Dokument-ID Dokumenttyp Verfasser/Autoren Herausgeber Haupttitel Abstract Auflage Verlagsort Verlag Erscheinungsjahr Seitenzahl Schriftenreihe Titel Schriftenreihe Bandzahl ISBN Quelle der Hochschulschrift Konferenzname Quelle:Titel Quelle:Jahrgang Quelle:Heftnummer Quelle:Erste Seite Quelle:Letzte Seite URN DOI Abteilungen OPUS4-10327 unpublished Eckstein, Lars Recollecting Bones In the same "guarded, roundabout and reticent way" which Lindsay Barrett invokes for Australian conversations about imperial injustice, Germans, too, must begin to more systematically explore, in Paul Gilroy's words, "the connections and the differences between anti-semitism and anti-black and other racisms and asses[s] the issues that arise when it can no longer be denied that they interacted over a long time in what might be seen as Fascism's intellectual, ethical and scientific pre-history" (Gilroy 1996: 26). In the meantime, we need to care for the dead. We need to return them, first, from the status of scientific objects to the status of ancestral human beings, and then progressively, and proactively, as close as possible to the care of those communities from whom they were stolen. 2016 20 urn:nbn:de:kobv:517-opus4-103278 Institut für Anglistik und Amerikanistik OPUS4-9839 misc Eckstein, Lars Sound matters This essay proposes a reorientation in postcolonial studies that takes account of the transcultural realities of the viral twenty-first century. This reorientation entails close attention to actual performances, their specific medial embeddedness, and their entanglement in concrete formal or informal material conditions. It suggests that rather than a focus on print and writing favoured by theories in the wake of the linguistic turn, performed lyrics and sounds may be better suited to guide the conceptual work. Accordingly, the essay chooses a classic of early twentieth-century digital music - M.I.A.'s 2003/2005 single "Galang" - as its guiding example. It ultimately leads up to a reflection on what Ravi Sundaram coined as "pirate modernity," which challenges us to rethink notions of artistic authorship and authority, hegemony and subversion, culture and theory in the postcolonial world of today. 2016 13 Postprints der Universität Potsdam : Philosophische Reihe 119 urn:nbn:de:kobv:517-opus4-98393 Institut für Anglistik und Amerikanistik OPUS4-10319 unpublished Eckstein, Lars Reflections of Lusáni Cissé On the last sunny October weekend in 2015 I decided to cycle from my home in Berlin to the small town of Wünsdorf some 40 kilometres south of the city. 2016 17 urn:nbn:de:kobv:517-opus4-103196 Institut für Anglistik und Amerikanistik OPUS4-10330 unpublished Eckstein, Lars Postcolonial Piracy Media piracy is a contested term in the academic as much as the public debate. It is used by the corporate industries as a synonym for the theft of protected media content with disastrous economic consequences. It is celebrated by technophile elites as an expression of freedom that ensures creativity as much as free market competition. Marxist critics and activists promote flapiracy as a subversive practice that undermines the capitalist world system and its structural injustices. Artists and entrepreneurs across the globe curse it as a threat to their existence, while many use pirate infrastructures and networks fundamentally for the production and dissemination of their art. For large sections of the population across the global South, piracy is simply the only means of accessing the medial flows of a progressively globalising planet. 2016 urn:nbn:de:kobv:517-opus4-103307 Institut für Anglistik und Amerikanistik OPUS4-45713 Wissenschaftlicher Artikel Eckstein, Lars Sound matters: postcolonial critique for a viral age This essay proposes a reorientation in postcolonial studies that takes account of the transcultural realities of the viral twenty-first century. This reorientation entails close attention to actual performances, their specific medial embeddedness, and their entanglement in concrete formal or informal material conditions. It suggests that rather than a focus on print and writing favoured by theories in the wake of the linguistic turn, performed lyrics and sounds may be better suited to guide the conceptual work. Accordingly, the essay chooses a classic of early twentieth-century digital music - M.I.A.'s 2003/2005 single "Galang" - as its guiding example. It ultimately leads up to a reflection on what Ravi Sundaram coined as "pirate modernity," which challenges us to rethink notions of artistic authorship and authority, hegemony and subversion, culture and theory in the postcolonial world of today. Abingdon American Geophysical Union 2016 12 Atlantic studies : literary, cultural and historical perspectives 13 445 456 10.1080/14788810.2016.1216222 Institut für Anglistik und Amerikanistik OPUS4-10329 unpublished Eckstein, Lars; Reindfandt, Christoph Luhmann in da Contact Zone Our aim in this contribution is to productively engage with the abstractions and complexities of Luhmann's conceptions of society from a postcolonial perspective, with a particular focus on the explanatory powers of his sociological systems theory when it leaves the realms of Europe and ventures to describe regions of the global South. In view of its more recent global reception beyond Europe, our aim is to thus - following the lead of Dipesh Chakrabarty - provincialize Luhmann's system theory especially with regard to its underlying assumptions about a global "world society". For these purposes, we intend to revisit Luhmann in the post/colonial contact zone: We wish to reread Luhmann in the context of spaces of transcultural encounter where "global designs and local histories" (Mignolo), where inclusion into and exclusion from "world society" (Luhmann) clash and interact in intricate ways. The title of our contribution, 'Luhmann in da Contact Zone' is deliberately ambiguous: On the one hand, we of course use 'Luhmann' metonymically, as representative of a highly complex theoretical design. We shall cursorily outline this design with a special focus on the notion of a singular, modern "world society", only to confront it with the epistemic challenges of the contact zone. On the other hand, this critique will also involve the close observation of Niklas Luhman as a human observer (a category which within the logic of systems theory actually does not exist) who increasingly transpires in his late writings on exclusion in the global South. By following this dual strategy, we wish to trace an increasing fracture between one Luhmann and the other, between abstract theoretical design and personalized testimony. It is by exploring and measuring this fracture that we hope to eventually be able to map out the potential of a possibly more productive encounter between systems theory and specific strands of postcolonial theory for a pluritopic reading of global modernity. 2016 15 urn:nbn:de:kobv:517-opus4-103298 Institut für Anglistik und Amerikanistik OPUS4-10322 unpublished Eckstein, Lars; Wiemann, Dirk; Waller, Nicole; Bartels, Anke Postcolonial Justice In July 2014, some of us participated in a handover ceremony of 14 ancestral remains to their Australian traditional owners, performed on the premises of the Charité Campus in Berlin. 2016 20 urn:nbn:de:kobv:517-opus4-103220 Institut für Anglistik und Amerikanistik OPUS4-10326 unpublished Eckstein, Lars; Wiemann, Dirk Kleine Kosmopolitismen Das große Projekt der Aufklärung und damit auch der kosmopolitischen Idee war bereits in seinen Ursprüngen ambivalenter als gemeinhin anerkannt wird. Denn sein normatives Menschenbild war (und bleibt) implizit männlich, bürgerlich und nicht zuletzt weiß. 2016 7 urn:nbn:de:kobv:517-opus4-103261 Institut für Anglistik und Amerikanistik