Everybody used to agree that Britain is a class society – until Prime Minister Thatcher in the 1980s declared collective concepts such as ‘class’ and ‘society’ as no longer existent: individual responsibility was to replace community ties and release the state from its function as provider of welfare and guarantor of social equity. Recent cultural studies textbooks have followed suit, no longer containing chapters on class. While ‘race’ and gender, queer and postcolonialism define today’s preferred theoretical perspectives on the analysis of culture, class has dwindled to little more than an afterthought in intersectional critical practices. All the while, British films abound in images and narratives of a nostalgic country-house England, and TV shows invite consumer savvy audiences to laugh at ‘chavs’. This course aims to revive attention to ‘class’ as a critical category in understanding contemporary Britain. We shall read some classical and recent attempts to categorize social difference, look at some historical examples of figuring class identities, and will discuss how contemporary films draw on, negotiate and frame class narratives and stereotypes. Topics may range from pubs to palaces, from accents to make-over shows on TV, covering public schools, the demise of the coal industry and the social geography of Brexit referendum results on the way.

Core reading material will be made available on Stud.IP. Films will be put on restricted loan for you in the Mediathek.

Requirements:
# active participation in class discussions
# in-depth knowledge of the viewing and reading material
# team presentation of a self-researched topic or film
# portfolio of worksheets, each 2-3 pages long (graded in WD-2b)
# for a grade in D-2a: an additional long term paper of 10-12 pp., topic to be agreed

Prior enrolment via Stud.IP is mandatory.

Taking its cue from Paul Gilroy’s famous observation, 'There ain’t no Black in the Union Jack‘, this seminar is going to explore the impact migration and diasporic communities have on the notion of British national identity. We shall view a range of recent films projecting images of 'old' and 'new' ethnicities in order to investigate how British national identity is getting (re)conceptualised in the days of globalisation and multiculturalism. Course discussions will focus on the interrelations between individual and political identities, and will analyse how these films narrate and negotiate the multiply intertwined transitions from being black in Britain to being a Black Briton. -
Students are required to invest much time and dedication into week-to-week preparations that include not just the viewing of films before each session but also a high amount of reading. A list of films will be agreed upon in the first session, and will be put on restricted loan for you in the Mediathek.

Reading material will be made available on Stud.IP.

Requirements:
# regular attendance and active participation
# in-depth knowledge of the viewing and reading material
# team presentation of a film
# portfolio of worksheets (graded in WD-2b)
# for a grade in D-2a: an additional term paper of 10-12 pp.

Prior enrolment via Stud.IP is mandatory.

In this course we will critically explore concepts of race and racism. Race cannot be grounded biologically but is a social contruct ingrained in economic, political and cultural interests. We will look at race-based theories and discourses to examine race and racism from various perspectives.
The course includes weekly reading assignments and requires active participation in discussions based on a thorough preparation of the required reading and occasional film viewing. In addition, you must always bring at least one question or comment about the required reading with you to class (in hard copy). Students will give an oral presentation including a handout and may write a term paper.
A reader with course material will be made available at the beginning of the class. You will also find a choice of books on reserve shelf in the SUuB, 3rd floor.
Requirements:
Oral participation
In-depth knowledge of the reading material
Oral presentation and handout
Final paper (optional)
Please note that prior enrollment via Stud.IP is mandatory

This course aims to provide students with a critical perspective on Hollywood films that deal with and at the same time construct an imaginary "orient". We will deal with basic features of orientalism and postcolonial theory, film theory and film analysis. Using a number of examples we will engage in a a discussion of Hollywood's orientalism: How is the "east" visualized, how are femininity, masculinity, and sexuality presented, how is interracial romance portrayed and restricted? What kind of fears and anxieties, desires and wishes are hidden behind the narrative and visual schemes of the films?
The course includes weekly reading assignments and requires active participation in discussions based on a thorough preparation of the essential reading and film viewing. In addition, you must always bring at least one question or comment about the required reading to class (in hard copy). Students will give an oral presentation including a handout and may write a term paper.
Additionally to our weekly seminars students are required to watch a number of films. Copies of these films are to be found in the Mediathek of our library on the fourth floor. Overnight checkout is possible.
Essential readings will be available for download on Stud-IP. You will also find a choice of books on reserve shelf in the SUuB, 3rd floor.
Please note that prior enrollment via Stud.IP is mandatory.

