Ute Fendler – författare

Transoceanic and Transmedial Imaginaries in the Indian Ocean explores multiple aesthetic relations constantly in flux, which construct, deconstruct, and reconstruct the Indian Ocean. It addresses the questions of how the arts – music, literature, visual art, and performance – relate to and dynamically create imaginaries of the Indian Ocean as a transcontinental space.Contributors focus on the relations and interference of various art forms, including literature, music, visual arts, installations, and performance as well as local crafts, and cross the boundaries of language(s), which have often separated views of the Indian Ocean along the monolingual logic of disciplines. This book takes a transmedial perspective and studies the Indian Ocean as a fluid space, in which languages, images, music, and dance movements have been traveling and influencing each other for centuries. It analyzes how music, verbal, audiovisual, or performative arts use imagery, sound, narrative, and performances to make alternative relations across space and time and to make transoceanic visions and histories perceptible. Focusing on the aesthetic approach, this book combines various formats to capture the complex and often complementary interconnectedness of different stories told using various media, creating different atmospheres and touching other senses.This book is a novel contribution to the study of the Indian Ocean and will be of interest to an interdisciplinary readership, including literature, cultural studies, visual arts, performance, anthropology, and history, but also social geography, linguistics, and music studies.

Transoceanic and Transmedial Imaginaries in the Indian Ocean explores multiple aesthetic relations constantly in flux, which construct, deconstruct, and reconstruct the Indian Ocean. It addresses the questions of how the arts - music, literature, visual art, and performance - relate to and dynamically create imaginaries of the Indian Ocean as a transcontinental space.Contributors focus on the relations and interference of various art forms, including literature, music, visual arts, installations, and performance as well as local crafts, and cross the boundaries of language(s), which have often separated views of the Indian Ocean along the monolingual logic of disciplines. This book takes a transmedial perspective and studies the Indian Ocean as a fluid space, in which languages, images, music, and dance movements have been traveling and influencing each other for centuries. It analyzes how music, verbal, audiovisual, or performative arts use imagery, sound, narrative, and performances to make alternative relations across space and time and to make transoceanic visions and histories perceptible. Focusing on the aesthetic approach, this book combines various formats to capture the complex and often complementary interconnectedness of different stories told using various media, creating different atmospheres and touching other senses.This book is a novel contribution to the study of the Indian Ocean and will be of interest to an interdisciplinary readership, including literature, cultural studies, visual arts, performance, anthropology, and history, but also social geography, linguistics, and music studies.

Transoceanic and Transmedial Imaginaries in the Indian Ocean explores multiple aesthetic relations constantly in flux, which construct, deconstruct, and reconstruct the Indian Ocean. It addresses the questions of how the arts - music, literature, visual art, and performance - relate to and dynamically create imaginaries of the Indian Ocean as a transcontinental space.Contributors focus on the relations and interference of various art forms, including literature, music, visual arts, installations, and performance as well as local crafts, and cross the boundaries of language(s), which have often separated views of the Indian Ocean along the monolingual logic of disciplines. This book takes a transmedial perspective and studies the Indian Ocean as a fluid space, in which languages, images, music, and dance movements have been traveling and influencing each other for centuries. It analyzes how music, verbal, audiovisual, or performative arts use imagery, sound, narrative, and performances to make alternative relations across space and time and to make transoceanic visions and histories perceptible. Focusing on the aesthetic approach, this book combines various formats to capture the complex and often complementary interconnectedness of different stories told using various media, creating different atmospheres and touching other senses.This book is a novel contribution to the study of the Indian Ocean and will be of interest to an interdisciplinary readership, including literature, cultural studies, visual arts, performance, anthropology, and history, but also social geography, linguistics, and music studies.

