberstam, Jack. "Queer Temporalities, Postmodern Geographies." ''In a Queer Time and Place: Transgendered Bodies, Subcultural Lives''. New York, NY, and London: New York UP, 2005. 1-34. Print.]
  
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'''Video Conference'''
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'''Preparatory Session'''
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* ''Video Conference Group'':
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* ''Preparatory Session Group'':
  
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==Session 04, November 01: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Slim"==
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==Session 05, May 18: Queer Life Writing - De-constructing Heteronormative Genre Conventions==
  
 
'''Primary Material'''
 
'''Primary Material'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Writing_Sexual_Identity/Mars-Jones_MonopoliesOfLoss_Selection_gesichert.pdf Mars-Jones, Adam. "Slim." ''Monopolies of Loss.'' London: Faber and Faber, 1992. 9-18. Print.]
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* Crisp, Quentin. ''The Naked Civil Servant''. New York and London: HarperCollins, 2007. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Writing_Sexual_Identity/Lassen_Camp_Comforts_Monopolies_of_Loss_gesichert.pdf Lassen, Christian. "With Your Health Held High: The Camp Probing of the Ideology of Caring in Adam Mars-Jones' ''Monopolies of Loss''." ''Camp Comfort: Reparative Gay Literature in Times of AIDS''. Bielefeld: transcript, 2011. 47-86. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Kilian_Quentin_Crisp_2013_gesichert.pdf Kilian, Eveline. "The Queer Self and the Snares of Heteronormativity: Quentin Crisp's Life Story - A Successful Failure". ''Rethinking Narrative Identity: Persona and Perspective''. Eds. Claudia Holler and Martin Klepper. Amsterdam and Philadelphia: John Benjamins, 2013. 171-86. Print.]
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Halberstam_QueerFailureCrisp_gesichert.pdf Halberstam, Jack. "The Queer Art of Failure." ''The Queer Art of Failure''. Durham, NC: Duke UP, 2011. 87-121. Print.]
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'''Further Material'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Brookes_AIDSEpidemicMars-Jones_gesichert.pdf Brookes, Les. "The AIDS Epidemic: Victory to a Virus?" ''Gay Male Fiction Since Stonewall: Ideology, Conflicts, and Aesthetics'' New York and London: Routledge, 2009. 158-85. Print.]
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'''Guiding Questions'''
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* In his "Introduction" to ''Monopolies of Loss'', Adam Mars-Jones, writing about AIDS, states that "[a] virus, being invisible, peculiarly invites the mechanisms of denial and paranoia. We can't see it, so we pretend it doesn't exist [...]. We can't see it, so it acquires the power to turn up anywhere [...]. The present reality of the epidemic must lie somewhere in the middle, but it's hard not to oscillate between extreme positions." (1) In what ways does the presence of a virus invite paranoid reponses? How do these responses resonate with medial representations: think of newspapers, movies, books, etc.? How has AIDS been construed in the media? What were some of the effects of paranoia, e.g. policies of blame; scapegoating mechanisms; othering processes?
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* Mars-Jones continues to point out, that "[a] more judicious criticism was that there was perversely little fear in our stories, Aids without fear being ''Hamlet'' without the Prince, without the court, without all rotten Denmark. [...] I hope at any rate that my stories are free of fatalism even when they refer to fate, that they belong, rather, to a tradition of Stoicism - which I will better be able to advocate when I have spent some time in a library and mugged it properly up." (6) What kind of criticism do these short stories face? In what ways is a non-paranoid response to AIDS criticised here? What kind of response does Mars-Jones suggest instead of a paranoid one?
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* In ''Touching Feeling'', Eve Sedgwick famously claims that "what we can best learn from [reparative] practices are, perhaps, the many ways selves and communities succeed in extracting sustenance from the objects of a culture - even of a culture whose avowed desire has often been not to sustain it." Identify in what ways the protagonist in "Slim" receives comfort and sustenance from culture. What are some of the cultural texts that are referred to in his narrative? How does he appropriate them according to his own needs? In what ways do these appropriations serve both a paranoid/deconstructivist and a reparative/aesthetic function?
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'''Presentation'''
 
'''Presentation'''
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* "[A] Very Promising Therapeutic Tool," or: Appropriating and Subverting (Heteronormative) Culture in "Slim"
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* "Failure May Be Your Style,": Queer Time, Queer 'Failure', and Embracing the Abject in ''The Naked Civil Servant''
  
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* ''Presentation Group'':  
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* ''Presentation Group'':
  
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'''Video Conference'''
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'''Preparatory Session'''
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* ''Video Conference Group'':
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* ''Preparatory Session Group'': Jana Heinrichs, Anna Gödecke
  
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==Session 05, November 15: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Remission"==
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==Session 06, May 25: Shameless Self-Fashionings - Queer Uses of Camp and Theatricality==
  
 
'''Primary Material'''
 