This course (VAK: 10-76-4-D2/WD2-01) welcomes students who wish to complete the following modules: M.A. TnL Profilmodul I: Literatur 10-M83-2; MA TnL Vertiefungsmodul 10-M83; M.A. E-SC ExMo 2 - Extension Module 2; B.A. E-SC “Key Topics in Literature”- D2-c; WD-2a and WD-2b and
for students registered in the study programme M.A. TnL, M.A. E-SC and B.A. E-SC who wish to participate in our summer excursion to London from August 5th to August 12th, 2019.

This course seeks to familiarise students with a number of selected authors, poets and writers, in general, who have held lifelong connections with London, may it be historic or contemporary. We will aim to discuss their continued engagement with the city by exploring a selection of excerpts clustered around five major topic choices: Queer London; Women Writers and London; London’s Imperial Past and Postcolonial Present; London Theatreland and the Shakespearean Stage; London and Crime, and London and the Long Eighteen Century. By virtually tracing forgotten as well as prominent landmarks of the urban centre, we seek to connect the literary representations of the city with historical and cultural developments, present and past. During the summer excursion we will continue our exploration in London.

Since some of the participants are required to submit a research paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.

Additional secondary sources can be accessed in the “Semesterapparat”, a reference only section on the third floor of the library building. A reader with selected secondary text materials will be made available for download on Stud. IP. Please be aware that your registration on Stud. IP. is mandatory (deadline March 15th, 2019). You may wish to check the sections "Information" and "Schedule" further details such as requirements, weekly schedule, select bibliography and modes of assessment.
For Non-E-SC students and academic exchange students: Please contact me if you require more than 3 credit points.

Requirements and Assessment
• Interest in the topics discussed and ideally a regular attendance and informed participation in class discussion (not part of your formal assessment);
• in-depth knowledge of the selected reading material,
• homework assignments,
• group projects and presentation of research paper proposals;
• Research-based term paper.
The requirements as formulated above may vary depending on your overall degree program.

This seminar focuses on one play performed in early seventeen-century Renaissance England: William Shakespeare’s Macbeth. Overall this course wishes to enable students to explore language, form, genre, and style of the individual play, as well as to critically engage with themes, issues, and key concepts in Renaissance drama. On the way, our focus will shift from a discussion of the fundamental features of dramatic composition and stage history to issues such as the political structures of Renaissance England, gender roles and relations, power, love and sexuality; witchcraft, and modern adaptations.

Since some of the participants are required to submit a research paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.

Additional secondary sources can be accessed in the “Semesterapparat”, a reference-only section on the third floor of the library building. A reader with selected secondary text materials will be made available for download on Stud. IP. Please be aware that your registration on Stud. IP. is mandatory (deadline March 15th, 2019). You may wish to check the sections "Information" and "Schedule" further details such as requirements, weekly schedule, select bibliography and modes of assessment.

For Non-E-SC students and academic exchange students: Please contact me if you require more than 3 credit points.
Requirements and Assessment
• Interest in the topic discussed and ideally a regular attendance and informed participation in class discussion (not part of your formal assessment);
• in-depth knowledge of the selected reading material,
• homework assignments,
• group projects and presentation of research paper proposals;
• Research-based term paper.
The requirements as formulated above may vary depending on your overall degree program.
Required reading materials (you will need a copy of these books for class):
Shakespeare, William, and Robert S. Miola, editors. Macbeth. (Italics) Second Edition, W.W. Norton & Company, 2014.
Copies are available for purchase at the bookstore on our campus (Universitätsbuchhandlung Bremen: www.unibuch-bremen.de)