Ziel des Bandes ist es, eine auf den Kulturraum Frankreich spezifizierte Einführung in die Medienkunde zu geben, die die Vermittlung der wichtigsten theoretischen Grundlagen und eines Analyseinstrumentariums mit der Veranschaulichung durch konkrete Fallstudien und Demonstrationsbeispiele verbindet. Die systematische Darstellung soll Studienanfängern im Bereich der Landes- und Medienkunde und der immer mehr an Bedeutung gewinnenden interkulturellen Studien eine solide und leicht fassliche Überblicksdarstellung an die Hand geben. Aus dem Inhalt: Teil I: Theoretische und methodische Grundlagen Französische Kultur- und Medienwissenschaft: systematische und historische Dimensionen (Hans-Jürgen Lüsebrink) Die Begriffe Kultur und Medien, Französische Spezifika, Gattungstheorie und Gattungsgeschichte, Kultur- und Mediengeschichte, Kulturelles und kommunikatives Gedächtnis, Rezeptions- und Wirkungsdimensionen: ''Öffentlichkeit'', ''kulturelles Feld'', ''Interkulturalität'' und ''Kulturtransfer'', Bibliographie Grundbegriffe der Semiotik (Georgette Stefani-Meyer) Standortbestimmung und Entwicklung des Begriffs, Fortsetzung der klassischen Ansätze, Der kommunikative Ansatz, Fazit, Bibliographie Teil II: Kulturelle Medien und Gattungen Printmedien (Georgette Stefani-Meyer) Allgemeine Lokalisierung, Kurzer geschichtlicher Abriss, Die aktuelle Presselandschaft in Frankreich, Gegenwärtige Tendenzen, Bibliographie Hörfunk (Klaus Peter Walter) Einführung, Zur Geschichte des Hörfunks in Frankreich, Rundfunktheorie: Materialeigenschaften und Funktionsbestimmung, Der Funktionswandel des Hörfunks: Eine Bestandsaufnahme der gegenwärtigen Radiolandschaft in Frankreich, Bibliographie Kino und Spielfilm (Klaus Peter Walter) Einführung, Eine kleine Geschichte des französischen Spielfilms, Aspekte der Filmanalyse: Mise en scène und Montage, Der französische Kinomarkt gestern und heute: Zahlen, Fakten und Tendenzen, Bibliographie Fernsehen (Klaus Peter Walter) Einführung, Zur Geschichte des Fernsehens in Frankreich, Zur Theorie des Fernsehens: Elemente der Fernsehanalyse, Die französische Fernsehlandschaft der Gegenwart: Eine Bestandsaufnahme, Bibliographie Semi-Oralität (Hans-Jürgen Lüsebrink) Begrifflichkeiten und Strukturen, Semi-Orale Gattungen: Vom illustrierten Flugblatt zum Chanson, Theater und Theatralität, Die Wiederkehr von Körperlichkeit und Performanz, Bibliographie Intermedialität (Ute Fendler) Annäherungen an den Begriff, Geschichte intermedialer Verflechtungen in Frankreich, Ausdifferenzierung der Begrifflichkeiten, Anwendung, Tendenzen der 1980er und 1990er Jahre, Bibliographie Neue Medien: Internet und Multimedia (Christoph Vatter) Zur Entwicklung der Neuen Medien, Neue Medien in Frankreich, Begriffliche Annäherungen, Internet und andere Medien, Problemfelder und Perspektiven, Bibliographie Nachwort Herausforderungen und Perspektiven einer französischen Kultur- und Medienwissenschaft (Ute Fendler / Christoph Vatter)

Cultural, social and economic production is always medially constituted, since it is formed through processing, storage and transmission of certain data or materials. This is why the concept of mediality can be used to stress the performative character of all culture, whose multiplicity of techniques conversely interacts with the mediality in question. The contributors focus on a given cultural medium's genuine structure as a particular deployment without falling into some kind of hardware determinism, therefore considering culture beyond textuality.

The title of Beyond the Line refers to the imaginary "Line" drawn between North and South, a division established by the Peace Treaty of Cateau-Cambrésis in 1559. This is an early modern time and Eurocentric construction, according to which the southern oceanic world has long been taken as symbol of expansionist philosophies and practices.An obvious motivation for changing this "Line" division is the growing influence of the "Global South" in the contemporary economic and political setting. However, another motivation for changing opinions in regard to the "Line" is equally important. We observe an emergent consciousness of the pivotal role of the oceanic world for human life. This requires the reformulation of former views and raises numerous questions. A diversity of connections comes to the mind, which demands the composition of a catalogue of case studies with an oceanic horizon.Through this operation, different problems are being linked together. Which problems encounter historians with their research on fishes in the archives? How to trace records about pirates of non-European descent in the Indian Ocean? Which role play the Oceans as mediators for labor migrations, not only of the Black Atlantic but also of people moving from Asia to Africa and vice versa? What do we know about workers on the oceans and their routes? When considering oceans as "contact zones," with which criteria can their influence in different literary texts be analyzed? Is it possible to study nationalisms taking into account these transoceanic relationships? And how do artists address these questions in their use of the media?Against the background of this catalogue of oceanic questions, "old" stories are told anew. Sometimes, their cultural stereotypes are recycled to criticize political and social situations. Or, in other cases, they are adopted for elaborating alternative options. In this sense, the contributions concentrate on countries like India, Kenya, Angola, or Brazil and cover different academic fields. A variety of objects and situations are explored, which have been and still are determinant for the construction of cultural narratives in view of the modified relationship with the geographically southern oceanic regions.

