Difference between revisions of "S Reparative Readings: Cultivating Resilience, Mindfulness, and Healing in Contemporary Fiction"
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'''COURSE OUTLINE''' | '''COURSE OUTLINE''' | ||
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* Bechdel, Alison. ''Fun Home: A Family Tragicomic''. London: Jonathan Cape, 2006. Print. | * Bechdel, Alison. ''Fun Home: A Family Tragicomic''. London: Jonathan Cape, 2006. Print. | ||
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* ''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)] | * ''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)] | ||
| − | * '' | + | * ''Citizenfour''. Dir. Laura Poitras. Perf. Edward Snowdon, Glenn Greenwald, Laura Poitras. 2014. Good Movies/Indigo, 2015. DVD. |
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| + | '''Further Texts (Recommended Reading)''' | ||
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| + | * Sedgwick, Eve Kosofsky. ''Touching Feeling. Affect, Pedagogy, Performativity''. Durham: Duke UP, 2003. Print. | ||
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| + | * Sedgwick, Eve Kosofsky. ''A Dialogue on Love.'' Boston: Beacon, 1999. Print. | ||
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| + | * Felski, Rita. ''Uses of Literature.'' Malden, MA, and Oxford: Blackwell, 2008. Print. | ||
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| + | * Felski, Rita. ''The Limits of Critique.'' Chicago and London: The U of Chicago P, 2015. Print. | ||
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| + | * Felski, Rita. ''Hooked: Art and Attachment.'' Chicago and London: The U of Chicago P, 2020. Print. | ||
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| + | * Love, Heather. "Truth and Consequences: On Paranoid Reading and Reparative Reading." ''Criticism'' 52.2 (Spring 2010): 235-241. Print. | ||
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__TOC__ | __TOC__ | ||
| − | ==Session | + | ==Session 01, October 18: Introduction== |
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* Active Participation | * Active Participation | ||
| − | Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to write four 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 four out of five primary 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 ''Monopolies of Loss'': | + | Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to write four 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 four out of five primary 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 ''Monopolies of Loss'': November 19; due date ''W;t'': December 03; due date ''Fun Home'': January 07; due date ''Btreakfast on Pluto'': January 21; due date ''CitizenFour'': January 28) |
* Weekly Chat | * Weekly Chat | ||
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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. | 6. Join the chat and be ready to answer questions on the day of your presentation. Chats take place on Monday, 10-11 am. | ||
| − | ==Session | + | ==Session 02, October 25: Theory Session - Paranoid and Reparative Readings I== |
'''Theory Texts''' | '''Theory Texts''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/ | + | * [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.] |
'''Guiding Questions''' | '''Guiding Questions''' | ||
''On Sedgwick:'' | ''On Sedgwick:'' | ||
| − | * | + | * 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? |
| + | * What affective responses do "paraniod" reading practices trigger? How would you describe the permanent impact and effects of these responses on the reader/scholar? | ||
| + | * 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? | ||
| + | * 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'? | ||
| + | * 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? | ||
* Why is "the queer-identified practice of camp [...] misrecognized when it is viewed, as Butler and others view it, [solely] through paranoid lenses"? | * Why is "the queer-identified practice of camp [...] misrecognized when it is viewed, as Butler and others view it, [solely] through paranoid lenses"? | ||
| − | * Which aims and needs can camp meet beyond those of a political/paranoid agenda, i.e. beyond exposure, deconstruction and demystification | + | * 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? |
* 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. ... | * 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? | * How can camp make culture available for resignification? Can camp's subversions collapse culture into counterculture? | ||
| − | ==Session | + | ==Session 03, November 01: Theory Session - Paranoid and Reparative Readings II== |
| − | ''' | + | '''Primary Material''' |
| − | * | + | * [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.] |
| − | ''' | + | '''Theory Texts''' |
| − | * | + | * [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.] |
'''Video Conference''' | '''Video Conference''' | ||
* ''Video Conference Group'': | * ''Video Conference Group'': | ||
| − | ==Session | + | ==Session 04, November 01: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Slim"== |
'''Primary Material''' | '''Primary Material''' | ||
| − | * | + | * [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.] |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/ | + | * [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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| + | '''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.] | ||