'''Primary Material'''
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* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Writing_Sexual_Identity/Mars-Jones_MonopoliesOfLoss_Selection_gesichert.pdf Mars-Jones, Adam. "Remission." ''Monopolies of Loss.'' London: Faber and Faber, 1992. 165-88. Print.]
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* Crisp, Quentin. ''The Naked Civil Servant''. New York and London: HarperCollins, 2007. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Writing_Sexual_Identity/Lassen_Camp_Comforts_Monopolies_of_Loss_gesichert.pdf Lassen, Christian. "With Your Health Held High: The Camp Probing of the Ideology of Caring in Adam Mars-Jones' ''Monopolies of Loss''." ''Camp Comfort: Reparative Gay Literature in Times of AIDS''. Bielefeld: transcript, 2011. 47-86. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Hotz-Davies_Crisp_Camp_Shamelessness_gesichert.pdf Hotz-Davies, Ingrid. "Quentin Crisp, Camp, and the Art of Shamelessness." ''Sexed Sentiments: Interdisciplinary Perspectives on Gender and Emotion''. Eds. Willemijn Ruberg and Kristine Steenbergh. Amsterdam: Rodopi, 2011. 165-184. Print.]
−
 
+
−
'''Further Material'''
+
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Brookes_AIDSEpidemicMars-Jones_gesichert.pdf Brookes, Les. "The AIDS Epidemic: Victory to a Virus?" ''Gay Male Fiction Since Stonewall: Ideology, Conflicts, and Aesthetics'' New York and London: Routledge, 2009. 158-85. Print.]
+
−
 
+
−
'''Guiding Questions'''
+
−
* According to Sedgwick, "[t]he queer-identified practice of camp [...] may be seriously misrecognized when it is viewed, as [Judith] Butler and others view it, through paranoid lenses. As we've seen, camp is most often understood as uniquely appropriate to the projects of parody, denaturalization, demystification, and mocking exposure of the elements and assumptions of a dominant culture. And the degree to which camping is motivated by love seems often to be understood mainly as the degree of its self-hating complicity with an oppressive status quo. […] the paranoid aesthetic on view here is one of minimalist elegance and conceptual economy." (Sedgwick, "Paranoid Reading and Reparative Reading" 149) By contrast, "[t]he desire of a reparative impulse [...] is additive and accretive. Its fear, a realistic one, is that the culture surrounding it is inadequate or inimical to its nurture; it wants to assemble and confer plenitude on an object that will then have resources to offer to an inchoate self. To view camp as, among other things, the communal, historically dense exploration of a variety of reparative practices is to do better justice to many of the classic camp performances [...]." (ibid.)
+
−
 
+
−
* According to Dollimore, "Camp [...] negotiates some of the lived contradictions of subordination, simultaneously refashioning as a weapon of attack an oppressive identity inherited as subordination, and hollowing out dominant formations responsible for that identity in the first instance. So it is misleading to say that camp is the gay sensibility; camp is an invasion and subversion of other sensibilities, and works via parody, pastiche, and exaggeration." (Dollimore, Sexual Dissidence 311)
+
−
 
+
−
* With regard to Mars-Jones's short stories "Slim" and "Remission", the following questions arise: which sensibilities are invaded and subverted here? And what role does the appropriation of normative culture through cam, the "transgressive reinscription" (ibid.) play?
+
−
 
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* "Good Thought. Hang on to That,": or: Cultivating Camp Coping Strategies in Times of AIDS
+
* "I wouldn't like you to think I was ashamed,": Shame(-lessness), Theatricality, and Camp Performativity in ''The Naked Civil Servant''
  
−
* ''Presentation Group'':
+
* ''Presentation Group'': Jana Heinrichs, Anna Gödecke
  
−
'''Video Conference'''
+
'''Preparatory Session'''
−
* ''Video Conference Group'': Miriam Goy, Tabea Hirsch
+
* ''Preparatory Session Group'': David Roß
  
−
    November, 19: Abstract ''Monopolies of Loss'' due
+
==Session 07, June 01: Becoming Dandy - Identity, Power(-lessness), and Self-Narration==
−
 
+
−
==Session 06, November 22: Reparative Responses to Death: Coping with Cancer in Margaret Edson's ''W;t'' I==
+
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Edson, Margaret. ''W;t''. 1993. New York: Farrar, Straus and Giroux, 1999. Print.
+
* Crisp, Quentin. ''The Naked Civil Servant''. New York and London: HarperCollins, 2007. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Gottlieb_ReparativeDeathEdsonWit_gesichert.pdf Gottlieb, Christine M. "Pedagogy and the Art of Death: Reparative Readings of Death and Dying in Margaret Edson's ''Wit''." ''Journal of Medical Humanities'' 39 (2018): 325-36. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Harrison_CrispViolenceDandyismAndTheLiterary_gesichert.pdf Harrison, Bill. "Violence, Dandyism, and the Literary Self-Portraiture of Quentin Crisp." ''Neohelicon'' 44 (2017): 199-215. Print.]
−
 