This course (VAK: 10-76-4-D2/WD2-01) welcomes students who wish to complete the following modules: M.A. TnL Profilmodul I: Literatur 10-M83-2; MA TnL Vertiefungsmodul 10-M83; M.A. E-SC ExMo 2 - Extension Module 2; B.A. E-SC “Key Topics in Literature”- D2-c; WD-2a and WD-2b and
for students registered in the study programme M.A. TnL, M.A. E-SC and B.A. E-SC who wish to participate in our summer excursion to London from August 5th to August 12th, 2019.

This course seeks to familiarise students with a number of selected authors, poets and writers, in general, who have held lifelong connections with London, may it be historic or contemporary. We will aim to discuss their continued engagement with the city by exploring a selection of excerpts clustered around five major topic choices: Queer London; Women Writers and London; London’s Imperial Past and Postcolonial Present; London Theatreland and the Shakespearean Stage; London and Crime, and London and the Long Eighteen Century. By virtually tracing forgotten as well as prominent landmarks of the urban centre, we seek to connect the literary representations of the city with historical and cultural developments, present and past. During the summer excursion we will continue our exploration in London.

Since some of the participants are required to submit a research paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.

Additional secondary sources can be accessed in the “Semesterapparat”, a reference only section on the third floor of the library building. A reader with selected secondary text materials will be made available for download on Stud. IP. Please be aware that your registration on Stud. IP. is mandatory (deadline March 15th, 2019). You may wish to check the sections "Information" and "Schedule" further details such as requirements, weekly schedule, select bibliography and modes of assessment.
For Non-E-SC students and academic exchange students: Please contact me if you require more than 3 credit points.

Requirements and Assessment
• Interest in the topics discussed and ideally a regular attendance and informed participation in class discussion (not part of your formal assessment);
• in-depth knowledge of the selected reading material,
• homework assignments,
• group projects and presentation of research paper proposals;
• Research-based term paper.
The requirements as formulated above may vary depending on your overall degree program.

This seminar focuses on one play performed in early seventeen-century Renaissance England: William Shakespeare’s Macbeth. Overall this course wishes to enable students to explore language, form, genre, and style of the individual play, as well as to critically engage with themes, issues, and key concepts in Renaissance drama. On the way, our focus will shift from a discussion of the fundamental features of dramatic composition and stage history to issues such as the political structures of Renaissance England, gender roles and relations, power, love and sexuality; witchcraft, and modern adaptations.

Since some of the participants are required to submit a research paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.

Additional secondary sources can be accessed in the “Semesterapparat”, a reference-only section on the third floor of the library building. A reader with selected secondary text materials will be made available for download on Stud. IP. Please be aware that your registration on Stud. IP. is mandatory (deadline March 15th, 2019). You may wish to check the sections "Information" and "Schedule" further details such as requirements, weekly schedule, select bibliography and modes of assessment.

For Non-E-SC students and academic exchange students: Please contact me if you require more than 3 credit points.
Requirements and Assessment
• Interest in the topic discussed and ideally a regular attendance and informed participation in class discussion (not part of your formal assessment);
• in-depth knowledge of the selected reading material,
• homework assignments,
• group projects and presentation of research paper proposals;
• Research-based term paper.
The requirements as formulated above may vary depending on your overall degree program.
Required reading materials (you will need a copy of these books for class):
Shakespeare, William, and Robert S. Miola, editors. Macbeth. (Italics) Second Edition, W.W. Norton & Company, 2014.
Copies are available for purchase at the bookstore on our campus (Universitätsbuchhandlung Bremen: www.unibuch-bremen.de)

This course (VAK: 10-76-4-D2/WD2-01) welcomes students who wish to complete the following modules: M.A. TnL Profilmodul I: Literatur 10-M83-2; MA TnL Vertiefungsmodul 10-M83; M.A. E-SC ExMo 2 - Extension Module 2; B.A. E-SC “Key Topics in Literature”- D2-c; WD-2a and WD-2b and
for students registered in the study programme M.A. TnL, M.A. E-SC and B.A. E-SC who wish to participate in our summer excursion to London from August 5th to August 12th, 2019.

