This course welcomes students who wish to complete the following modules:
M.A. E_SC ExMo 1 – Extension Module 1
M.A. E-SC ExMo 2 - Extension Module 2
M.A. TnL Profilmodul I: Literatur
B.A. E-SC “Key Topics in Literature”- D2-c; WD-2a and WD-2b
Academic Exchange Students

Teaching method: We will meet in weekly face to face sessions on campus. You will need access to Stud.IP. and a laptop or tablet with sound and audio capabilities. Please make sure to attend our first session if you wish a placement in this class.

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 selections of excerpts clustered around five major topic choices: Green London; Women Writers and London; London’s Imperial Past and Postcolonial Present; London Theatreland and the Shakespearean Stage; and London and Crime. 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. Primary and secondary reading materials will be available for download on Stud.IP.

Please register on Stud. IP and explore the sections “Information” and “Schedule” on Stud. IP. for further details.

Requirements:
• 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 and course materials,
• final exam according to module choice.

In this class we will learn about postcolonial literature and writing back, study tools to literary analysis of drama in self-study, and we will look at how we read texts specifically from a postcolonial perspective. We will read and discuss William Shakespeare’s play The Tempest and several rewrites: two plays: Aimé Césaire’s play A Tempest, Dev Virahsawmy’s play Toufann: A Mauritian Fantasy, and the movie by Julie Taymore’s The Tempest. We will also read a text by Marie Celie-Agnant, a Haitian Canadian writer who will be INPUTS Writer-in-Residence in the coming summer semester and give a reading/talk in our class. Furthermore, we will hear a lecture by Dr. Melba Boyd from Wayne State University, USA, about African American poetry and writing back.
Please purchase the following books at the university book store (on Universitätsboulevard): Shakespeare The Tempest Norton Critical Edition (12 €) and Aimé Césaire A Tempest. Translation by Richard Miller (16 €). All other texts are provided via StudIP.
Class requirements are regular attendance and active class discussion as well as in-depth knowledge of reading and viewing material. Reading the texts and watching the film is mandatory. Please note that prior enrollment through StudIP is mandatory. Maximum number of participants: 30.

In this class we will study Indigenous cultures and literatures in North America, i.e. cultures and literatures of the original inhabitants of Canada and the US. We will read novels and short stories by Indigenous authors, and watch a documentary and movie. Issues to be discussed through our critical readings are colonization and colonial conditions of Indigenous people, including miscegenation and identity, youth cultures, violence against Indigenous women, the residential school experience, hockey and others.
We will read Angeline Boulley’s, Firekeepter’s Daughter (2021) and Richard Wagamese’s Indian Horse (2012). We will also watch the documentary We Were Children on the residential school system and the movie adaptation Indian Horse. As well we will read a Haida Manga.
Please purchase Angeline Boulley’s, Firekeepter’s Daughter (11,50 €) and Richard Wagamese’s Indian Horse (16 €), both books are available at the Universitätsbuchhandlung close to the Mensa; they are available at the beginning of the semester, Indian HOres 3 weeks later.
All other primary and secondary texts will be provided electronically. Requirements beside regular attendance, in-depth knowledge of reading material, and active class discussion will be made known at the beginning of the class. Please note that prior enrollment via Stud.IP is necessary. Max. number of participants 30.

This class introduces students to the study of ‘writing women,’ i.e. to women writers and their representation in fiction, as well as to the issues and stylistic, formal, and cultural practices that are involved when girls and women are written or write themselves into the literary and cultural imagination in North America. With a focus on Canada and the United States in the twentieth century, students will study not only select narrative texts (short stories, full novels and excerpts) but also the diverse, intersecting histories of feminist movements (such as Black, Chicana, Indigenous, or eco feminisms) and their works of feminist literary criticism.

Please acquire copies (print or electronic) of the following book-length texts and start reading them as soon as possible:
• Munro, Alice. Lives of Girls and Women (1971)
• Cisneros, Sandra. The House on Mango Street (1984)
Our university book store on the boulevard has some copies available for purchase.

Further primary and secondary material and information will be made available on Stud.IP. Prior enrolment via Stud.IP is mandatory and admission is limited to a maximum of thirty students. The class is open to M.A. E-SC students studying the Extension Modules 1 and 2, students studying the Vertiefungs- or Profilmodul in the M.A. Transnationale Literaturwissenschaft as well as international exchange students. Please check Stud.IP regularly for updates.

Requirements
• active participation in weekly meetings,
• in-depth knowledge of the reading material,
• graded or ungraded assignment in accordance with the respective module requirements.