+
−
'''Further Reading'''
+
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Belling_BeginWithATextTeachingPoeticsMedicine_gesichert.pdf Belling, Catherine. "Begin with a Text: Teaching the Poetics of Medicine." ''Journal of Medical Humanities'' 34.4(2013): 481–91. Print.]
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* Reparative Pedagogy in ''W;t'', or: Teaching Compassion, Caregiving and a New ''Ars Moriendi'' in the Medical Humanities
+
* "Aloofness Is the Posture of Self-Defence,": Dandyism and Resilience in ''The Naked Civil Servant''
  
−
* ''Presentation Group'': Miriam Goy, Tabea Hirsch
+
* ''Presentation Group'': David Roß
  
−
'''Video Conference'''
+
'''Preparatory Session'''
−
* ''Video Conference Group'': Karsten Richtsmeier
+
* ''Preparatory Session Group'':
  
−
==Session 07, November 29: Reparative Responses to Death: Coping with Cancer in Margaret Edson's ''W;t'' II==
+
    '''June 03: Abstract ''The Naked Civil Servant'' Due'''
 +
 
 +
==Session 08, June 08: Writing Autobiographical Identities - Narrating and Focalising Multiple Selves==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Edson, Margaret. ''W;t''. 1993. New York: Farrar, Straus and Giroux, 1999. Print.
+
* Isherwood, Christopher. ''Christopher and His Kind''. 1976. London: Vintage, 2012. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Rimmon-Kenan_AnalogyWit_gesichert.pdf Rimmon-Kenan, Shlomith. "Margaret Edson's ''Wit'' and the Art of Analogy." ''Style 40.4 (2006): 346-56. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Borich_SelvesIsherwoodNonfictions_gesichert.pdf Borich, Barrie Jean. "'Three Quite Different People': Christopher and His Nonfictions." ''Isherwood in Transit''. Eds. James J. Berg and Chris Freeman. Minneapolis and London: U of Minnesota P, 2020. 175-89. Print.]
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Wriglesworth_TheologicalHumanismWit_gesichert.pdf Wriglesworth, Chad. "Theological Humanism as Living Praxis: Reading Surfaces and Depth in Margaret Edson's ''Wit''".''Literature & Theology'' 22.2 (2008): 210-22. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Foniokova_DissonantConsonantSelf-NarrationCAHK_gesichert.pdf Fonioková, Zuzana. "What's in an I? Dissonant and Consonant Self-Narration in Autobiographical Discourse." ''Biography'' 43.2 (2020): 387-406. Print.]
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Sykes_PrideResurrectionWit_gesichert.pdf Sykes, John D. Jr. "''Wit'', Pride, and the Resurrection: Margaret Edson's Play and John Donne's Poetry." ''REN'' 55.2 (2003): 163-74. Print.]
+
 
 +
'''Further Reading'''
 +
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Kamel_IsherwoodAutobiographicalStrategies_gesichert.pdf Kamel, Rose. "'Unravelling One's Personal Myth': Christopher Isherwood's Autobiographical Strategies". ''Biography'' 5.2 (1982): 161-175. Print.]
 +
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Schwerdt_IsherwoodDevicePersonaAlterEgo_gesichert.pdf Schwerdt, Lisa N. "Isherwood's Namesake Narrators: Device, Persona, and Alter Ego." ''Critique'' 29.3 (1988): 195-207. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* Of ''Holy Sonnets'' and ''The Runaway Bunny'', or: Intertextuality, Spirituality, and the Ambivalent Role of Christianity in ''W;t''
+
* Between "Christopher", "Isherwood", and "I": Narration, Focalisation and Revision in ''Christopher and His Kind''
  
−
* ''Presentation Group'': Karsten Richtsmeier
+
* ''Presentation Group'':  
−
 
+
−
'''Video Conference'''
+
−
* ''Video Conference Group'': Ngoc Anh Vu Hoang, Louisa Kravagna
+
  
−
    December, 03: Abstract ''W;t'' due
+
'''Preparatory Session'''
 +
* ''Preparatory Session Group'': Malte Stolle
  
−
==Session 08, December 06: Reparative Responses to Loss: Alison Bechdel's ''Fun Home'' I==
+
==Session 09, June 15: Towards a Queer Genealogy - Isherwood and Forster==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Bechdel, Alison. ''Fun Home: A Family  Tragicomic''. London: Jonathan Cape, 2006. Print.
+
* Isherwood, Christopher. ''Christopher and His Kind''. 1976. London: Vintage, 2012. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [https://uol.de/fileadmin/user_upload/anglistik/download/BM7/materials/Warhol_SpaceNarrativeFunHome_geschuetzt.pdf Warhol, Robyn. "The Space Between: A Narrative Approach to Alison Bechdel's ''Fun Home''." ''College Literature'' 38.3 (2011): 1-20. Print."]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Moffat_ArchivalForsterIsherwood_gesichert.pdf Moffat Wendy. "The Archival 'I': Forster, Isherwood, and the Future of Queer Biography." ''Isherwood in Transit''. Eds. James J. Berg and Chris Freeman. Minneapolis and London: U of Minnesota P, 2020. 50-64. Print.]
 +
 