This course seeks to familiarise students with a number of selected authors, poets and writers, in general, who have held lifelong connections with London, may it be historic or contemporary. We will aim to discuss their continued engagement with the city by exploring a selection of excerpts clustered around five major topic choices: Queer London; Women Writers and London; London’s Imperial Past and Postcolonial Present; London Theatreland and the Shakespearean Stage; London and Crime, and London and the Long Eighteen Century. By virtually tracing forgotten as well as prominent landmarks of the urban centre, we seek to connect the literary representations of the city with historical and cultural developments, present and past. During the summer excursion we will continue our exploration in London.

Since some of the participants are required to submit a research paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.

Additional secondary sources can be accessed in the “Semesterapparat”, a reference only section on the third floor of the library building. A reader with selected secondary text materials will be made available for download on Stud. IP. Please be aware that your registration on Stud. IP. is mandatory (deadline March 15th, 2019). You may wish to check the sections "Information" and "Schedule" further details such as requirements, weekly schedule, select bibliography and modes of assessment.
For Non-E-SC students and academic exchange students: Please contact me if you require more than 3 credit points.

Requirements and Assessment
• Interest in the topics discussed and ideally a regular attendance and informed participation in class discussion (not part of your formal assessment);
• in-depth knowledge of the selected reading material,
• homework assignments,
• group projects and presentation of research paper proposals;
• Research-based term paper.
The requirements as formulated above may vary depending on your overall degree program.

This seminar focuses on one play performed in early seventeen-century Renaissance England: William Shakespeare’s Macbeth. Overall this course wishes to enable students to explore language, form, genre, and style of the individual play, as well as to critically engage with themes, issues, and key concepts in Renaissance drama. On the way, our focus will shift from a discussion of the fundamental features of dramatic composition and stage history to issues such as the political structures of Renaissance England, gender roles and relations, power, love and sexuality; witchcraft, and modern adaptations.

Since some of the participants are required to submit a research paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.

Additional secondary sources can be accessed in the “Semesterapparat”, a reference-only section on the third floor of the library building. A reader with selected secondary text materials will be made available for download on Stud. IP. Please be aware that your registration on Stud. IP. is mandatory (deadline March 15th, 2019). You may wish to check the sections "Information" and "Schedule" further details such as requirements, weekly schedule, select bibliography and modes of assessment.

For Non-E-SC students and academic exchange students: Please contact me if you require more than 3 credit points.
Requirements and Assessment
• Interest in the topic discussed and ideally a regular attendance and informed participation in class discussion (not part of your formal assessment);
• in-depth knowledge of the selected reading material,
• homework assignments,
• group projects and presentation of research paper proposals;
• Research-based term paper.
The requirements as formulated above may vary depending on your overall degree program.
Required reading materials (you will need a copy of these books for class):
Shakespeare, William, and Robert S. Miola, editors. Macbeth. (Italics) Second Edition, W.W. Norton & Company, 2014.
Copies are available for purchase at the bookstore on our campus (Universitätsbuchhandlung Bremen: www.unibuch-bremen.de)

Everybody used to agree that Britain is a class society – until Prime Minister Thatcher in the 1980s declared collective concepts such as ‘class’ and ‘society’ as no longer existent: individual responsibility was to replace community ties and release the state from its function as provider of welfare and guarantor of social equity. Recent cultural studies textbooks have followed suit, no longer containing chapters on class. While ‘race’ and gender, queer and postcolonialism define today’s preferred theoretical perspectives on the analysis of culture, class has dwindled to little more than an afterthought in intersectional critical practices. All the while, British films abound in images and narratives of a nostalgic country-house England, and TV shows invite consumer savvy audiences to laugh at ‘chavs’. This course aims to revive attention to ‘class’ as a critical category in understanding contemporary Britain. We shall read some classical and recent attempts to categorize social difference, look at some historical examples of figuring class identities, and will discuss how contemporary films draw on, negotiate and frame class narratives and stereotypes. Topics may range from pubs to palaces, from accents to make-over shows on TV, covering public schools, the demise of the coal industry and the social geography of Brexit referendum results on the way.