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| + | '''Guiding Questions''' | ||
| + | * 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? | ||
| + | * 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? | ||
| + | * 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? | ||
'''Presentation''' | '''Presentation''' | ||
| − | * " | + | * "[A] Very Promising Therapeutic Tool," or: Appropriating and Subverting (Heteronormative) Culture in "Slim" |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': |
'''Video Conference''' | '''Video Conference''' | ||
| − | * ''Video Conference Group'': | + | * ''Video Conference Group'': |
| − | ==Session | + | ==Session 05, November 15: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Remission"== |
'''Primary Material''' | '''Primary Material''' | ||
| − | * | + | * [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.] |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/ | + | * [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.] |
| − | ''' | + | '''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? | |
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'''Presentation''' | '''Presentation''' | ||
| − | * "That | + | * "Good Thought. Hang on to That,": or: Cultivating Camp Coping Strategies in Times of AIDS |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': |
'''Video Conference''' | '''Video Conference''' | ||
| − | * ''Video Conference Group'': | + | * ''Video Conference Group'': Miriam Goy, Tabea Hirsch |
| − | ==Session | + | November, 19: Abstract ''Monopolies of Loss'' due |
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| + | ==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. |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/ | + | * [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.] |
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| + | '''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 |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': Miriam Goy, Tabea Hirsch |
'''Video Conference''' | '''Video Conference''' | ||
| − | * ''Video Conference Group'': | + | * ''Video Conference Group'': Karsten Richtsmeier |
| − | + | ==Session 07, November 29: Reparative Responses to Death: Coping with Cancer in Margaret Edson's ''W;t'' II== | |
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| − | ==Session | + | |
'''Primary Material''' | '''Primary Material''' | ||
| − | * | + | * Edson, Margaret. ''W;t''. 1993. New York: Farrar, Straus and Giroux, 1999. Print. |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/ | + | * [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/ | + | * [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_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.] | ||
'''Presentation''' | '''Presentation''' | ||
| − | * | + | * Of ''Holy Sonnets'' and ''The Runaway Bunny'', or: Intertextuality, Spirituality, and the Ambivalent Role of Christianity in ''W;t'' |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': Karsten Richtsmeier |
'''Video Conference''' | '''Video Conference''' | ||
| − | * ''Video Conference Group'': | + | * ''Video Conference Group'': Ngoc Anh Vu Hoang, Louisa Kravagna |
| − | ==Session | + | December, 03: Abstract ''W;t'' due |
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| + | ==Session 08, December 06: Reparative Responses to Loss: Alison Bechdel's ''Fun Home'' I== | ||
'''Primary Material''' | '''Primary Material''' | ||
| − | * | + | * Bechdel, Alison. ''Fun Home: A Family Tragicomic''. London: Jonathan Cape, 2006. Print. |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/ | + | * [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."] |
'''Presentation''' | '''Presentation''' | ||
| − | * | + | * Putting Grief into Boxes, or: Reparative Readings, ''Fun Home'', and the Narrative's Use of Comics Form |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': Ngoc Anh Vu Hoang, Louisa Kravagna |
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'''Video Conference''' | '''Video Conference''' | ||
| − | * ''Video Conference Group'': | + | * ''Video Conference Group'': Celine Jegust, Melina Kloth |
| − | + | ==Session 09, December 13: Reparative Responses to Loss: Alison Bechdel's ''Fun Home'' II== | |
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| − | ==Session | + | |
'''Primary Material''' | '''Primary Material''' | ||
| − | * '' | + | * Bechdel, Alison. ''Fun Home: A Family Tragicomic''. London: Jonathan Cape, 2006. Print. |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/ | + | * [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.] |
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'''Presentation''' | '''Presentation''' | ||
| − | * | + | * Creating a Queer Sense of Belonging, or: Memory, Loss, and Healing in ''Fun Home'' |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': Celine Jegust, Melina Kloth |
| − | ''' | + | '''Video Conference''' |
| − | * | + | * ''Video Conference Group'': Daniela Stüker |
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| − | + | ==Session 10, December 20: Mid-Term Recap== | |
| + | |||
| + | '''Mid-Term Recap''' | ||
'''Video Conference''' | '''Video Conference''' | ||
| − | * ''Video Conference Group'': | + | * ''Video Conference Group'': Malte Stolle, Maja Hedtke |
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| + | January, 07: Abstract ''Fun Home'' due | ||
| − | ==Session | + | ==Session 11, January 10: Reparative Responses to Politics: Neil Jordan's ''Breakfast on Pluto'' I== |
