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Today’s focus on the 1930s as a time of radical politics paving the way for the apocalypse of the Second World War ignores the complexity of the decade’s cultural responses, especially those by British women writers who highlighted gender issues within their contemporary political climate. The decade’s literature is often understood to capture the political unrest, either narrating people’s chaotic movement or their paralysed shock. This book argues that 1930s novels collapse the distinction between movement and standstill and calls this phenomenon Dynamic Stasis. This Dynamic Stasis thematically and structurally informs the novels of Nancy Mitford, Stevie Smith, Rosamond Lehmann and Jean Rhys. By disrupting the oft-repeated cliché of the 1930s as the age of political extremes, gender politics and negotiations of femininity can emerge from the discursive periphery. This book therefore corrects a persistent gender blind spot, which opens up a (re)consideration of authors that have been overlooked in literary criticism of 1930s to this day.
‘The Territorialities of U.S. Imperialisms’ sets into relation U.S. imperial and Indigenous conceptions of territoriality as articulated in U.S. legal texts and Indigenous life writing in the 19th century. It analyzes the ways in which U.S. legal texts as “legal fictions” narratively press to affirm the United States’ territorial sovereignty and coherence in spite of its reliance on a variety of imperial practices that flexibly disconnect and (re)connect U.S. sovereignty, jurisdiction and territory.
At the same time, the book acknowledges Indigenous life writing as legal texts in their own right and with full juridical force, which aim to highlight the heterogeneity of U.S. national territory both from their individual perspectives and in conversation with these legal fictions. Through this, the book’s analysis contributes to a more nuanced understanding of the coloniality of U.S. legal fictions, while highlighting territoriality as a key concept in the fashioning of the narrative of U.S. imperialism.
Melancholia
(2019)
The idea of critical childhood studies is a relatively young disciplinary undertaking in eastern Africa. And so, a lot of inquiries have not been carried out. This field is a potential important socio-political marker, among others, of some narratives, that have emerged out of eastern Africa. Towards this end, my research seeks out an archaeology of childhood in eastern Africa. There is a monochromatic hue which has often painted the eastern African childhood. This broad stroke portrays the childhood as characterized by want. The image of the eastern African childhood is composed in terms of the war-child, poverty, disease-ridden, and aid-begging. The pitfall of this consciousness is that it erases a differentiated and pluralist nature of the eastern African childhood. Therefore, I hypothesise that childhood is a discourse from which institutional vectors become conduits of certain statement-making both process-wise and content-wise. As such a critical childhood study is a theatre of staging and unearthing its joys, tribulations, cultural constructions, and even political interventions. To this end childhood and its literatures not only reflect but also contribute to meaning making and worldliness thereof. As an attempt to move from an un-nuanced depiction, which is often monodirectional, I seek to present a chronologically synchronic and diachronic analysis of childhood in the eastern Africa. Accordingly, I excavate a chronological construction of childhood within this geopolitical region. The main conceptual anchorage is Francis Nyamnjoh who tells of the African occupying a life on convivial frontiers. He theorises an Africa that is involved in technologies of self-definition that privilege conversations, fluidity of being and relational connections on a globalised scale. I also appropriate the notion of Bula Matadi from the Congo as a decolonialist epistemological exercise to break apart polarising representations and practices of childhood in eastern Africa. This opens a space for an unbounded reconfiguration of childhood in eastern Africa. This book works on and with archival matter, in a cross-disciplinary manner and ranges from pre-colonial to post-colonial eastern Africa. It is an exploration of the trajectory of the discourse of childhood in eastern Africa, in order to eclectically investigate childhood in eastern Africa, in fictional and non-fictional representations.
La carte de Tupaia constitue l’un des artéfacts les plus célèbres et les plus énigmatiques à émerger des toutes premières rencontres entre Européens et îliens du Pacifique. Elle a été élaborée entre août 1769 et février 1770 par Tupaia, prêtre ’arioi, conseiller royal et maître de navigation originaire de Ra’iātea, aux Îles Sous-le-Vent de la Société. En collaboration avec divers membres d’équipage de l’Endeavour de James Cook, en deux temps distincts de cartographie et trois ébauches. L’identité de bien des îles qui y figurent et la logique de leur agencement demeuraient jusqu’à présent des énigmes. En se fiant en partie à des pièces d’archives restées ignorées, nous proposons, dans ce long essai, une nouvelle compréhension de sa logique cartographique, une reconstitution détaillée de sa genèse et donc, pour la toute première fois, une lecture exhaustive. La carte de Tupaia n’illustre pas seulement la magnitude et la maîtrise de la navigation polynésienne, elle réalise aussi une remarquable synthèse représentationnelle de deux systèmes d’orientation très différents.
„The game’s afoot!“
(2020)
Computerspiele bieten – verstanden als Text, als popkulturelles Artefakt, als Lerngelegenheit und vieles mehr – auch für den Einsatz im Fremdsprachenunterricht zahlreiche Möglichkeiten, curricular vorgegebene Kompetenzen auszubilden. Nicht nur kann die Auseinandersetzung mit Computerspielen einen Beitrag zur fachintegrativen Vermittlung von Medienkompetenz leisten, sondern ebenso dazu genutzt werden, Handlungen zu simulieren, in denen Schülerinnen und Schüler fremdsprachig (inter-)agieren. Der folgende Beitrag versucht daher, exemplarisch zwei Computerspiele auf ihr Potential für den Einsatz im Fremdsprachenunterricht Englisch zu untersuchen. Er versteht sich als praktischer Beitrag, der Einblick in didaktisch-methodische Überlegungen bietet, welche die Auseinandersetzung mit den zwei exemplarisch ausgewählten Spielen, HER STORY (2015) und 1979 REVOLUTION: BLACK FRIDAY (2016), in den Blick nehmen.
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.