Core reading material will be made available on Stud.IP. Films will be put on restricted loan for you in the Mediathek.

Requirements:
# active participation in class discussions
# in-depth knowledge of the viewing and reading material
# team presentation of a self-researched topic or film
# portfolio of worksheets, each 2-3 pages long (graded in WD-2b)
# for a grade in D-2a: an additional long term paper of 10-12 pp., topic to be agreed

Prior enrolment via Stud.IP is mandatory.

Taking its cue from Paul Gilroy’s famous observation, 'There ain’t no Black in the Union Jack‘, this seminar is going to explore the impact migration and diasporic communities have on the notion of British national identity. We shall view a range of recent films projecting images of 'old' and 'new' ethnicities in order to investigate how British national identity is getting (re)conceptualised in the days of globalisation and multiculturalism. Course discussions will focus on the interrelations between individual and political identities, and will analyse how these films narrate and negotiate the multiply intertwined transitions from being black in Britain to being a Black Briton. -
Students are required to invest much time and dedication into week-to-week preparations that include not just the viewing of films before each session but also a high amount of reading. A list of films will be agreed upon in the first session, and will be put on restricted loan for you in the Mediathek.

Reading material will be made available on Stud.IP.

Requirements:
# regular attendance and active participation
# in-depth knowledge of the viewing and reading material
# team presentation of a film
# portfolio of worksheets (graded in WD-2b)
# for a grade in D-2a: an additional term paper of 10-12 pp.

Prior enrolment via Stud.IP is mandatory.

In this course we will critically explore concepts of race and racism. Race cannot be grounded biologically but is a social contruct ingrained in economic, political and cultural interests. We will look at race-based theories and discourses to examine race and racism from various perspectives.
The course includes weekly reading assignments and requires active participation in discussions based on a thorough preparation of the required reading and occasional film viewing. In addition, you must always bring at least one question or comment about the required reading with you to class (in hard copy). Students will give an oral presentation including a handout and may write a term paper.
A reader with course material will be made available at the beginning of the class. You will also find a choice of books on reserve shelf in the SUuB, 3rd floor.
Requirements:
Oral participation
In-depth knowledge of the reading material
Oral presentation and handout
Final paper (optional)
Please note that prior enrollment via Stud.IP is mandatory

This course aims to provide students with a critical perspective on Hollywood films that deal with and at the same time construct an imaginary "orient". We will deal with basic features of orientalism and postcolonial theory, film theory and film analysis. Using a number of examples we will engage in a a discussion of Hollywood's orientalism: How is the "east" visualized, how are femininity, masculinity, and sexuality presented, how is interracial romance portrayed and restricted? What kind of fears and anxieties, desires and wishes are hidden behind the narrative and visual schemes of the films?
The course includes weekly reading assignments and requires active participation in discussions based on a thorough preparation of the essential reading and film viewing. In addition, you must always bring at least one question or comment about the required reading to class (in hard copy). Students will give an oral presentation including a handout and may write a term paper.
Additionally to our weekly seminars students are required to watch a number of films. Copies of these films are to be found in the Mediathek of our library on the fourth floor. Overnight checkout is possible.
Essential readings will be available for download on Stud-IP. You will also find a choice of books on reserve shelf in the SUuB, 3rd floor.
Please note that prior enrollment via Stud.IP is mandatory.