 +
'''Further Reading'''
 +
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Purvis_IndividualismForsterIsherwood_gesichert.pdf Purvis, Xenobe. "'A Faith of Personal Sincerety': Christopher Isherwood's Debt to the Individualism of E.M. Forster." ''Isherwood in Transit''. Eds. James J. Berg and Chris Freeman. Minneapolis and London: U of Minnesota P, 2020. 38-49. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* Putting Grief into Boxes, or: Reparative Readings, ''Fun Home'', and the Narrative's Use of Comics Form
+
* Elective Affinities: Carpenter, Forster, Isherwood, and the Construction of a Queer Literary Heritage
  
−
* ''Presentation Group'': Ngoc Anh Vu Hoang, Louisa Kravagna
+
* ''Presentation Group'': Malte Stolle
  
−
'''Video Conference'''
+
'''Preparatory Session'''
−
* ''Video Conference Group'': Celine Jegust, Melina Kloth
+
* ''Preparatory Session Group'': Charlotte Paulsen
  
−
==Session 09, December 13: Reparative Responses to Loss: Alison Bechdel's ''Fun Home'' II==
+
==Session 10, June 22: Life in Transit - Isherwood and Auden==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Bechdel, Alison. ''Fun Home: A Family  Tragicomic''. London: Jonathan Cape, 2006. Print.
+
* Isherwood, Christopher. ''Christopher and His Kind''. 1976. London: Vintage, 2012. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/BM7/materials/McCullough_LossReparativeTemporalityFunHome_geschuetzt.pdf McCullough, Kate. "'The Complexity of Loss Itself': The Comic's Form and ''Fun Home'''s Queer Reparative Temporality." ''American Literature'' 90.2 (2018): 377-405. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Berg-Freeman_FellowTravelersIsherwoodAuden_gesichert.pdf Berg, James J. and Chris Freeman.. "Fellow Travelers: Isherwood and Auden." ''Isherwood in Transit''. Eds. James J. Berg and Chris Freeman. Minneapolis and London: U of Minnesota P, 2020. 82-96. Print.]
  
−
'''Presentation'''
+
'''Further Reading'''
−
* Creating a Queer Sense of Belonging, or: Memory, Loss, and Healing in ''Fun Home''
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Berg-Freeman_AudenInContext_Auden-and-Isherwood_gesichert.pdf Berg, James J. and Chris Freeman. "Auden and Isherwood." ''Auden in Context''. Ed. Tony Sharpe. Cambridge: CUP, 2013. 316-26. Print.]
 +
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Charteris_ChristopherIsherwoodAndThe_Auden_Generation_gesichert.pdf Charteris, Charlotte. "Part I: Christopher Isherwood and the Auden Generation." ''The Queer Cultures of 1930s Prose: Language, Identity and Performance in Interwar Britain. Cham: Springer/Palgrave Macmillan, 2019. 27-106. Print.]
  
−
* ''Presentation Group'': Celine Jegust, Melina Kloth
+
'''Presentation'''
−
 
+
* Mr. Isherwood Changes Places: Isherwood's and Auden's Journey from Berlin to America
−
'''Video Conference'''
+
−
* ''Video Conference Group'': Daniela Stüker
+
−
 
+
−
==Session 10, December 20: Mid-Term Recap==
+
  
−
'''Mid-Term Recap'''
+
* ''Presentation Group'': Charlotte Paulsen
  
−
'''Video Conference'''
+
'''Preparatory Session'''
−
* ''Video Conference Group'': Malte Stolle, Maja Hedtke
+
* ''Preparatory Session Group'': Henrike Ochterbeck
  
−
     January, 07: Abstract ''Fun Home'' due
+
     '''June 24: Abstract ''Christopher and His Kind'' Due'''
  
−
==Session 11, January 10: Reparative Responses to Politics: Neil Jordan's ''Breakfast on Pluto'' I==
+
==Session 11, June 29: Narrating Life Visually: De-constructing Medial Genre Conventions==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* ''Breakfast on Pluto''. Dir. Neil Jordan. Perf. Cillian Murphy, Ruth Negga, Liam Neeson, Stephen Rea, and Brendan Gleeson. 2005. Sony Pictures Home Entertainment, 2006. DVD. [or, alternatively: McCabe, Patrick. ''Breakfast on Pluto''. London: Picador, 1998. Print. (or any other edition)]
+
* Bechdel, Alison. ''Fun Home: A Family  Tragicomic''. London: Jonathan Cape, 2006. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [http://www.anglistik.uni-oldenburg.de/download/BM7/Nunes_National-Security.pdf Nunes, Charlotte. "In the Name of National Security: Torture and Imperialist Ideology in Sheridan's ''In the Name of the Father'' and Jordan's ''Breakfast on Pluto''." ''Human Rights Quarterly'' 31.4 (2009): 916-33. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Warhol_SpaceNarrativeFunHome_geschuetzt.pdf Warhol, Robyn. "The Space Between: A Narrative Approach to Alison Bechdel's ''Fun Home''." ''College Literature'' 38.3 (2011): 1-20. Print."]
  
