USB Journals (Univ. Köln)
Not a member yet
2162 research outputs found
Sort by
Szenisches Interpretieren von Coming-of-Age-Filmen im Literaturunterricht der Sekundarstufe I: Theoretisch-methodische Konzepte und Praxisbeispiele
Get PDFComing-of-Age-Filme bieten im schulischen Kontext aufgrund ihrer filmästhetischen Gestaltung und jugendlichen Themen vielfältige Potenziale, um auch literarästhetische Kompetenzen wie die emotionale, physische und räumliche Perspektivübernahme literarischer Figuren zu fördern oder die reflektierte Auseinandersetzung mit der Funktion und Wirkung audiovisueller Gestaltungsmittel anzuregen. Solche Zieldimensionen, wie sie durch Spinner (2006) oder Mitterer / Wintersteiner (2015) für den Literaturunterricht benannt wurden, bedürfen neben kognitiver auch emotional-sinnlicher Zugänge und können durch Verfahren der szenischen Interpretation verfolgt werden.
Ausgehend von den Merkmalen des Coming-of-Age-Jugendfilms möchte dieser Beitrag die Potenziale filmästhetischer Mittel mit Blick auf die Figurendarstellung und -entwicklung für szenische Interpretationsverfahren offenlegen. Am Beispiel des Skaterfilms Mid90s (2018) von Jonah Hill wird anschließend eine dreiteilige Unterrichtsreihe für die Sekundarstufe I zur theoretisch-analytischen und szenisch-performativen Verhandlung ausgewählter Filmsequenzen vorgestellt, die in einer 10. Klasse praktisch erprobt, kritisch reflektiert und im Kontext eines filmdidaktischen Kooperationsseminars für Lehramtsstudierende weiterentwickelt wurde. Dabei werden herkömmliche Methoden der Szenischen Interpretation sowohl inhaltlich als auch methodisch modifiziert und durch filmästhetische Gestaltungsmittel erweitert.
Abstract (English): Scenic Interpretation of Coming-of-Age Films in Lower Secondary Literature Classes. Theoretical-Methodological Concepts and Practical Examples
In secondary school literature classes, films are primarily approached through theoretical and analytical methods, while action- and production-oriented teaching methods are applied only selectively, typically in the form of freeze frames to visualize character relationships. Coming of Age Films, with their cinematic aesthetics and youth-oriented themes, offer considerable potential in the school context to foster literary-aesthetic competencies, such as the ability to adopt the perspectives of literary characters emotionally, physically, and spatially, or to encourage a reflective engagement with the functions and effects of audiovisual techniques. These learning objectives, as defined by Spinner (2006) or Mitterer / Wintersteiner (2015) for literature instruction, require not only cognitive but also emotional and sensory engagement, and can be pursued through methods of scenic interpretation.
This article, drawing on the characteristics of the Coming of Age Youth Film, aims to highlight the potential of cinematic techniques for character depiction and development through methods of scenic interpretation. Using the example of Jonah Hill\u27s skater film Mid90s (2018), a three-part lesson plan for secondary school is presented, focused on the theoretical-analytical and scenic-performative examination of selected film sequences. This sequence was practically tested with 10th-grade students, critically reflected upon, and further developed in the context of a film education seminar for teacher trainees. In this process, traditional methods of scenic interpretation were modified in both content and methodology, and expanded through cinematic techniques.
 
From Interiority to Interaction: Reframing Personhood, Communication, and Affect with Artificial Interaction Partners through Japanese Cultures
Get PDFCurrent debates about AI, robots, and LLMs often focus on intelligence and sentience, which can obscure how these technologies already participate in human social interactions, performing roles often associated with personhood. They reorganize data and communication, maintain emotional bonds, participate in rituals, assume kinship roles, and introduce new ways of being. These effects are less about interiority and more about the dynamics of the interaction. From Gygi’s studies of how these technologies participate in Japanese society, we see that their success in these multiple roles depends as much on human and systemic flexibility in incorporating them as on their characteristics. These phenomena can be characterized through Blewett and Hugo’s actant affordances, which emphasize that what a technology is, either as a tool, inert object, partner, or others, and the nature of a technology’s personhood are dynamic positions negotiated in real time through the interaction system of which it is a part. By shifting the focus from what these technologies lack, such as consciousness or intentionality, to what they already do in networks, we can see that the significance of these technologies lies less in their ability to mimic humans but more in their capacity to co-constitute new forms of being, sociality, and kinship within human-technological networks
Review: Paulina Palmer. Lesbian Gothic: Transgressive Fictions.