Everybody used to agree that Britain is a class society – until Prime Minister Thatcher in the 1980s declared collective concepts such as ‘class’ and ‘society’ as no longer existent: individual responsibility was to replace community ties and release the state from its function as provider of welfare and guarantor of social equity. Recent cultural studies textbooks have followed suit, no longer containing chapters on class. While ‘race’ and gender, queer and postcolonialism define today’s preferred theoretical perspectives on the analysis of culture, class has dwindled to little more than an afterthought in intersectional critical practices. All the while, British films abound in images and narratives of a nostalgic country-house England, and TV shows invite consumer savvy audiences to laugh at ‘chavs’. This course aims to revive attention to ‘class’ as a critical category in understanding contemporary Britain. We shall read some classical and recent attempts to categorize social difference, look at some historical examples of figuring class identities, and will discuss how contemporary films draw on, negotiate and frame class narratives and stereotypes. Topics may range from pubs to palaces, from accents to make-over shows on TV, covering public schools, the demise of the coal industry and the social geography of Brexit referendum results on the way.

Core reading material will be made available on Stud.IP. Films will be put on restricted loan for you in the Mediathek.

Requirements:
# active participation in class discussions
# in-depth knowledge of the viewing and reading material
# team presentation of a self-researched topic or film
# portfolio of worksheets, each 2-3 pages long (graded in WD-2b)
# for a grade in D-2a: an additional long term paper of 10-12 pp., topic to be agreed

Prior enrolment via Stud.IP is mandatory.

Taking its cue from Paul Gilroy’s famous observation, 'There ain’t no Black in the Union Jack‘, this seminar is going to explore the impact migration and diasporic communities have on the notion of British national identity. We shall view a range of recent films projecting images of 'old' and 'new' ethnicities in order to investigate how British national identity is getting (re)conceptualised in the days of globalisation and multiculturalism. Course discussions will focus on the interrelations between individual and political identities, and will analyse how these films narrate and negotiate the multiply intertwined transitions from being black in Britain to being a Black Briton. -
Students are required to invest much time and dedication into week-to-week preparations that include not just the viewing of films before each session but also a high amount of reading. A list of films will be agreed upon in the first session, and will be put on restricted loan for you in the Mediathek.

Reading material will be made available on Stud.IP.

Requirements:
# regular attendance and active participation
# in-depth knowledge of the viewing and reading material
# team presentation of a film
# portfolio of worksheets (graded in WD-2b)
# for a grade in D-2a: an additional term paper of 10-12 pp.

Prior enrolment via Stud.IP is mandatory.

In this course we will critically explore concepts of race and racism. Race cannot be grounded biologically but is a social contruct ingrained in economic, political and cultural interests. We will look at race-based theories and discourses to examine race and racism from various perspectives.
The course includes weekly reading assignments and requires active participation in discussions based on a thorough preparation of the required reading and occasional film viewing. In addition, you must always bring at least one question or comment about the required reading with you to class (in hard copy). Students will give an oral presentation including a handout and may write a term paper.
A reader with course material will be made available at the beginning of the class. You will also find a choice of books on reserve shelf in the SUuB, 3rd floor.
Requirements:
Oral participation
In-depth knowledge of the reading material
Oral presentation and handout
Final paper (optional)
Please note that prior enrollment via Stud.IP is mandatory

This course aims to provide students with a critical perspective on Hollywood films that deal with and at the same time construct an imaginary "orient". We will deal with basic features of orientalism and postcolonial theory, film theory and film analysis. Using a number of examples we will engage in a a discussion of Hollywood's orientalism: How is the "east" visualized, how are femininity, masculinity, and sexuality presented, how is interracial romance portrayed and restricted? What kind of fears and anxieties, desires and wishes are hidden behind the narrative and visual schemes of the films?
The course includes weekly reading assignments and requires active participation in discussions based on a thorough preparation of the essential reading and film viewing. In addition, you must always bring at least one question or comment about the required reading to class (in hard copy). Students will give an oral presentation including a handout and may write a term paper.
Additionally to our weekly seminars students are required to watch a number of films. Copies of these films are to be found in the Mediathek of our library on the fourth floor. Overnight checkout is possible.
Essential readings will be available for download on Stud-IP. You will also find a choice of books on reserve shelf in the SUuB, 3rd floor.
Please note that prior enrollment via Stud.IP is mandatory.