The concept of this class is very simple: we will discuss and analyse adaptations based on fantasy literature. Not only will we try to determine what exactly is “fantasy”, but we will also look into the layers of meaning within this vast genre. The goal of this course is to give an overview of what the genre entails, how we can analyse it and what the viewer can take away from it. In order to accomplish this threefold goal, we will look into both the language of film and literary analysis to help us communicate our findings. Students are expected to participate in a presentation and have to submit a film review to receive their grade.

All materials are provided via StudIP.

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. You will first learn the basic principles of improvisational theater and then apply them to improvised scenework. We will also reflect on the impact of improvisational theater on popular culture, its applications e.g. in teaching, explore its practical approaches to comedic as well as dramatic narrative structures and draw comparisons between communication in improvised dialogue and other types of communication.

There will be a regular meeting on Fridays 9.45 - 12.00 during the semester, in which we will cover the basics of improvisational theater, followed by an intensive in the lecture-free period, in which we will work on a specific form and prepare for a performance. If you only want to participate in the intensive you need to have some experience, either from this or a previous semester. There is no obligation to be part of the performances. You can also support the performances by helping with the organization and marketing.

This part of the theatre workshop is based on our introductory work during the semester. Requirement is previous participation in the theatre workshop or some experience with long form improvisational theatre. If you have any questions, please don't hesitate to contact me.

In this class we will learn about postcolonial literature and writing back, study tools to literary analysis of drama in self-study, and we will look at how we read texts specifically from a postcolonial perspective. We will read and discuss William Shakespeare’s play The Tempest and several rewrites: two plays: Aimé Césaire’s play A Tempest, Dev Virahsawmy’s play Toufann: A Mauritian Fantasy, and the movie by Julie Taymore’s The Tempest. We will also read a text by Marie Celie-Agnant, a Haitian Canadian writer who will be INPUTS Writer-in-Residence in the coming summer semester and give a reading/talk in our class. Furthermore, we will hear a lecture by Dr. Melba Boyd from Wayne State University, USA, about African American poetry and writing back.
Please purchase the following books at the university book store (on Universitätsboulevard): Shakespeare The Tempest Norton Critical Edition (12 €) and Aimé Césaire A Tempest. Translation by Richard Miller (16 €). All other texts are provided via StudIP.
Class requirements are regular attendance and active class discussion as well as in-depth knowledge of reading and viewing material. Reading the texts and watching the film is mandatory. Please note that prior enrollment through StudIP is mandatory. Maximum number of participants: 30.

In this class we will study Indigenous cultures and literatures in North America, i.e. cultures and literatures of the original inhabitants of Canada and the US. We will read novels and short stories by Indigenous authors, and watch a documentary and movie. Issues to be discussed through our critical readings are colonization and colonial conditions of Indigenous people, including miscegenation and identity, youth cultures, violence against Indigenous women, the residential school experience, hockey and others.
We will read Angeline Boulley’s, Firekeepter’s Daughter (2021) and Richard Wagamese’s Indian Horse (2012). We will also watch the documentary We Were Children on the residential school system and the movie adaptation Indian Horse. As well we will read a Haida Manga.
Please purchase Angeline Boulley’s, Firekeepter’s Daughter (11,50 €) and Richard Wagamese’s Indian Horse (16 €), both books are available at the Universitätsbuchhandlung close to the Mensa; they are available at the beginning of the semester, Indian HOres 3 weeks later.
All other primary and secondary texts will be provided electronically. Requirements beside regular attendance, in-depth knowledge of reading material, and active class discussion will be made known at the beginning of the class. Please note that prior enrollment via Stud.IP is necessary. Max. number of participants 30.

This class introduces students to the study of ‘writing women,’ i.e. to women writers and their representation in fiction, as well as to the issues and stylistic, formal, and cultural practices that are involved when girls and women are written or write themselves into the literary and cultural imagination in North America. With a focus on Canada and the United States in the twentieth century, students will study not only select narrative texts (short stories, full novels and excerpts) but also the diverse, intersecting histories of feminist movements (such as Black, Chicana, Indigenous, or eco feminisms) and their works of feminist literary criticism.

Please acquire copies (print or electronic) of the following book-length texts and start reading them as soon as possible:
• Munro, Alice. Lives of Girls and Women (1971)
• Cisneros, Sandra. The House on Mango Street (1984)
Our university book store on the boulevard has some copies available for purchase.

Further primary and secondary material and information will be made available on Stud.IP. Prior enrolment via Stud.IP is mandatory and admission is limited to a maximum of thirty students. The class is open to M.A. E-SC students studying the Extension Modules 1 and 2, students studying the Vertiefungs- or Profilmodul in the M.A. Transnationale Literaturwissenschaft as well as international exchange students. Please check Stud.IP regularly for updates.

Requirements
• active participation in weekly meetings,
• in-depth knowledge of the reading material,
• graded or ungraded assignment in accordance with the respective module requirements.