−
'''Further Material'''
+
'''Further Reading'''
−
* ''In the Name of the Father''. Dir. Jim Sheridan. Perf. Daniel Day-Lewis, Emma Thompson, Pete Postlethwaite. 1993. Universal Pictures, 2010. DVD.
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Bauer_Cambridge_Companion_comics_graphic_narratives_and_lesbian_lives_gesichert.pdf Bauer, Heike. "Comics, Graphic Narratives, and Lesbian Lives." ''The Cambridge Companion to Lesbian Literature''. Ed. Jodie Medd. Cambridge: CUP, 2015. 219-36. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* The Trouble with ''the Troubles'', or: Realist vs. Stylised Modes of Representing Politics in ''Breakfast on Pluro'' and ''In the Name of the Father''
+
* Putting Life into Boxes: Autobiographical Writing, Visual Narratives, and the Comic in ''Fun Home''
  
−
* ''Presentation Group'': Malte Stolle, Maja Hedtke
+
* ''Presentation Group'': Henrike Ochterbeck
  
−
'''Video Conference'''
+
'''Preparatory Session'''
−
* ''Video Conference Group'': Lea Griska, Anna Laber
+
* ''Preparatory Session Group'': Anne Boczaga, Tristan Pargmann
  
−
==Session 12, January 17: Reparative Responses to Politics: Neil Jordan's ''Breakfast on Pluto'' II==
+
==Session 12, July 06: (De-)Constructing Authenticity - (Re-)Presenting Personal Texts==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* ''Breakfast on Pluto''. Dir. Neil Jordan. Perf. Cillian Murphy, Ruth Negga, Liam Neeson, Stephen Rea, and Brendan Gleeson. 2005. Sony Pictures Home Entertainment, 2006. DVD. [or, alternatively: McCabe, Patrick. ''Breakfast on Pluto''. London: Picador, 1998. Print. (or any other edition)]
+
* Bechdel, Alison. ''Fun Home: A Family  Tragicomic''. London: Jonathan Cape, 2006. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Lassen_CampBreakfastOnPluto_zweiseitig_gesichert.pdf Lassen, Christian. "The Passion of Saint Kitten, or: Desperately Seeking Mitzi, the Phantom Lady. Camp Responses to Interpellation and Subjection in Neil Jordan's ''Breakfast on Pluto''." ''Anglistentag 2012 Potsdam: Proceedings.'' Eds. Katrin Röder and Ilse Wischer. Trier: WVT, 2013. 81-92. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Cvetkovich_ArchiveFunHome_gesichert.pdf Cvetkovich, Ann. "Drawing the Archive in Alison Bechdel's ''Fun Home''." ''WSQ: Women's Studies Quarterly'' 36.1&2 (2008): 111-28. Print.]
 +
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Rohy_QueerArchiveFunHome_gesichert.pdf Rohy, Valerie. "In the Queer Archive: ''Fun Home''." ''GLQ: A Journal of Lesbian and Gay Studies'' 16.3 (2010): 341-61. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* "Serious, Serious, Serious," or: The Reparative Uses of Camp in ''Breakfast on Pluto''
+
* Queering the Archive: 'Authenticity' and the Visual Reproduction of Photographs, Diary Enries, and Other Personal Texts in ''Fun Home''
  
−
* ''Presentation Group'': Lea Griska, Anna Laber
+
* ''Presentation Group'': Anne Boczaga, Tristan Pargmann
  
−
'''Video Conference'''
+
'''Preparatory Session'''
−
* ''Video Conference Group'': Marcell Schrader
+
* ''Preparatory Session Group'': Wiebke Barkemeyer
  
−
    January, 21: Abstract ''Breakfast on Pluto'' due
+
==Session 13, July 13: Queer Loss, Queer Healing - Reparative Functions of Life Writing==
−
 
+
−
==Session 13, January 24: Reparative Responses to Politics: Laura Poitras's ''Citizenfour''==
+
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* ''Citizenfour''. Dir. Laura Poitras. Perf. Edward Snowdon, Glenn Greenwald, Laura Poitras. 2014. Good Movies/Indigo, 2015. DVD.
+
* Bechdel, Alison. ''Fun Home: A Family  Tragicomic''. London: Jonathan Cape, 2006. Print.
  
 
'''Secondary Material'''
 