'''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)] |
'''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.] |
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| + | '''Further Material''' | ||
| + | * ''In the Name of the Father''. Dir. Jim Sheridan. Perf. Daniel Day-Lewis, Emma Thompson, Pete Postlethwaite. 1993. Universal Pictures, 2010. DVD. | ||
'''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'' |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': Malte Stolle, Maja Hedtke |
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'''Video Conference''' | '''Video Conference''' | ||
| − | * ''Video Conference Group'': | + | * ''Video Conference Group'': Lea Griska, Anna Laber |
| − | + | ==Session 12, January 17: Reparative Responses to Politics: Neil Jordan's ''Breakfast on Pluto'' II== | |
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| − | ==Session | + | |
'''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)] |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/ | + | * [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.] |
'''Presentation''' | '''Presentation''' | ||
| − | * | + | * "Serious, Serious, Serious," or: The Reparative Uses of Camp in ''Breakfast on Pluto'' |
| − | * ''Presentation Group'': | + | * ''Presentation Group'': Lea Griska, Anna Laber |
| − | ''' | + | '''Video Conference''' |
| − | * | + | * ''Video Conference Group'': Marcell Schrader |
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| − | + | January, 21: Abstract ''Breakfast on Pluto'' due | |
| − | ==Session | + | ==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. |
'''Secondary Material''' | '''Secondary Material''' | ||
| − | * [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/ | + | * [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.] |
| − | ''' | + | '''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.] |
| − | + | '''Presentation''' | |
| + | * Outstaring Surveillance, or: Big Data, Paranoia, and Reassessing Culture's Faith in Exposure in ''Citizenfour'' | ||
| − | + | * ''Presentation Group'': Marcell Schrader | |
| − | * | + | |
| − | + | ||
| − | + | ||
| − | + | ||
| − | + | January, 28: Abstract ''CitizenFour'' due | |
| − | ==Session | + | ==Session 14, January 31: RPO Session== |
'''Guidelines for finding your RPO topic:''' | '''Guidelines for finding your RPO topic:''' | ||
Latest revision as of 09:25, 29 November 2021
COURSE OUTLINE
3.02.970: S Reparative Readings: Cultivating Resilience, Mindfulness, and Healing in Contemporary Fiction
- [Module] ang971, ang972, ang973 - Culture and Difference
- [Credits] M.A. English Studies: 12 KP; M.Ed. Gym: 9 KP; M.Ed. WiPäd 6 KP
- [Instructor] Dr. Christian Lassen
- [Time] Monday, 10-11 am: weekly chat (via "Meetings" on our Stud.IP page); Monday, 11-12 am: video conference for presentation groups, designed to discuss the presentation scheduled for the following week
- [Room] online; until further notice: video conferences for presentation groups; power point presentations; chat (via "Meetings")
- [Description] We are, all of us, trained to be – what Eve Sedgwick has called – paranoid readers, lingering on in a state of permanent alertness in order to anticipate the workings of regulatory regimes; seeking to see through the constructions of normative culture; sounding out the political and ideological effects of representation. Undeniably then, this paranoid approach to the text has characterised cultural studies at least since the pioneering publications of Michel Foucault, Judith Butler and their likes – and rightly so, as a critical attitude towards cultural texts is, of course, mandatory and indeed indispensable. However, does it have to be the only intelligible approach to cultural texts? In the face of an ongoing impoverishment of affective responses to culture, Sedgwick therefore aspires to reclaim a reading practice that addresses a completely different set of affects, namely those linked to the personal rather than the political and, therefore, to values such as resilience, mindfulness, recovery, healing, or uplift: reparative readings. Complementing rather than replacing the usual paranoid approaches, reparative reading practices are thus no less attached to the projects of growth and survival than paranoid reading practices; what is more, they may in fact balance out and smooth the straining effects of the latter. Focusing on works that represent affective responses to difficult feelings and emotions like anxiety, fear, loss or grief, this seminar investigates how textual and cultural analysis can benefit from the coexistence of paranoid and reparative readings, claiming that both are vital and indeed mutually reinforcing.
- [Office Hours] see Stud.IP; until further notice, office hours will be held via video conference. Please sign up for a time slot on my Stud.IP profile ("Sprechstunden") and you will receive a link to the virtual conference room.
PRIMARY TEXTS (Mandatory Reading)
- Mars-Jones, Adam. Monopolies of Loss. London: Faber and Faber, 1992. Print. [selected short stories; see below]
- Edson, Margaret. W;t. 1993. New York: Farrar, Straus and Giroux, 1999. Print.
- Bechdel, Alison. Fun Home: A Family Tragicomic. London: Jonathan Cape, 2006. Print.
- 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)]
- Citizenfour. Dir. Laura Poitras. Perf. Edward Snowdon, Glenn Greenwald, Laura Poitras. 2014. Good Movies/Indigo, 2015. DVD.
Further Texts (Recommended Reading)
- Sedgwick, Eve Kosofsky. Touching Feeling. Affect, Pedagogy, Performativity. Durham: Duke UP, 2003. Print.
