The practice of creative writing techniques is by no means reserved for future poets and novelists; it also enhances our reading and understanding of how literary texts work and improves general vocational writing skills. The ability to give productive feedback in a respectful way, and in turn integrate this into our own writing, is of the essence.

This class is designed for a maximum of twelve students who want to take the plunge.

You need have no previous experience of creative writing, but you must bring with you both an interest in writing short fiction or poetry and the courage to read your texts in front of the workshop group. Among the approaches used will be re-writing techniques and the practice of specific literary forms which lead to better appreciation of these in existing writers. We will also try out some of the basic elements of poetry (rhyme, rhythm, image) and of narrative technique (i.e. how a story is told).

The bulk of the written work will be done in class as responses to themes or forms set by the teacher. Active participation in the form of regular written contributions will be expected from all who take part.

Online via Zoom
dienstags 18-20 Uhr , bei Bedarf auch später

1. Termin 25.10.22
Weitere Informationen in Stud.IP.

Wenn Sie Interesse an Mobilität und internationalem Austausch haben und wissen wollen, wie die Welt außerhalb Deutschlands aussieht, dann können Sie das virtuell - also quasi klimaneutral, aber hautnah - am Beispiel Südafrika erleben.
Die Veranstaltung findet also als virtueller internationaler Austausch statt und richtet sich unabhängig von einem Auslandsaufenthalt an alle Studierenden, die Interesse an interkultureller Erfahrung haben.
Wir gehen ins Gespräch mit einer Person aus Kapstadt, Südafrika, aus der Coloured Community.
Wir beleuchten Themen wie die südafrikanischen „cultures“ (ethnische Gruppen in Südafrika), Rassismus, Apartheit, die Corona- Situation, Leben und Überleben, Frauen, Bildung und Chancen in Südafrika und südafrikanische Politik.
Es geht aber nicht in erster Linie um Informationsvermittlung, sondern um einen Austausch, bei dem sich die Teilnehmenden aus der Komfortzone heraus bewegen und einen Perspektivwechsel und bestehende Schubladen in Frage stellen können. Dabei sind genaues und wertschätzendes Zuhören und Fragestellen die wesentlichen Instrumente.
Die Veranstaltungssprache ist englisch, daher werden Sie auch die Gelegenheit haben, Ihre Kenntnisse in der flüssigen Umgangssprache (kein Slang!) zu verbessern.
Unsere Gesprächspartnerin lebt nicht privilegiert, hat Apartheid, Machtwechsel und den Aufbruch hautnah und engagiert miterlebt. Sie erzählt und kommentiert, was im heutigen Südafrika von den Hoffnungen geblieben ist und bringt uns Lebensumstände ganz nah, zu denen wir ansonsten nie Zugang haben würden.
Respekt, Geduld und die Bereitschaft, sich in gewisser Hinsicht „verstören“ zu lassen sind Voraussetzungen für diesen Austausch.
Unseren Austausch reflektieren wir gemeinsam meist am Ende eines Treffens.
Teilnahme begrenzt und bei Zusage verbindlich.
Fragen an Dr. Ute Meyer, outgoingfb2@uni-bremen.de

SG Jura: Wahlpflichtmodul im Schwerpunkt Grundlagen des Rechts, Leistungsnachweis:§ 31 II Nr. 2 PO

2 SWS

An Introduction to the Anthropology of the Senses (online), with practical elements in Sound Studies (offline).

This is an English-speaking hybrid module which combines online- and offline elements following principles of research based learning. It has been conceptualized in cooperation with anthropologists from the University of Eastern Finland (UEF), which is an Erasmus and YUFE partner of the Institute of Anthropology and Cultural Research (IfEK) at University of Bremen.
The course is embedded in the long-term project “Making Sense! Entering the Field of Sensory Studies” (https://blogs.uni-bremen.de/makingsense/), funded by the International Fonds of University of Bremen.

Important notice: In this M8-9 course (2 SWS) conducted by Dr. Holzscheiter during winter term 22/23 you will receive max. 6 CPs: 3 CPs for active participation plus 3 CPS for a multimodal work (graded exam); in addition you have the opportunity to continue in a further digital course, more theoretical based, which is conducted by Prof. Dr. Heikki Uimonen, UEF and Dr. Cordula Weisskoeppel (UB) since mid of January 2023 until May 2023 ⇐our summer term 2023 at UB). For this additional E-course you will receive also 3 CPs (active participation) in order to be able to complete 9 CPs for a full M8/9.

Short description for the course during winter term 22/23:
The course is an introduction to the interdisciplinary Field of Sensory Studies. We will explore some important theories on the senses but mostly on the sense of listening. So, our ears will have some “sidekicks” from the other senses: This implicates the idea that our memories of sounds also includes odours, visual sensations or sensations of touch. We will travel through the ideas why European societies used to focus on the visual sense or tended to classify the human senses in better or worse ones.

