This is course is a mixture between a lecture course and a regular class. Scholars and teachers both from FB 10 and from other universities will deliver lectures on various aspects of our general topic initiating a transdisciplinary discourse on "Gender - Culture - Feminism". In the sessions between the lectures we will discuss corresponding texts and resources to prepare ourselves for the diverse subject matters of the presentations and to critically reflect on their respective ideas and arguments.
Essential readings will be available for download on Stud-IP. You should also consult the 'Semesterapparat' (SuUB) for further readings.
Requirements:
• regular attendance and oral participation
• in-depth knowledge of the reading material
• oral presentation and handout
Please note that prior enrollment via Stud.IP is mandatory.

This course welcomes students who wish to complete the following modules:
MA TnL Vertiefungsmodul 10-M83-3 and Profilmodul III: Film 10-M83-2
MA E-SC Orientierungsmodul LIT (non-graded PASS/FAIL – Studienleistung or grade – Prüfungsleistung)
BA E-SC “Key Topics in Cultural History”- D1b / D1c und WD1b / WD1c

Shakespeare’s plays are as enticing to filmmakers and visual artists as they were in 1899 when the first Shakespeare film was screened. Since then the number of filmic contributions has increased steadily. Divided into three projects depending on the choice of play (Hamlet, Macbeth and Othello) and drawing equally on traditional as well as contemporary ideas, that have emerged in the fields of cultural studies, transnational film, world cinema as well as filmic storytelling, we will explore how three plays by William Shakespeare are re-imagined in different linguistic and cultural contexts in selected late 20th Century and post-2000 productions. Focusing on Vishal Bhardwaj’s Shakespeare trilogy, course participants will be encouraged to investigate these films’ engagement with sexuality and gender, race and ethnicity and questions of power. Since some of the participants are required to submit a research-based term 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 number of DVDs will be available in the “Semesterapparat” in the “Mediathek”, located on the fourth floor of the library building: http://www.suub.uni-bremen.de/standorte/zentrale/mediathek/.
Please note that prior enrolment via Stud.IP is mandatory. Deadline: 15 September 2018.
Assessment:
regular attendance, informed participation in class discussion,
in-depth knowledge of the selected reading material,
homework assignments,
presentation of research paper or group project,
research-based term paper.
The requirements as formulated above may vary depending on your module choice and degree program.
Please be familiar with the following materials:
Filmography:
Haider. (Italics) (India, 2014) Dir. Vishal Bhardwaj
Maqbool. (Italics) (India, 2003) Dir. Vishal Bhardwaj
Omkara. (Italics) (India, 2006) Dir. Vishal Bhardwaj

This course will critically approach popular culture. We will engage in debates on popular culture, discuss various ways and methods of analyzing it and engage in exemplary investigations of specific examples. Employing a cultural historical perspective we will focus on categories of difference such as race, class, gender, sexuality. Students will improve their critical reading skills that can be applied to academic as well as to popular texts. Moreover, we will develop ideas how to productively use popular culture in schools.
Essential readings will be available for download on Stud-IP. You should also consult the 'Semesterapparat' (SuUB) for further readings.
Requirements:
• regular attendance and oral participation
• in-depth knowledge of the reading material
• oral presentation and handout
• term paper
Please note that prior enrollment via Stud.IP is mandatory.

In the course of this seminar, we shall discuss two maths plays and two maths films in terms of their contributions to what is today known as scientific literacy. While Tom Stoppard's outstanding play Arcadia (1993) attempts to maintain a dramatic focus on its thirteen-year-old heroine and maths prodigy, Thomasina, the other play under scrutiny, David Auburn's Proof (2000), presents Catherine, a largely self-taught mathematician, against the backdrop of human attractions, relationships, and conflicts.
In addition to an in-depth analysis of the two plays, we shall discuss the generic make-up of a so-called maths play and compare it to two films. One will be John Madden's adaptation of Proof (2005), starring Gwyneth Paltrow, Anthony Hopkins, and Jake Gyllenhaal. The other example is Matthew Brown's biopic The Man Who Knew Infinity (2015) highlighting the special professional relationship between the Indian mathematician, Srinivasa Ramanujan (Dev Patel), and a prominent Cambridge professor, G. H. Hardy (Jeremy Irons).

requirements:
• regular attendance and active participation
• in-depth knowledge of the reading material
• oral presentation (handout) or
• research in progress and final paper

Please note that prior enrolment via Stud.IP is mandatory. The number of participants is limited to 15 students.


texts:
Auburn, David. Proof. London: Faber & Faber, 2001.
Stoppard, Tom. Arcadia. London: Faber & Faber, 1993.