- Sedgwick, Eve Kosofsky. A Dialogue on Love. Boston: Beacon, 1999. Print.
- Felski, Rita. Uses of Literature. Malden, MA, and Oxford: Blackwell, 2008. Print.
- Felski, Rita. The Limits of Critique. Chicago and London: The U of Chicago P, 2015. Print.
- Felski, Rita. Hooked: Art and Attachment. Chicago and London: The U of Chicago P, 2020. Print.
- Love, Heather. "Truth and Consequences: On Paranoid Reading and Reparative Reading." Criticism 52.2 (Spring 2010): 235-241. Print.
ASSIGNMENTS
- [Prüfungsleistung]
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)
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)
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)
- [Aktive Teilnahme] 4 Abstracts, jeweils inklusive Thema, Forschungsstand, These und Outline des Arguments (je 1 Seite insgesamt)
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. März 2022.
Contents
- 1 Session 01, October 18: Introduction
- 2 Session 02, October 25: Theory Session - Paranoid and Reparative Readings I
- 3 Session 03, November 01: Theory Session - Paranoid and Reparative Readings II
- 4 Session 04, November 01: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Slim"
- 5 Session 05, November 15: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Remission"
- 6 Session 06, November 22: Reparative Responses to Death: Coping with Cancer in Margaret Edson's W;t I
- 7 Session 07, November 29: Reparative Responses to Death: Coping with Cancer in Margaret Edson's W;t II
- 8 Session 08, December 06: Reparative Responses to Loss: Alison Bechdel's Fun Home I
- 9 Session 09, December 13: Reparative Responses to Loss: Alison Bechdel's Fun Home II
- 10 Session 10, December 20: Mid-Term Recap
- 11 Session 11, January 10: Reparative Responses to Politics: Neil Jordan's Breakfast on Pluto I
- 12 Session 12, January 17: Reparative Responses to Politics: Neil Jordan's Breakfast on Pluto II
- 13 Session 13, January 24: Reparative Responses to Politics: Laura Poitras's Citizenfour
- 14 Session 14, January 31: RPO Session
Session 01, October 18: 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. 25-30 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. März). 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, 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. 25-30 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. März). 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. 25-30 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. März). 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, Video Conferences for 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 in a video conference (see below). After that, you make your file available on Stud.IP on the Thursday before your presentation so that all participants can read/ watch the presentation in time, i.e. before the session/ chat.
Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Tuesday, October 12th. 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.
Video Conferences for presentations take place in the second part of the weekly sessions, i.e. Monday 11-12 am. Please make sure that you attend the video conference 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 write four 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 four out of five primary 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 Monopolies of Loss: November 19; due date W;t: December 03; due date Fun Home: January 07; due date Btreakfast on Pluto: January 21; due date CitizenFour: January 28)
- Weekly Chat
In order to discuss the presentations and related topics, I will be in the chatroom ("Meetings" on our Stud.IP page) during the first part of each session, i.e. Monday 10-11 am. Please make sure to read/ watch the presentations before you join the chat. The second part of each session, i.e. Monday 11-12 am, is booked for the respective presentation groups (see video conference for presentation groups)
Summary: Presentations
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.
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 a video conference 7 days, i.e week, before your presentation is scheduled. Video conferences take place on Monday, 11-12 am.
5. Upload your file on the Thursday before your presentation is scheduled.
6. Join the chat and be ready to answer questions on the day of your presentation. Chats take place on Monday, 10-11 am.
Session 02, October 25: Theory Session - Paranoid and Reparative Readings I
Theory Texts
Guiding Questions
On Sedgwick:
- 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?
- What affective responses do "paraniod" reading practices trigger? How would you describe the permanent impact and effects of these responses on the reader/scholar?
- 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?
- 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'?
- 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?
- Why is "the queer-identified practice of camp [...] misrecognized when it is viewed, as Butler and others view it, [solely] through paranoid lenses"?
- 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?
- 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. ...
- How can camp make culture available for resignification? Can camp's subversions collapse culture into counterculture?
Session 03, November 01: Theory Session - Paranoid and Reparative Readings II
Primary Material
Theory Texts
Video Conference
- Video Conference Group:
Session 04, November 01: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Slim"
Primary Material
Secondary Material
Further Material
Guiding Questions
- 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?
- 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?
- 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?
