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In its practical outlook, the interdisciplinary-driven colonial discourse theory is often criticized for its totalizing tendencies regarding the structure of the exam-ined discourse and the power relations prevailing in this framework. As a result of this structural totalization, the concerned subjects got disempowered and de-graded to mere passive objects incapable of raising their voices within the dis-course. Based on this justified criticism, this thesis investigates the role colonial subjects played in the emergence, the distribution, as well as in questioning and critiquing of the colonial discourse during the initial phase of British colonialism in West Africa. The focal point lies on three themes relevant to the period be-tween 1874 and 1914: The Ashanti-Wars, the creation of an educational system, and the issue of the so-called "Europeanized Africans." Newspapers published by the colonial elite serve as the central source material in order to reconstruct Afri-can perspectives on these subjects. First, the discursive trajectory of the first two themes will be reconstructed and then shown why the initial support of the elite gradually declined towards the end of the century. Eventually, the analyzed tendencies culminated in the emergence of the "African Regeneration" discourse, which was able to reverse the colonial discourse's basic assumptions, at least on a theoretical level. Consequently, the Africans were displayed as the "civilizer" of Europe. On the structural level, however, this discourse likewise employed a to-talizing picture of African and European societies, respectively.
Klingende Eklats
(2016)
Der klingende Eklat ist mehr als der Pfeffer musikhistorischer Narrationen. Vielmehr ist der Musikskandal ein kultureller Störfall und ein ästhetisches Ereignis. Er überschreitet nicht nur die künstlerischen und moralischen Grenzen des guten Tons, sondern greift zudem gesellschaftliche Normen auf und an.
Anna Schürmer analysiert diese Verschränkung und nutzt das interdisziplinäre Potential, das der klingende Eklat als konfliktiver Seismograf sozialer Problem- wie ästhetischer Experimentierfelder bereithält. An der Schnittstelle von Geschichts- und Musikwissenschaften fokussiert die medienkulturwissenschaftlich inspirierte Studie den prismatischen Gegenstand des klingenden Eklats vor dem akustischen Hintergrund nicht nur der musikalischen Moderne.