Versions of Contemporary Britishness: Negotiating Multicultural Britain
Should you decide to do your project work with me, then please note the following:
-The results of your individual project work have to be documented in a term paper (in English; ten
pages of text, followed by an appendix).
-Your project work will be graded. It counts for 5 credit points, provided that you pass.
-You are required to register with me via email. It is not possible to sign up for the seminar on Studiport
without contacting me first.
-In order to sign you up, I need the following information:
-your name and matriculation number
-your grades from modules 1 and 3
-information on your (completed or planned) term paper in module 5 (title of the paper; literatureor linguistics?)
-do you intend to write your BA thesis at the English department?
Before our first meeting, you must have read the following two novels
Zadie Smith, White Teeth (2000)
Ali Smith,Autumn (2016)
In addition to these, you are required to choose three novels from the following list. These three novels, too, have to be read over the summer, before our first meeting.
Monica Ali, Brick Lane (2003)
Julian Barnes, England, England (1998)
Bernardine Evaristo, Lara (20091) (Please take care to get the 2009 version, not the earlier one.)
Andrea Levy, Small Island (2004)
V.S. Naipaul, The Enigma of Arrival (1987)
Salman Rushdie, The Satanic Verses (1988)
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Die Veranstaltung wurde 2 mal im Vorlesungsverzeichnis HeSe 2019/20 gefunden:
This course is aimed at BA students who are preparing for their teaching experience after the autumn term. Over the course of the semester, we are going to focus on basic principles of EFL lesson planning, in order to enable the students to conduct lessons as well as assess them. The reading list will provide the students with the theoretical background, which will then be put into practice in the sessions themselves.
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|321403b||Fachdidaktisches Seminar - C||HeSe 2019/20|
Die Veranstaltung wurde 3 mal im Vorlesungsverzeichnis HeSe 2019/20 gefunden:
How can a traumatic event such as slavery be represented in visual media? In this seminar, we will look at foundational artefacts from TV and film culture as well as commemorative practices in museums, especially in the context of the 2007 bicentennial of the abolition of the slave trade in Britain. In the United States, the TV series Roots (1977) was a much earlier first crucial attempt to acknowledge trauma and provide narrative agency to the depicted enslaved characters. Contrasting films from both the US and the UK, we will analyse how different national commemorative practices have emerged beginning in the late 1970s until now and how the violence of the slave trade continues to shape contemporary conflicts. In this endeavour, we will also discuss the increasing aesthetic range in visual representations of slavery from more traditional depictions in historical drama such as Stephen Spielberg’s Amistad (1997) and Michael Apted’s Amazing Grace (2006), to Quentin Tarantino’s infamous “Spaghetti” Western Django Unchained (2012) and Steve McQueen’s body cinema in 12 Years A Slave (2013). In addition to the close reading of these visual materials, students will also be familiarised with theoretical concepts such as Paul Gilroy’s “the Black Atlantic” and Kobena Mercer’s “the burden of representation”.
It is strongly recommended to watch at least some of the shows/films before the new semester starts. A reader and access to Moodle with further material will be provided at the beginning of the class.
Roots (1977, TV Mini Series)
Amistad (1997, Stephen Spielberg)
Amazing Grace (2006, Michael Apted)
Django Unchained (2012, Quentin Tarantino)
12 Years a Slave (2013, Steve McQueen)
|352203w||Visual Archives of Slavery: Film, TV and Museums (Medienwissenschaft)||SoSe 2017|
Die Veranstaltung wurde 3 mal im Vorlesungsverzeichnis SoSe 2017 gefunden: