800 Literatur und Rhetorik
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Affekte im Konflikt
(2016)
Subcultures creating culture
(2016)
The purpose of this work is to apply the methods of textual semiotics to subcultures, in particular to the little known glam subculture. Subcultures have been the main research field of the Birmingham Centre for Contemporary Cultural Studies, known for its interdisciplinary approach, and for its focus on the creative aspects of subculture. Hebdige, in particular, introduced many semiotic elements in his work, as the aberrant decoding after Eco and the cultural creativity via bricolage after Lévi-Strauss. His definition of subculture as symbolic resistance has been criticized by the following post-subcultural researchers for its abstractness and lack of cohesion.
Semiotics eventually have been expelled from the set of tools used in sociology for the analysis of subcultures. Nowadays, the studies on subcultures have a strong ethnographic focus. Due to terminological proliferation and a descriptive approach, it is difficult to compare them on a common basis.
Textual semiotics, through the concept of semiosphere developed by Lotman, allows to go back to the intuitions of Hebdige, organizing the semiotic elements already present in his work into a wider system of interpretation. The semiosphere offers a coherent theoretical horizon as a basis for further analysis, and a new methodological perspective focusing on the cultural. In this thesis for the first time the work of Lotman is applied to the study of a subculture.
Mit Korbmachern zum Sieg
(2016)
1 Hinführung und Zielstellung, 2 Angestrebte Ergebnisse der Entwicklung lexikalischer Kompetenz - vernetzt mit der Entwicklung von Lese-/Textverstehenskompetenz, 3 Arbeit am Wortschatz und Textverstehen - Textanalyse als das Erschließen eines Feldes von Möglichkeiten, 4 Die Tätigkeit des Schülers optimal in Gang setzen - handlungs-regulierende Aufgaben stellen, 5 Literatur
Recollecting Bones
(2016)
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.
Sound matters
(2016)
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.
Reflections of Lusáni Cissé
(2016)
Postcolonial Piracy
(2016)
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.