A University of Leeds project team, in collaboration with the UK National Holocaust Centre and the South African Holocaust and Genocide Foundation, has put together an exhibition on Germany’s Confrontation with the Holocaust in a Global Context.
19th May – 22nd May
Aula Maxima, UCC
Comments from visitors:
“I recommend this exhibition, hosted by our German Department colleagues, very highly. The exhibition, curated by the University of Leeds, focuses on the various ways in which Germans themselves dealt with their responsibility for the Holocaust - silence, denial, anger - but also addresses a whole series of related questions such as memory and memorialisation, the tensions between accountability, justice, reparations and reconciliation and the comparisons to be drawn between differing kinds of genocides and other atrocities and the various ways in which they were addressed.”
“Thanks, Gert. I visited the exhibition today. It was clear, well laid out and thought-provoking.”
“Well done on the exhibition which I had a look at this morning, great to see something like it in UCC. I have a great love for Germany and delighted to see the progress it is making and also the courage to talk/deal with its history.”
“An excellent thought provoking exhibition that gives a good insight into not only how Germans should react to the Holocaust and other atrocities but how all of us should be mindful of actions that lead to isolation, intimidation and mistreatment of any group of people.”
3-4th October 2014, University College Cork
Key-Note: Thomas Leitch (Delaware)
John Banville will speak in interview about adaptation in the context of his work.
In a landmark essay of 2003, Thomas Leitch claimed that “several fundamental questions in adaptation theory remain unasked, let alone unanswered. Everyone knows, for example, that movies are a collaborative medium, but is adaptation similarly collaborative, or is it the work of a single agent—the screenwriter or director—with the cast and crew behaving the same way as if their film were based on an original screenplay?” Rather than returning to reductive but seemingly never-exhausted debates such as the fidelity issue, this conference takes Leitch’s question as its starting point, approaching adaptation from the point of view of the processes and practices involved. Looking at the debate from this perspective makes issues such as authorship, originality, genius, even appropriation less important than questions of collaboration, ensemble, engagement etc. which now become the critical factors in the consideration of an artwork. A focus on the “how?” of adaptation dismantles a hierarchical view of adaptation that is caught in the gravitational field of originality, fidelity and marked by such concepts as primacy and secondarity. Instead the artist is always understood to be in relation.
This conference invites contributions that focus therefore on the creative processes and practices involved in adaptation across the entire spectrum of genres and media. Contributions might consider adaptive processes and practices in terms of:
- The identity of the adapter? The roles of the writer, screenwriter, dramaturge, director, actor, translator, composer etc.
- Collaborative processes
- Audience and Reception
- Adaptation in the “second degree”: adaptations of adaptations
- Transfer of knowledge (including adaptation in the context of “practice as research”)
- Brokering between idioms: communication between collaborators in the adaptive process
For more information please click here
For details click here
The conference is organised by the Department of German, University College Cork, in close collaboration with UCC’s School of Languages, Literatures and Cultures, the Centre for Interdisciplinary Research in Performance Practices and Ionad Bairre, UCC’s Teaching and Learning Centre.
Manfred Schewe/Micha Fleiner/Stefan Kriechbaumer/Niko Preuschoff (University College Cork); Susanne Even (Indiana University, Bloomington)
We wish to thank the following units at University College Cork for their generous support:
- College of Arts, Celtic Studies and Social Sciences
- School of Languages, Literatures and Cultures
- School of Music and Theatre
- Department of German
- Department of Drama and Theatre Studies
We are also very grateful for additional external funding received from:
- Embassy of Austria, Dublin
- Goethe Institute, Dublin
- German Academic Exchange Service, London
- National Forum for the Enhancement of Teaching and Learning
- Bord Fáilte [www.meetinireland.com]
Modernisms Research Centre, UCC
September 14-15, 2012
Keynote Speaker: Professor Janet Lyon
Feminism and modernism have long had an uneasy relationship. The feminist position within modernism, an arguably masculinist complex of movements, is an ambiguous and problematic one which is further complicated when it comes into relationship with activism. Throughout the twentieth century, artists and writers aligned with feminism and the women’s movement have engaged with modernist tropes in a variety of ways, employing literary, filmic and artistic practices both to evaluate political positions and to prosthelytize for them. Much of the recent scholarship on these practitioners has neglected to contextualise their output as work that might operate against or within contemporaneous manifestations of feminist activism.
This conference seeks to explore how feminist activism has intersected with modernism and postmodernism in the arts, examining the tensions, connections, and contributions made to modernisms by participants in the women’s movement and by individual feminist activists. Looking at phenomena ranging from early futurist claims for the autonomy of the female practitioner to an artistic and literary engagement with the second wave of the women’s movement, and the relationship between feminism and poststructuralism, this conference seeks considerations of a variety of approaches from across the twentieth and twenty-first centuries in order to interrogate activist feminism and its relationship to the modernist artworld. Suggested topics might include:
• Feminist modernist appropriations and subversions of the manifesto form
• Feminist modernist texts invervening in public/political/social discourses
• New propositions regarding the activistic currency of familiar/canonical/classics of feminist modernism
• The problems inherent to any such intersections
• Feminist activism by modernist men
• Feminist activism in modernist and avant-garde performance
• New candidates for consideration or integration within a feminist-modernist canon
We would particularly welcome submissions for papers seeking to recalibrate the scholarly discourse on feminist interventions in sociopolitical discourse as they were conceived, attempted and/or successfully executed by modernist artists and writers.
Abstracts of no more than 300 words are invited.
Please email email@example.com by 30 June 2012.