'''Secondary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Kaempf_Reparative_Citizenfour_gesichert.pdf Kämpf, Katrin M. and Christina Rogers. "Citizen n-1: Laura Poitras's ''Citizenfour'' as a Reparative Reading of a Paranoid World." ''Disruption in the Arts: Textual, Visual, and Performative Strategies for Analyzing Societal Self-Descriptions.'' Eds. Lars Koch, Tobias Nanz und Johannes Pause. Berlin and Boston: De Gruyter, 2018. 315-36. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/McCullough_LossReparativeTemporalityFunHome_gesichert.pdf McCullough, Kate. "'The Complexity of Loss Itself': The Comic's Form and ''Fun Home'''s Queer Reparative Temporality." ''American Literature'' 90.2 (2018): 377-405. Print.]
 +
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Queer_Autobiographical_Writing/Fox_QueerFuturityMetamodernistMemoirFunHome_gesichert.pdf Fox, Meghan C. "Alison Bechdel's ''Fun Home'': Queer Futurity and the Metamodernist Memoir." ''MFS Modern Fiction Studies'' 65.3 (2019): 511-37. Print.]
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Parks_UnencryptingCitizenfour_gesichert.pdf Parks, Lisa. "Cover Your Webcam: Unencrypting Laura Poitras's ''Citizenfour''." ''Film Quarterly'' 68.3 (2015): 11-6. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/MM_Reparative_Readings/Sedgwick_Paranoid_Reading_and_Reparative_Reading_gesichert.pdf Sedgwick, Eve Kosofsky. "Paranoid Reading and Reparative Reading. Or, You're So Paranoid, You Probably Think this Essay Is about You." ''Touching Feeling. Affect, Pedagogy, Performativity''. Durham: Duke UP, 2003. 123-51. Print.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* Outstaring Surveillance, or: Big Data, Paranoia, and Reassessing Culture's Faith in Exposure in ''Citizenfour''
+
* Toward a Queer Sense of Belonging: Memory, Loss, and Healing in ''Fun Home''
  
−
* ''Presentation Group'': Marcell Schrader
+
* ''Presentation Group'': Wiebke Barkemeyer
  
−
     January, 28: Abstract ''CitizenFour'' due
+
     '''July 15: Abstract ''Fun Home'' Due'''
  
−
==Session 14, January 31: RPO Session==
+
==Session 14, July 20: RPO Session==
  
 
'''Guidelines for finding your RPO topic:'''
 
'''Guidelines for finding your RPO topic:'''
Line 326: Line 331:
 
Your RPO topic needs to be related to at least one of the primary texts
 
Your RPO topic needs to be related to at least one of the primary texts
  
−
     March, 15: Term Paper due
+
     '''September 15: Term Paper Due'''
  
 
Please upload your paper to the folder "Ausarbeitungen und Hausarbeiten" on our Stud.IP page and send a printed copy to the address below.
 
Please upload your paper to the folder "Ausarbeitungen und Hausarbeiten" on our Stud.IP page and send a printed copy to the address below.

Latest revision as of 10:24, 11 July 2022

COURSE OUTLINE

3.02.980: S Queer Autobiographical Writing

  • [Module] ang981, ang982, ang983 - The Canon and the Margins
  • [Credits] M.A. English Studies: 12 KP; M.Ed. Gym: 9 KP; M.Ed. WiPäd 6 KP
  • [Instructor] Dr. Christian Lassen
  • [Time] Wednesday, 08.15 am - 09.45 am, weekly session, consisting of the following two parts: plenary session, discussing the asynchronous presentation (8.15 am - 9.15 am); and prepararory session for presentation groups (9.15 am - 9.45 am); nota bene: presentations will not be given in class but they will be made available on Stud.IP the Friday before they are scheduled, i.e. watching the presentations prior to the relevant sessions constitues a mandatory course requirement.
  • [Room] A07 0-025
  • [Description] Queer lives demand queer forms of life writing; forms that account for the diverse byways often taken by an existence eschewing the telos of heteronormativity and its institutionalised path through life. In this seminar, we will look at the many stylistic, narratological, and medial means by which queer texts have questioned, parodied, and revised the time-honoured genre conventions of the autobiography. In terms of style, Quentin Crisp's The Naked Civil Servant shows us how camp notions of shamelessness, theatricality and dandyism serve as coping strategies in a time that is if not downright hostile, then at least inimical to the nurture of gender-fluid self-expressions. Christopher Isherwood's Christopher and His Kind challenges traditional genre expectations that call for a coherent self-narrative by splitting up identity into a number of different selves in what has, at the time, been considered the first 'out' autobiography – not least because its transatlantic scope, like no other, exposes the longstanding history of queerness in exile. Finally, Alison Bechdel's Fun Home brings the genre conventions of the autobiography face to face with a 'new' medium. Contrasting text and image, this graphic memoir opens up new layers of representing time, space, and identity in a text that serves as both a lesbian coming-of-age story and a tribute to the queer sense of belonging between herself and her late father. As such, Fun Home also acknowledges the various queer subtexts that lie, closeted, beneath the heteronormative narratives that inform traditional autobiographies.
  • [Office Hours] Monday, 09.00 am - 10.00 am


PRIMARY TEXTS (Mandatory Reading)

  • Bechdel, Alison. Fun Home: A Family Tragicomic. London: Jonathan Cape, 2006. Print.
  • Crisp, Quentin. The Naked Civil Servant. 1968. New York and London: HarperCollins, 2007. Print. [or any other edition]
  • Isherwood, Christopher. Christopher and His Kind. 1976. London: Vintage, 2012. Print.