Everybody used to agree that Britain is a class society – until Prime Minister Thatcher in the 1980s declared collective concepts such as ‘class’ and ‘society’ as no longer existent: individual responsibility was to replace community ties and release the state from its function as provider of welfare and guarantor of social equity. Recent cultural studies textbooks have followed suit, no longer containing chapters on class. While ‘race’ and gender, queer and postcolonialism define today’s preferred theoretical perspectives on the analysis of culture, class has dwindled to little more than an afterthought in intersectional critical practices. All the while, British films abound in images and narratives of a nostalgic country-house England, and TV shows invite consumer savvy audiences to laugh at ‘chavs’. This course aims to revive attention to ‘class’ as a critical category in understanding contemporary Britain. We shall read some classical and recent attempts to categorize social difference, look at some historical examples of figuring class identities, and will discuss how contemporary films draw on, negotiate and frame class narratives and stereotypes. Topics may range from pubs to palaces, from accents to make-over shows on TV, covering public schools, the demise of the coal industry and the social geography of Brexit referendum results on the way.

Core reading material will be made available on Stud.IP. Films will be put on restricted loan for you in the Mediathek.

Requirements:
# active participation in class discussions
# in-depth knowledge of the viewing and reading material
# team presentation of a self-researched topic or film
# portfolio of worksheets, each 2-3 pages long (graded in WD-2b)
# for a grade in D-2a: an additional long term paper of 10-12 pp., topic to be agreed

Prior enrolment via Stud.IP is mandatory.

Taking its cue from Paul Gilroy’s famous observation, 'There ain’t no Black in the Union Jack‘, this seminar is going to explore the impact migration and diasporic communities have on the notion of British national identity. We shall view a range of recent films projecting images of 'old' and 'new' ethnicities in order to investigate how British national identity is getting (re)conceptualised in the days of globalisation and multiculturalism. Course discussions will focus on the interrelations between individual and political identities, and will analyse how these films narrate and negotiate the multiply intertwined transitions from being black in Britain to being a Black Briton. -
Students are required to invest much time and dedication into week-to-week preparations that include not just the viewing of films before each session but also a high amount of reading. A list of films will be agreed upon in the first session, and will be put on restricted loan for you in the Mediathek.

Reading material will be made available on Stud.IP.

Requirements:
# regular attendance and active participation
# in-depth knowledge of the viewing and reading material
# team presentation of a film
# portfolio of worksheets (graded in WD-2b)
# for a grade in D-2a: an additional term paper of 10-12 pp.

Prior enrolment via Stud.IP is mandatory.

In this course we will critically explore concepts of race and racism. Race cannot be grounded biologically but is a social contruct ingrained in economic, political and cultural interests. We will look at race-based theories and discourses to examine race and racism from various perspectives.
The course includes weekly reading assignments and requires active participation in discussions based on a thorough preparation of the required reading and occasional film viewing. In addition, you must always bring at least one question or comment about the required reading with you to class (in hard copy). Students will give an oral presentation including a handout and may write a term paper.
A reader with course material will be made available at the beginning of the class. You will also find a choice of books on reserve shelf in the SUuB, 3rd floor.
Requirements:
Oral participation
In-depth knowledge of the reading material
Oral presentation and handout
Final paper (optional)
Please note that prior enrollment via Stud.IP is mandatory

This course is designed as a colloquium for young researchers. Depending on particpants and their research topics, we will read theoretical texts suggested by the participants. Participants are invited to present their research topic, proposal, table of contents and/or written chapters and get constructive feedback in plenum discussions.