Dr Lee Jenkins, Dr Kerstin Fest, Dr Sarah Hayden, James Cummins, Rachel Warriner
28-30 June 2012
The comparative gesture performs both the act and the question of transition between the terms compared. Understood as an intercultural practice, comparative literature may thus also be understood as both a transitive andtransnationalprocess – creating its own object/form of knowledge as it identifies and analyses lines of relation and exchange between literary cultures. When navigating between languages, it becomes critically engaged with the possibility and methods of such navigation. Meanwhile, interdisciplinary and inter-medial versions of comparative studies likewise centre about transitions which may themselves remain under-analysed.
The very diversity of comparative practices enumerated, and the attendant versions of comparative discourse, indicate a field of study that is itself faced with the reality of transition. As CLAI (Comparative Literature Association of Ireland) establishes a new space for interaction between comparativists of local and global provenance, the possible directions of this transition are of central concern to this first international conference of the Association, organised by University College Cork.
The methodological and definitional nature of transition in comparative literature resonates urgently with the transitional processes both in Ireland and around the world at the present time. As a thematic concern in comparative work, transition is thus also – within whatever historical period or other configuration it is charted and analysed – key to the renewed relevance of comparative literary scholarship and study today.
International conference at the University of Zadar, Croatia 25-27 May 2012
- Gert Hofmann, University College Cork, Department of German
- Snježana Zoric, University of Zadar, Department of Cultural Anthropology
Group photo in the Velebit Mountain, at the “mirila” (traditional resting places of dead bodies on their way to the cemetary)
At an excursion of the conference community: taking rest, after a long and difficult hike, in a deserted hamlet high up in the rocky-romantic Velebit Mountain.
Three generations of conference participants in front of the Central University Building, main venue of the conference sessions.
2-3 September 2011
In an era in which self-expression has undergone an exponential growth fuelled by technological innovation, most importantly, perhaps, the creation of an internet that hosts an ever-increasing number of blogs, tweets, personal webpages and other forms of audiovisual self-expression such as YouTube, it seems timely to think again about the phenomenon of writing, filming, recording and, indeed, publishing or publicizing the self: what innovations in self inscription have recent decades witnessed, what continuities and discontinuities can be traced, what changes in attitudes to the self and to self-revelation or exposure have been witnessed, how have developments in the channels of broadcasting altered how, what and why we engage in various, if always elusive acts of self-expression, are there now new practitioners of self-inscription because of these changes, and, finally, with so many outlets and such a market for narratives of self, how is such material consumed?
Technologies of the Self: New Departures in Self-Inscription is an international, interdisciplinary conference that addresses new media, film, the avant-garde and new theoretical approaches to autobiography post-Lejeune.
Key-Note Speaker: Patricia Ticineto Clough is professor of Sociology and Women’s Studies at the Graduate Center and Queens College of the City University of New York. She is author of Autoaffection: Unconscious Thought in the Age of Teletechnology (2000); Feminist Thought: Desire, Power and Academic Discourse (1994) and The End(s)of Ethnography: From Realism to Social Criticism (1998). She is editor of The Affective Turn: Theorizing the Social, (2007) and, with Craig Willse, editor of Beyond Biopolitics: Essays on the Governance of Life and Death (forthcoming, 2011). Clough’s work has drawn on theoretical traditions concerned with technology, affect, unconscious processes, timespace and political economy. She is currently working on Ecstatic Corona: Philosophy and Family Violence, an ethnographic historically researched experimental writing project about where she grew up in Queens New York.
Special event: Emigholz Event (232kB), filmmaker, artist, writer and producer, as well as Professor of Experimental film at Universität der Künste Berlin and at the European Graduate School in Saas-Fee, Switzerland.
Conference organisers: Patrick Crowley (French, UCC), Kerstin Fest (German, UCC), Rachel MagShamhra?in (German, UCC), Laura Rascaroli (Italian/Film Studies, UCC)
Conference email address: firstname.lastname@example.org
Deadline for submission of proposals: 4 April 2011
Conference language: English
The conference received sponsorship from:
- College of Arts, Celtic Studies and Social Sciences, UCC
- Goethe Institut Irland
- Department of French, UCC
- Department of German, UCC
- Department of Italian, UCC
- Film Studies at UCC
- School of Languages, Literatures and Cultures, UCC
- Cork Marketing Partnership
- Hayfield Manor Hotel
Useful Conference Links
Performance, Publication, Film
A film exploring the genesis and development of the project is now available on YouTube and may be viewed here
Cork's World Theatre is a play about ecological apocalypse as it might manifest itself in Cork. It is a translation/adaptation by Stephen Boyd and Dr Manfred Schewe (Departments of Hispanic Studies and German, UCC) of a German-language original by the distinguished Swiss dramatist, Thomas Hürlimann. Performances of Hürlimann's play, based in turn on a famous 17th-century Spanish text, took place in the open air over the summer months of 2007 in the Swiss pilgrimage town of Einsiedeln, and were seen by some 66,000 people.
Cork’s World Theatre was performed under the direction of Peadar Donohoe (of Cyclone Repertory Company) in UCC's Aula Maxima in November/December 2010.
The published text of the translation, incorporating an extensive introduction, was launched on 16th January, 2012, by Dr Ger Fitzgibbon (former Chair of the Board of Drama and Theatre Studies, UCC) in the presence of the Swiss Ambassador, HE Beat Loeliger.
The book is available from Schibri Verlag, Berlin; for details, see here.
The authors gratefully acknowledge financial support for Cork’s World Theatre Project from the CACSSS Research Publication Fund, the Dublin Embassies of Switzerland, Germany and Austria, the School of Languages, Literatures and Cultures and the Media and Communications Office (UCC).
For more information, please contact Dr Manfred Schewe (email@example.com) or Mr Stephen Boyd (firstname.lastname@example.org)