FURTHER TEXTS (Recommended Reading)

Primary Texts

  • Bechdel, Alison. Are You My Mother?: A Comic Drama.. Boston and New York: Mariner, 2012. Print.
  • Isherwood, Christopher. Lions and Shadows. 1938. London: Vintage, 2013. Print.
  • Isherwood, Christopher. My Guru and His Disciple. 1980. London: Vintage, 2013. Print.
  • Stein, Gertrude. The Autobiography of Alice B. Toklas. 1933. London: Penguin, 2020. Print.
  • Winterson, Jeanette. Why Be Happy When You Could Be Normal? London: Vintage, 2012. Print.


Secondary Texts

  • DiBattista, Maria and Emily O. Wittman, eds. The Cambridge Companion to Autobiography. Cambridge: CUP, 2014. Print.
  • Kilian, Eveline and Hope Wolf, eds. Life Writing and Space. London and New York, NY: Routledge, 2016. Print.
  • Lejeune, Philippe. On Autobiography. Minneapolis: U of Minnesota P, 1989. Print.
  • Rusk, Lauren. The Life Writing of Otherness. London and New York, NY: Routledge, 2002. Print.
  • Smith, Sidonie and Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives. Minneapolis: U of Minnesota P, 2010. Print.
  • Smyth, Adam. A History of English Autobiography. Ed. Adam Smyth. Cambridge: CUP, 2016. Print.
  • Walter-Egelhaaf, Martina, ed. Handbook of Autobiography/Autofiction. Berlin and Boston: De Gruyter, 2019. Print.


ASSIGNMENTS

  • [Prüfungsleistung]

M.A. English Studies: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25 Folien) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP) + Project/ Essay (3 KP)

M.Ed. Gym.: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25 Folien) mit Schriftlicher Ausarbeitung (15 Seiten) [oder in Ausnahmefällen: Hausarbeit (20 Seiten)] (9 KP)

M.Ed. WiPäd: asynchrones (Gruppen-)Referat (max. 2 Personen; ca. 25 Folien) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)] (6 KP)

  • [Aktive Teilnahme] Regular Attendance; Course Preparation (i.e. watching the asynchounous presentations); 3 Abstracts (1 page each)

Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.

Please make sure to sign the "Erklärung zum 'Plagiat'" and to attach it to your research papers.

  • [Abgabefrist] 15. September 2022.




Session 01, April 20: Introduction

Organisational Matters

  • Assignments

Assignments are graded and mandatory.

M.A. English Studies: In order to obtain 12 credits (KP), you will have to give a (group) presentation (Referat, ca. 25 Folien) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (15. September). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation. As M.A. students, you will have to hand in an extra project/essay (Projektbericht), the topic and design of which we will discuss during an individual consultation.

M.Ed. Gym: In order to obtain 9 credits (KP), you will have to give a (group) presentation (Referat, ca. 25 Folien) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 15 Seiten) by the end of term (15. September). In exceptional cases, you may hand in a long term paper (Hausarbeit, 20 Seiten) instead of the above. However, an exception is only granted upon consultation.

M.Ed. WiPäd: In order to obtain 6 credits (KP), you will have to give a (group) presentation (Referat, ca. 25 Folien) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (15. September). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon consultation.

  • Presentation Topics, Presentation Groups

Presentation Topics are specified on your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Add your audio commentary to the presentation, save the file and send it on to me so that we can discuss your presentation during your preparatory session before you upload it. After that, you make your file available on Stud.IP on the Friday before your presentation is due so that all participants can read/ watch the presentation in time, i.e. before the session.

Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, April 04th. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.

Preparatory Sessions for presentations take place in the second part of the weekly sessions, i.e. Wednesday 9.15 am - 9.45 am. Please make sure that you send me your presentation at least one day prior to your preparatory session and that you attend said session the week before your presentation is due.

  • Active Participation

Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to attend class regularly and watch the asynchronous presentations prior to the relevant sessions. Moreover, you will have to write three abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover each of the three materials. They are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date The Naked Civil Servant: June 03; due date Christopher and His Kind: June 24; due date Fun Home: July 15) 

   Summary: Presentations

1. Pick a presentation topic and contact me via e-mail (starting April 04). Check below for available places. Presentation groups may consist of a maximum of 2 people.

2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation with audio commentary.

3. Send me your presentation 8 days before your presentation is scheduled.

4. Discuss your presentation with me in your preparatory session 7 days, i.e week, before your presentation is scheduled. Preparatory sessions take place during the second part of class, i.e. Wednesday 9.15 am - 9.45 am.

5. Upload your file on the Friday before your presentation is scheduled.

6. Be ready to answer questions on the day of your presentation.

Session 02, April 27: Theory Session - Autobiographical Writing in Literary and Cultural Studies

Theory Texts

Further Reading

Session 03, May 04: Theory Session - Autobiographical Writing Across Disciplines

Theory Texts

Further Reading

Session 04, May 11: Theory Session - Queering Autobiographical Writing

Theory Texts

Preparatory Session

  • Preparatory Session Group:

Session 05, May 18: Queer Life Writing - De-constructing Heteronormative Genre Conventions

Primary Material

  • Crisp, Quentin. The Naked Civil Servant. New York and London: HarperCollins, 2007. Print.