This lecture will introduce students to the field of transcultural and postcolonial studies and will lay the basis for classes with topics relating to transcultural and postcolonial phenomena, literatures, films, and media. Through a rather dense reading program and some documentary films and webcasts we will learn about colonial histories, neocolonial relations in the globalized world, and key concepts in Postcolonial Studies, such as alterity, hybridity, transculturality, manicheanism, dichotomy, colonial discourse, colonized mind, creolization, hegemony, exoticism, orientalism, essentialism, and syncretism. We will read the writings of the foremost thinkers of postcolonial and transcultural theories, including Frantz Fanon, Edouard Glissant, Gayatri Chakravorty Spivak, Stuart Hall, Homi Bhabha, Walter Mignolo, Edward Said, Wolfgang Welsh, Bill Ashcroft, Gareth Griffiths, and Helen Tiffin.
The lecture will be held in English. All texts will be provided electronically or through Stud IP. Requirements are regular attendance, participation in discussions, and in-depth knowledge of reading materials. Please note that prior enrollment via Stud.IP is mandatory.

Current research in the field of English corpus linguistics challenges the traditional division between foreign language / learner varieties of English (English as a Foreign Language, EFL) and institutionalized second-language varieties of English (English as a Second Language, ESL), the so-called “paradigm-gap”. Despite the manifold differences between EFL and ESL, and although the two types of varieties have traditionally been examined in different research paradigms (EFL in Second Language Acquisition research, ESL in research on World Englishes), there are a number of similarities that warrant a comparative perspective. Both are ‘non-native’ varieties, are acquired in institutionalised settings as foreign or second languages in language contact situations, and, most importantly for the present context, have been assumed to be subject to similar cognitive processes of language acquisition and production. In this seminar we will review the current research literature in the field and then design corpus-based empirical research projects in which students will compare selected EFL and ESL varietes to examine similarities and difference between the two types of varieties.

> Obligatory reading <

Sridhar, K.K. & Sridhar, S.N. 1986. “Bridging the paradigm gap: Second language acquisition
theory and indigenized varieties of English”, World Englishes 5(1), 3–14.
[available as a PDF version in the folder "Dateien > readings"]

> Other suggested reading <

Deshors, S.C. ed., (2018), Modelling World Englishes in the 21st century: Assessing the interplay of emancipation and globalization of ESL varieties. Amsterdam: Benjamins.

Deshors, S.C., S. Götz, S. & S. Laporte, eds. (2016). Linguistic Innovations. Rethinking linguistic creativity in non-native Englishes. Special issue of the International Journal of Learner Corpus Research 2:2.

Gilquin, G. (2015). At the interface of contact linguistics and second language acquisition research. New Englishes and Learner Englishes compared. English World-Wide 36(1), 90-123.

Low, E.L. & A. Pakir, eds. (2017), World Englishes: Rethinking Paradigms. London: Routledge.

Mukherjee, J. & M. Hundt, eds. (2011). Exploring Second-Language Varieties of English and Learner Englishes: Bridging a Paradigm Gap. Amsterdam: Benjamins.

Galloway, N. (2017). Global Englishes and Change in English Language Teaching: Attitudes and Impact. New York: Routledge.

Jenkins, J. (2015). Global Englishes: A resource book for students. London: Routledge.

Schneider, E.W. 2012. “Exploring the interface between World Englishes and Second Language
Acquisition – and implications for English as a Lingua Franca”, Journal of English as a
Lingua Franca 1(1), 57–91.

Seoane, E. & C. Suárez-Gómez, eds. (2016). World Englishes: New theoretical and methodological considerations. Amsterdam: Benjamins.


> Assessment (depending on number of CPs required and regulations of study program) <

• regular, active paticipation
• project presentation
• research proposal for term paper
• term paper based on project

In this course a detailed overview of the growing field of multimodality will be given, examining how different expressive resources (text, pictures, diagrams, layout, movement, sound, ...) combine productively for effective communication, and how problems and failures of communication can be analysed. The course will be example driven, looking at particular kinds of multimodal communication in order to introduce some of the basic theoretical and practical methods developed for state of the art multimodality research.

This class will work through a series of texts from different spatial contexts to address very different aesthetic, political and representational modes and issues of recent Black Diaspora literature.
Required readings will be:
Christina Sharpe, In the Wake,. Duke UP 2016
John Eichler, Verbotenes Land. Ein schwarzer deutscher Roman, Edition 1.70, 2018
Igiaba Scego, Adua (engl. translation) New Vessel Press 2015
Fatou Diome, The Belly of the Atlantic (engl. translation) , Serpent's Tail 2008.
Please check back with Stud-IP regularly for additional secondary material.
Please activate RSS feed for STUD IP announcements, thank you!