No full textIn lieu of an abstract, here is the first paragraph of the review:
Covering a wide range of examples from the last three decades, Paulina Palmer\u27s book, Lesbian Gothic: Transgressive Fictions, provides a thorough and multi-faceted analysis of the development of lesbian Gothic fiction with regard to the changing representations of lesbian/feminist issues. As a starting point of her analysis she draws a connection between the two terms under discussion ("lesbian" and "gothic") and argues that both are characterized by the aspects of marginality and versatility. In fact, as she states, it is the marginality and versatility of the genre itself that render it an apt vehicle for feminist/lesbian/queer concerns, which likewise centre on marginal and volatile subjects. Focussing on the transgressive potential of the genre, Palmer\u27s study takes a primarily socio-cultural approach and analyzes how socio-political changes and developments in gender/queer culture and theory have intensified the transgressive dimension of lesbian Gothic writing
Josephine Baker: Gendered Ethnicity on a Mainstream Stage
Get PDF[M]y point in using discussions of the portrayal of African American and, for instance, Asian American women to support an overall argument of racial fetishism is to point to a politics of resistance. If the white male gaze blurs, paradoxically, Whoopi Goldberg, Josephine Baker and Lucy Liu as \u27Asian\u27 dragon lady in Ally McBeal, we may do well to combine black feminist thought and Asian American Studies to deconstruct the nature of such a myopic gaze - such will be the aim of this paper
"Two Different Feelings at the Same Time." Interview with Atima Srivastava
Get PDFIn lieu of an abstract, here is the first paragraph of this interview:
Atima Srivastava was born in Mumbai (India) in 1961, moved to Britain when she was eight, and has since been living in North London. She has written two novels, Transmission (1993) and Looking for Maya (1999), both of which are set texts in the syllabi of several Universities in Britain and other European countries ranging from Poland to Spain. Several of her short stories have been commissioned for and published in anthologies such as New Writing 2001, Well Sorted and Tran-Lit. She has worked in television for over 13 years as a film editor and, more recently, as a director in documentaries and magazine shows. She has three screenplays to her credit: Dancing in the Dark Tx (1992), The Legendary Vindaloo commissioned for Channel 4 (1993); and Camden Story developed for the BBC. A play, Why not Love? has been commissioned by The National Theatre and she has written the libretto for a new opera, Cross Currents, commissioned by Broom Hill Opera, performed in June 2001
Interview: "One of my missions as a playwright is to let the witches and the magic back in." An interview with Diane Samuels
No full textIn lieu of an abstract, here is the first paragraph of the interview:
Diane Samuels was born in Liverpool in 1960 and now lives with her husband, journalist and author Simon Garfield, and their two sons in north London. She worked as a drama teacher in inner London secondary schools and then as an education officer at the Unicorn Theatre for children before becoming a full time writer in 1992. Since then she has written extensively for theatre (adults and children) and radio
Interview: "I Want to Create a European-Jewish-British Theatre Where Women Have a New Role": An Interview with Julia Pascal
No full textJulia Pascal was born in Manchester, the granddaughter of Romanian and the great-granddaughter of Lithuanian Jews. After studying dance as a child she moved into theatre and was trained as an actor at El5 Acting School. After four years work in theatre, TV and film she read English at London University. After graduation, she joined the National Theatre where she became the first woman director with her adaptation of Dorothy Parker\u27s writings, the Platform Performance Men Seldom Make Passes which ran over two years. She became Associate Director of The Orange Tree Theatre for a year directing plays by Fay Weldon, Bertolt Brecht, Alfonso Vallejo and Howard Brenton
Aunt Mary: The Dialectics of Desire
Get PDFThis paper seeks to analyse the roles of the three transgendered characters of Pam Gems\u27 play Aunt Mary. Sinfield and other western metropolitan theorists\u27 1990s discovery via Other (mainly Eastern) cultures that there are "radically different ways in which [gay] people can conceive their subjectivity and focus their desire" is an issue pre-figured by Pam Gems in Aunt Mary by nearly a decade. Written as far back as 1982, the drama anticipates much of the gay, transgender and transvestism theorizing of the 90s and the present day. Gems is on the pulse of cultural iconology by having written this piece so early and what is interesting is that the characters escape easy definitions and tidy categorizations. This is a performance of the identity of drag and queer framed by a play: the shifting and fluid space in which the identities of the players locate themselves is a study in the psychology of transgendering, transvestism, and transsexualism. "[T]o take sex out of transvestism is like taking music out of opera" (H. Benjamin, The Transsexual Phenomenon). "It is not the reader\u27s \u27person\u27 that is necessary to me, it is this site: the possibility of a dialectics of desire, of an unpredictability of bliss: the bets are not placed, there can still be a game" (Roland Barthes, The Pleasure of the Text)
Review: “Unless we realise, Unless we change, Unless we speak.....” Carol Shields: Unless. London: Fourth Estate, 2002.
No full textIn lieu of an abstract, here is the first paragraph of the review:
Carol Shields\u27 novel Unless is an investigation into the notion of goodness. It both illustrates the ways in which goodness is taken for granted as a feminine attribute and criticises this as being restrictive with the potential to oppress women and inhibit their development. Unless is also about language, voice and especially silence. Its critical perspective is very much a feminist one, but this does have to be sought after. It is not clear whether Shields intends to make her readers angry, which she does, or whether this is a byproduct of the frustration of recognition of the fact that her characters do indeed reflect many contemporary, middle-class, educated women\u27s lives and readers may be forced into a self-reflection which can be uncomfortable