Secondary Material

Presentation

  • "Failure May Be Your Style,": Queer Time, Queer 'Failure', and Embracing the Abject in The Naked Civil Servant
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group: Jana Heinrichs, Anna Gödecke

Session 06, May 25: Shameless Self-Fashionings - Queer Uses of Camp and Theatricality

Primary Material

  • Crisp, Quentin. The Naked Civil Servant. New York and London: HarperCollins, 2007. Print.

Secondary Material

Presentation

  • "I wouldn't like you to think I was ashamed,": Shame(-lessness), Theatricality, and Camp Performativity in The Naked Civil Servant
  • Presentation Group: Jana Heinrichs, Anna Gödecke

Preparatory Session

  • Preparatory Session Group: David Roß

Session 07, June 01: Becoming Dandy - Identity, Power(-lessness), and Self-Narration

Primary Material

  • Crisp, Quentin. The Naked Civil Servant. New York and London: HarperCollins, 2007. Print.

Secondary Material

Presentation

  • "Aloofness Is the Posture of Self-Defence,": Dandyism and Resilience in The Naked Civil Servant
  • Presentation Group: David Roß

Preparatory Session

  • Preparatory Session Group: 
   June 03: Abstract The Naked Civil Servant Due

Session 08, June 08: Writing Autobiographical Identities - Narrating and Focalising Multiple Selves

Primary Material

  • Isherwood, Christopher. Christopher and His Kind. 1976. London: Vintage, 2012. Print.

Secondary Material

Further Reading

Presentation

  • Between "Christopher", "Isherwood", and "I": Narration, Focalisation and Revision in Christopher and His Kind
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group: Malte Stolle

Session 09, June 15: Towards a Queer Genealogy - Isherwood and Forster

Primary Material

  • Isherwood, Christopher. Christopher and His Kind. 1976. London: Vintage, 2012. Print.

Secondary Material

Further Reading

Presentation

  • Elective Affinities: Carpenter, Forster, Isherwood, and the Construction of a Queer Literary Heritage
  • Presentation Group: Malte Stolle

Preparatory Session

  • Preparatory Session Group: Charlotte Paulsen

Session 10, June 22: Life in Transit - Isherwood and Auden

Primary Material

  • Isherwood, Christopher. Christopher and His Kind. 1976. London: Vintage, 2012. Print.

Secondary Material

Further Reading

Presentation

  • Mr. Isherwood Changes Places: Isherwood's and Auden's Journey from Berlin to America
  • Presentation Group: Charlotte Paulsen

Preparatory Session

  • Preparatory Session Group: Henrike Ochterbeck 
   June 24: Abstract Christopher and His Kind Due

Session 11, June 29: Narrating Life Visually: De-constructing Medial Genre Conventions

Primary Material

  • Bechdel, Alison. Fun Home: A Family Tragicomic. London: Jonathan Cape, 2006. Print.

Secondary Material

Further Reading

Presentation

  • Putting Life into Boxes: Autobiographical Writing, Visual Narratives, and the Comic in Fun Home
  • Presentation Group: Henrike Ochterbeck

Preparatory Session

  • Preparatory Session Group: Anne Boczaga, Tristan Pargmann

Session 12, July 06: (De-)Constructing Authenticity - (Re-)Presenting Personal Texts

Primary Material

  • Bechdel, Alison. Fun Home: A Family Tragicomic. London: Jonathan Cape, 2006. Print.

Secondary Material

Presentation

  • Queering the Archive: 'Authenticity' and the Visual Reproduction of Photographs, Diary Enries, and Other Personal Texts in Fun Home
  • Presentation Group: Anne Boczaga, Tristan Pargmann

Preparatory Session

  • Preparatory Session Group: Wiebke Barkemeyer

Session 13, July 13: Queer Loss, Queer Healing - Reparative Functions of Life Writing

Primary Material

  • Bechdel, Alison. Fun Home: A Family Tragicomic. London: Jonathan Cape, 2006. Print.

Secondary Material

Further Reading

Presentation

  • Toward a Queer Sense of Belonging: Memory, Loss, and Healing in Fun Home
  • Presentation Group: Wiebke Barkemeyer 
   July 15: Abstract Fun Home Due

Session 14, July 20: RPO Session

Guidelines for finding your RPO topic:

Your RPO topic needs to be related to at least one of the primary texts 

   September 15: Term Paper Due

Please upload your paper to the folder "Ausarbeitungen und Hausarbeiten" on our Stud.IP page and send a printed copy to the address below.

Bitte stellen Sie Ihre Prüfungsleistung in den Ordner "Ausarbeitungen und Hausarbeiten" auf unserer Stud.IP-Seite ein und senden Sie eine gedruckte Fassung an die untenstehende Adresse.

Dr. Christian Lassen

Institut für Anglistik und Amerikanistik

Fakultät III: Sprach- und Kulturwissenschaften

Carl von Ossietzky Universität Oldenburg

Ammerländer Heerstraße 114-118

26129 Oldenburg

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