Presentation
- "[A] Very Promising Therapeutic Tool," or: Appropriating and Subverting (Heteronormative) Culture in "Slim"
- Presentation Group:
Video Conference
- Video Conference Group:
Session 05, November 15: Reparative Responses to Death: Coping with AIDS in Adam Mars-Jones's "Remission"
Primary Material
Secondary Material
Further Material
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
- "Good Thought. Hang on to That,": or: Cultivating Camp Coping Strategies in Times of AIDS
- Presentation Group:
Video Conference
- Video Conference Group: Miriam Goy, Tabea Hirsch
November, 19: Abstract Monopolies of Loss due
Session 06, November 22: Reparative Responses to Death: Coping with Cancer in Margaret Edson's W;t I
Primary Material
- Edson, Margaret. W;t. 1993. New York: Farrar, Straus and Giroux, 1999. Print.
Secondary Material
Further Reading
Presentation
- Reparative Pedagogy in W;t, or: Teaching Compassion, Caregiving and a New Ars Moriendi in the Medical Humanities
- Presentation Group: Miriam Goy, Tabea Hirsch
Video Conference
- Video Conference Group: Karsten Richtsmeier
Session 07, November 29: Reparative Responses to Death: Coping with Cancer in Margaret Edson's W;t II
Primary Material
- Edson, Margaret. W;t. 1993. New York: Farrar, Straus and Giroux, 1999. Print.
Secondary Material
- Rimmon-Kenan, Shlomith. "Margaret Edson's Wit and the Art of Analogy." Style 40.4 (2006): 346-56. Print.
- Wriglesworth, Chad. "Theological Humanism as Living Praxis: Reading Surfaces and Depth in Margaret Edson's Wit".Literature & Theology 22.2 (2008): 210-22. Print.
- 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.
Presentation
- Of Holy Sonnets and The Runaway Bunny, or: Intertextuality, Spirituality, and the Ambivalent Role of Christianity in W;t
- Presentation Group: Karsten Richtsmeier
Video Conference
- Video Conference Group: Ngoc Anh Vu Hoang, Louisa Kravagna
December, 03: Abstract W;t due
Session 08, December 06: Reparative Responses to Loss: Alison Bechdel's Fun Home I
Primary Material
- Bechdel, Alison. Fun Home: A Family Tragicomic. London: Jonathan Cape, 2006. Print.
Secondary Material
Presentation
- Putting Grief into Boxes, or: Reparative Readings, Fun Home, and the Narrative's Use of Comics Form
- Presentation Group: Ngoc Anh Vu Hoang, Louisa Kravagna
Video Conference
- Video Conference Group: Celine Jegust, Melina Kloth
Session 09, December 13: Reparative Responses to Loss: Alison Bechdel's Fun Home II
Primary Material
- Bechdel, Alison. Fun Home: A Family Tragicomic. London: Jonathan Cape, 2006. Print.
Secondary Material
Presentation
- Creating a Queer Sense of Belonging, or: Memory, Loss, and Healing in Fun Home
- Presentation Group: Celine Jegust, Melina Kloth
Video Conference
- Video Conference Group: Daniela Stüker
Session 10, December 20: Mid-Term Recap
Mid-Term Recap
Video Conference
- Video Conference Group: Malte Stolle, Maja Hedtke
January, 07: Abstract Fun Home due
Session 11, January 10: Reparative Responses to Politics: Neil Jordan's Breakfast on Pluto I
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)]
Secondary Material
Further Material
- In the Name of the Father. Dir. Jim Sheridan. Perf. Daniel Day-Lewis, Emma Thompson, Pete Postlethwaite. 1993. Universal Pictures, 2010. DVD.
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
- Presentation Group: Malte Stolle, Maja Hedtke
Video Conference
- Video Conference Group: Lea Griska, Anna Laber
Session 12, January 17: Reparative Responses to Politics: Neil Jordan's Breakfast on Pluto II
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)]
Secondary Material
Presentation
- "Serious, Serious, Serious," or: The Reparative Uses of Camp in Breakfast on Pluto
- Presentation Group: Lea Griska, Anna Laber
Video Conference
- Video Conference Group: Marcell Schrader
January, 21: Abstract Breakfast on Pluto due
Session 13, January 24: Reparative Responses to Politics: Laura Poitras's Citizenfour
Primary Material
- Citizenfour. Dir. Laura Poitras. Perf. Edward Snowdon, Glenn Greenwald, Laura Poitras. 2014. Good Movies/Indigo, 2015. DVD.
Secondary Material
Further Reading
Presentation
- Outstaring Surveillance, or: Big Data, Paranoia, and Reassessing Culture's Faith in Exposure in Citizenfour
- Presentation Group: Marcell Schrader
January, 28: Abstract CitizenFour due
Session 14, January 31: RPO Session
Guidelines for finding your RPO topic:
Your RPO topic needs to be related to at least one of the primary texts
March, 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