This lecture series provides an overview of current research trends, theories and methods in the three profile areas of the MA programme (British, North American and Postcolonial Literatures; Linguistics: Varieties, Medialities, Applications; British, North American and Postcolonial Cultural History) by addressing the three interrelated areas of language, text, and media. In the lectures we will also illustrate individual objects of analysis and highlight research topics and methods that feature prominently in the work currently being pursued by the faculty members participating in the programme. Additionally, we will discuss the film The Tempest (2010, dir. Julie Taymor) in case studies from the perspectives of cultural history, linguistics, and literary studies, including readings of Shakespeare’s play.
Please read William Shakespeare’s The Tempest (ca. 150 pages in Arden Shakespeare Critical Edition, edited by Virginia M. Vaughan and Alden T. Vaughan), available at the book store on campus (Universitätsbuchhandlung, ca 11 €). Other required texts will be provided electronically or in a reader. Requirements are regular attendance, in-depth knowledge of reading material, and active engagement during discussion periods. Please note that prior enrolment via Stud.IP is mandatory.

A more in-depth introduction to further fields of specialisation is given in supporting overview seminars, which present a range of hands-on as well as theoretical and methodological case studies and foundational literature for the profile areas. Two overview seminars have to be chosen in addition to the lecture series in order to complete the Orientation Module.


Syllabus

17 Oct: Cultural History: Intersectional Approaches (Esders)
Required Reading: —Ashplant, Timothy G. and Gerry Smyth (eds.) Explorations in Cultural History. Part 1. London: Pluto Press. 2001. downloadable via E-Lib SuUB
http://search.ebscohost.com/ login.aspx?direct=true&scope=site&db= nlebk&db=nlabk&AN=72495


24 Oct: Cultural History: Postcolonial Histories, Theories, Concepts (Knopf)
Required Reading: —Bill Ashcroft et.al. “Introduction” The Empire Writes Back: Theory and Practice in Postcolonial Literature. London and New York: Routledge, 1989.
—Edward Said “Orientalism”. Ashcroft, B., Griffiths, G. and Tiffin, H. eds. The Post-Colonial Studies Reader. 1995. London and New York: Routledge, 2005.
—Bill Ashcroft, Gareth Griffith, Helen Tiffin: “alterity”, “colonial discourse”, “cultural diversity”, “centre/margin, (periphery)”, “decolonization”, “ethnicity”, “essentialism/strategic essentialism”, “hegemony”, “hybridity”, “manicheanism”, “Other/other”, “othering”, “syncretism”, in: Post-Colonial Studies: The Key Concepts. London and New York: Routledge, 2002.
—Kerstin Knopf “Notes: Colonization/Decolonization”


31 Oct: no lecture – Reformation Day


7 Nov: Literatures: Racism in American Literature (Broeck)
Required Reading: —Richard Gray, A Brief History of American Literature. Chichester: Wiley-Blackwell, 2011. Chapters 3, 4 and 5, downloadable on http://people.unica.it/fiorenzoiuliano/files/2016/04/A-Brief-History-of-American-Literature-Wiley-Blackwell-2011.pdf


14 Nov: Literatures: Literature and Science (Schaffeld)
Required Reading: —Rogers, Janine. Unified Fields: Science and Literary Form. Montreal and Kingston: McGill-Queen’s University Press, 2014. Chapter 1.


21 Nov: Linguistics: Corpus linguistics and the study of (postcolonial) varieties of English (Callies)
Required Reading: —Nelson, G. & Ozón, G. World Englishes and corpus linguistics. In E. L. Low & A. Pakir (eds.), World Englishes. Changing paradigms. London and New York: Routledge, 2018. 149-164.


28 Nov: Linguistics: Multimodal Linguistics (Bateman)
Required Reading: —Bateman, J. A.; Wildfeuer, J. & Hiippala, T. Multimodality – Foundations, Research and Analysis. A Problem-Oriented Introduction. Berlin: Mouton de Gruyter, 2017. Chapter 1: “Introduction: The challenge of multimodality”. 7-21.
—Kress, G. & van Leeuwen, T. Multimodal discourse: the modes and media of contemporary communication. London: Arnold, 2001. Chapter 1: “Introduction”. 1-23.
—Bateman, J. A. “The constitutive role of semiotic modes for the theory and practice of multimodal analysis”, in Christina DeCoursey, ed., Language Arts in Asia 2: English and Chinese through Literature, Drama and Popular Culture, Newcastle, UK: Cambridge Scholars Publishing, 2014. 8-33.