The course is explorative, so you’ll be trained on using your own senses, as it has become central in the field of sensory studies to use our human body with all the different sensory potentials. But how does it work to focus on only one sense? What happens if you follow the daily sounds and try to document them? Or if you try to catch the smells in your kitchen? How do you look at certain locations in your neighbourhood after contemplating on them just by gazing?

The central approach in this course will be listening, but you will have also the possibility to smell, feel, watch, taste or whatever you are able to sense, maybe with your sixth sense.

A dominant tool of the course is the use of podcasts. We have created them as first instructions to explore landscapes of smells or sounds in specific environments, but you will also be able to create your own soundwalk e.g. in your neighbourhoods. At the end of the course you have the possibility to produce a podcast on your personal experience or to produce another media-project (so called “multimodal exam”), e.g. a map of your childhood-sensations, your sensory experiences of a food trek on the market or whatever.

First reading:
Howes, David (Hg. 2005): Empire of the senses. The Sensual Culture Reader, Oxford/New York: Berg.
Pink, Sarah 2009: Doing Sensory Ethnography. Los Angeles: Sage.
Sterne, Jonathan (ed. 2012): The Sound Studies Reader. London: Routledge.

Gruber, Martin/ Holzscheiter, Javier Gago/ Weisskoeppel, Cordula (eds. 2021): “Making Sense! Entering the Field of Sensory Studies” at: https://blogs.uni-bremen.de/makingsense/;

What does internationality and internationalization of art and theory mean in a global space marked by power and inequality? To what extent and how exactly is an opening of institutions - from a European, white position - possible without repeating in it itself the gesture of privilege? What is our space of possibility and our responsibility as an institution of learning, knowledge production as well as art mediation?
This seminar discusses power, privilege and aesthetics in artistic debates about postcolonial legacies, framings of whiteness and blackness, protest and possible gestures of solidarity or allyship. Artistic works from the fields of performance, visual culture and sound form the starting point for our reflections, but can be expanded to include other media formats.
The aim is to explore the idea of "postcolonial/decolonial imaginaries" and "counterarchives." This means focusing on the forms of counter-knowledge and counter-narratives that enable us to participate in other imaginaries of globality out of experiences of post-coloniality and marginalization. These imaginaries are directed both to the past - interventions in the politics of memory - and to the future: to imagine otherwise. The "archive" as a contested site of memory and knowledge preservation will provide a point of reference to capture these alternative approaches. Of particular interest is, first, the intersections and differences between art and theory. In the context of the questions posed here, what are the respective spaces of possibility of art and theory? To what extent do they have to be distinguished, to what extent can their very bringing together make something new conceivable and testable? Secondly, the central question is what our role as an institution of learning and teaching could be in the counter-archive and how this could perhaps also be transformed.

Selection of texts (a. o.) :
Daniela Agosthino u.a. (W)Archives: Archival Imaginaries, War, and Contemporary Art, Sternberg Press: Berlin 2020.
Ariella Aisha Azoulay, Potential Histories: Unlearning Imperialism. Verso Press: London, New York 2019.
Tina M. Campt, Image Matters. Archive, Photography, and the African Diaspora in Europe. Duke University Press: Durham, London 2012
Avery F. Gordon, The Hawthorn Archive: Letters from the Utopian Margins. Fordham University Press: New York 2018.
Sabrina Moura, “The Museum of Black Civilisations, between History and Utopia” in: ZK, Zeitschrift für Kulturwissenschaften #2 2021, ‘The Post/Colonial Museum’
Claudia Rankine, The White Card, Graywolf Press 2019.

Selection of artists:
Heba Y. Amin, Carrie Mae Weems, Bettina Malcolmess/Anne Historical, Pedro Olivera, Martine Syms, Tabita Rezaire, Renzo Martens and others.

A note on language: some proficiency of English is helpful, but the lecturer will help with difficult text passages and at times translations and is well-versed in both languages: English and German.

Description:
https://www.uni-bremen.de/fileadmin/user_upload/fachbereiche/fb9/zemki/docs/comments/Comments_WiSe22-23/M8_9_ArtemZakharchenko.pdf

Seminar language: English

Description: https://www.uni-bremen.de/fileadmin/user_upload/fachbereiche/fb9/zemki/docs/comments/Comments_WiSe22-23/A3_RaddeAntweiler_DMS.pdf

During the Second World War, the BBC’s German-language broadcasts and British leaflets dropped by the Royal Air Force over the Reich were an important alternative source of information for many Germans. Germany’s media had been strictly censored and manipulated since 1933. Listening to foreign radio stations was illegal and penalties ranged from fines and confiscation of radio sets to imprisonment in a concentration camp, or even capital punishment. But the ban did not prevent Germans from listening to the BBC and reading British leaflets by their millions. British propaganda played a crucial part in British foreign policy and warfare towards Nazi Germany. It not only aimed at informing the German people about the British view of the war, but sought to undermine the German fighting morale and stir up popular resistance against the Nazi regime. Its ultimate aim was to help shorten the war. This seminar will familiarise you with the political aims, strategies and content as well as the bureaucracy and media of British propaganda during 1938 to 1945. We will not only study key texts of the historiography, but will also explore primary source materials.