5 Dec: no lecture – Dies Academicus


12 Dec: Postcolonial Literatures and Writing Back (Knopf)
Required Reading: —Helen Tiffin “Post-Colonial Literatures and Counter-Discourse”. Ashcroft, B., Griffiths, G. and Tiffin, H. eds. The Post-Colonial Studies Reader. 1995. London and New York: Routledge, 2005.
—Katja Sarkowsky, Frank Schulze-Engler “Writing Back”. Middeke, Müller, T., Wald, C., Zapf, H., eds. English and American Studies: Theory and Practice. Stuttgart and Weimar: Metzler, 2012.
—from Thomas King Green Grass, Running Water
—from Aime Cesaire A Tempest


19 Dec: Cultural History and Literatures: Contemporary Travel Writing as Counter-Narratives (Nittel)
Required Reading: —López Ropero, María Lourdes. “Travel Writing and Postcoloniality: Caryl Phillips's The Atlantic Sound.” Postcolonial travel writing: Critical explorations, edited by Justin D. Edwards and Rune Graulund, Palgrave Macmillan, 2011. 72-84.


8 Jan: 18-20 hours: Screening of The Tempest (2010, dir. Julie Taymor) (Knopf)


9 Jan: Case Study in Linguistics: A Multimodal Analysis of The Tempest (Bateman)
Required Reading: —Bordwell, D. Poetics of Cinema. London and New York: Routledge, 2007. Chapter 2: “Convention, Construction, and Cinematic Vision”. 57-74.
—Bateman, J. A. & Schmidt, K.-H. Multimodal Film Analysis: How Films Mean. London and New York: Routledge, 2012. Chapter 1: “Analysing film”. 1-26.
—Bateman, J. A., Wildfeuer, J. & Hiippala, T. Multimodality – Foundations, Research and Analysis. A Problem-Oriented Introduction. Berlin: Mouton de Gruyter, 2017. Chapter 13: “Film and the moving (audio-)visual image”. 327-339.


16 Jan: Case Study in Cultural History: A Postcolonial and Gender-Critical Reading of The Tempest (Maassen)
Required Reading:


23 Jan: Case Study in Linguistics: Postcolonial Varieties of English in The Tempest (Callies)
Required Reading: —Schneider, E. W. English Around the World. Cambridge: Cambridge University Press, 2011. Chapters 2 and 3


30 Jan: Case Study in Literary Studies: Julie Taymor’s The Tempest as Filmic Metatext (Schaffeld)
Required Reading: —Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation, edited by Robert Stam and Alessandra Raengo. Blackwell, 2008. 1-52, esp. 26-31.

Assessment and evaluation take on an important role in foreign language learning and teaching, since they allow insights into learner development and achievement. It is not only the learners who get feedback and thus can plan their next steps. The teachers, as well, benefit from assessment and evaluation by gaining insights into the effectiveness of their teaching.
In the seminar, we will discuss basic concepts and notions in the field of language assessment and reflect on the complex interactions between learning, teaching and assessment. Against the backdrop of this theoretical basis, we will critically analyse assessment instruments applied in foreign language classrooms and finally develop instruments for diagnostic and assessment practice ourselves.

ASSESSMENT

regular attendance and active participation
careful reading and preparation of assigned readings and tasks
short in-class presentation
term paper

Please note that prior enrollment via Stud.IP is mandatory.

Für TnL Studierende: 3 CP Praxismodul Film (Teilnahme mit schriftlicher Arbeit)
For E-SC Master Students: 1 CP Supplementary Studies Module (Participation only), 3 CP (Participation and written paper)
For Erasmus students: 1 CP General Studies Module (Participation only), 3 CP (Participation and written paper)

Im 2-tägigen Masterworkshop werden teilnehmende Studierende die Produktionsprozesse von Spielfilmen von der Idee, der Entwicklung und Postproduktion eines Films kennenlernen. Sie bekommen so Einblick in einen Aspekt des Filmemachens, der weitestgehend für FilmwissenschaftlerInnen und Publikum verborgen bleibt. Die breite kulturelle und international Verortung des Produzenten Sven Schnell (mit lateinamerikanischem kulturellem Hintergrund – Peru) eröffnet eine transkulturelle und transnationale Perspektive auf den praktiven Produktionsprozess eines Filmes. Der Workshop wird in einem kombinierten Lehr- und Praxismodus durchgeführt.
Der Workshop wird abhängig von den TeilnehmerInnen auf Deutsch oder Englisch durchgeführt.

In the 2-day master workshop participating students will get to know the production processes of dramatic films, starting from the idea up to development, production and post production of a film. They will thus gain an insight into an aspect of filmmaking that remains mostly hidden from film scholars and audience. The broad cultural and international background of the producer Sven Schnell (with Latin-American cultural background - Peru) opens a transcultural and transnational perspective towards the practical production process of a film. The workshop will be held in a combined teaching and practical modus. The workshop will be conducted in either English or German, depending on the participants.

In this workshop we will explore and experiment with contemporary methods of improvisational theater, which is the art of making up theatrical moments on the spot, without a script. It is one of the liveliest and most current forms of theater of today and ingrained in US popular culture. This workshop will introduce the basic principles of improvisational theater, reflect on its impact on popular culture and explore its practical approaches to comedic as well as dramatic narrative structures.