Cette collection d''articles sur des régions géographiquement et culturellement éloignées comme le sont l''Afrique et l''Amérique Latine, propose de les rapprocher à travers une perspective qui prend en compte les expériences de la (post-)colonisation établissant des parallèles parfois surprenants. Les contributions à ce volume ouvrent des réflexions sur la construction de l''enfance et de la jeunesse dans les systèmes éducatifs, politiques et culturels à partir d''exemples concrets analysés dans des perspectives anthropologiques, juridiques, littéraires et médiatiques. Un paradoxe fondamental se trouve dans l''opposition entre une idée romantique de l''enfance promesse d''espoir et gage d''avenir et l''idée d''instrumentalisation des enfants et des jeunes dans un contexte de violence difficilement assumé par les sociétés respectives.Esta compilación de trabajos sobre regiones geográfica y culturalmente alejadas, como son África y América Latina, las acerca a través de una mirada que toma en cuenta las historias de la colonizaciones y las experiencias postcoloniales con sus sorprendentes paralelismos. Se reúnen así contribuciones que proporcionan indicios para la reflexión sobre la construcción de los conceptos de infancia y juventud en el seno de los sistemas educativos, políticos y culturales, a partir de ejemplos analizados desde diversas perspectivas disciplinarias (antropológicas, jurídicas, literarias y mediáticas). Los escritos están atravesados por la contradicción entre una idea romántica de la infancia portadora de todas las esperanzas y del futuro; y una noción que instrumentaliza y marginaliza a niños y jóvenes, como portadores de una violencia que dificilmente puede ser asumida e integrada en las respectivas sociedades.

Les trois pays du Maghreb que sont le Maroc, l''Algérie et la Tunisie ont connu des modifications sociales et politiques importantes au cours des vingt dernières années. Ces changements ont trouvé dans la littérature et le cinéma un écho thématique et esthétique contribuant au débat interne à la société aussi bien qu''à l''émergence de nouvelles écritures poétiques et de nouvelles esthétiques filmiques. Les contributions à cet ouvrage abordent des conflits jusqu''alors tabou, des souvenirs et mémoires refoulés, des rêves et des utopies négociés de manière que cet espace entre écriture/lecture devient un espace qui peut lier le présent avec le passé et un futur imaginé. Un espace qui lie aussi la mémoire et l''oubli, les constructions d''identité nationale, culturelle, religieuse et sexuelle en rassemblant différentes positions, mais aussi en rendant visible des moments ou aspects invisibles, refoulés, cachés, niés, ou en créant des moments imaginés qui présentent une réalité différente, potentielle, à venir. Avec des contributions de: Mohand Akli Salhi, Abdelaziz Amraoui, Ricarda Bienbeck, Isabelle Charpentier, Verena Domberg, Moulay Driss El Maarouf, Maroua El Naggare, Omar Fertat, Mechthild Gilzmer, Lamia Bereksi Meddahi, Birgit Mertz-Baumgartner, Khadija Mouhsine, Nahed Nadia Nouredine, Khaled Zekri

Depuis ses origines, le cinéma est lié à l''histoire dans une double perspective rétrospective et prospective, qu''il soit geste d''appropriation du passé par la mémoire ou qu''il soit mouvement d''anticipation du futur. Ainsi, la création filmique en Afrique se situe dans la tension entre d''une part, archéologie, histoire et mémoire, et d''autre, part avenir et utopie. Les contributions invitent à réfléchir à la dimension "préemptive", pour reprendre une expression de Patrice Nganang, des cinémas africains, leur capacité à répondre à l''urgence en même temps qu''à anticiper. Elles s''articulent également autour de l''idée d''une continuité temporelle repérable dans les formes cinématographiques entre passé, présent et futur selon la double modalité de l''actuel et du virtuel.Since its beginnings, cinema has been connected with history and this in a double respect: in a retrospective perspective appropriating the past by remembering or in a prospective - "pre-emptive" in the words of Patrice Nganang – perspective – that anticipates future. Thus, the making of films in Africa is situated between archaeology, history and remembrance on the one hand and future and utopia on the other hand. The contributions analyse the prospective dimension of African films, the ability to react to important questions of its respective times as well as to anticipate them, as films are based on the idea of a time continuum linking past, present and future using a documentary and a virtual modality.

From the visual politics of the FRELIMO-liberation script in Mozambique via the brooms and spoons of Le Balai Citoyen in Burkina Faso, to the updating of images from past revolutions on Twitter and Facebook, often in the diaspora – images play a key role in the envisioning of futures and social utopia. And more than that: Revolutions, understood as moments of radical social and cultural change, are driven by images, as empirical investigations on- and offline show. But what actually constitutes the ''seismographic power'' of images, and the sustainability of icons from past ruptures in terms of radicalism, such as the portraits of Burkina Faso''s and Mozambiques first presidents'' Thomas Sankara and Samora Machel? What possibilities do images offer – and what is cut and edited in the process of creating a ''new'' image? How do the visual tactics of analogue and digital protesters alike constitute, alter and create visual and multi-media archives?This book brings together a wide range of papers by international researchers and artists focusing on the relationship of images and revolution mostly in the African context. Images in various artistic media such as photography, art in public space, performance, fashion are discussed, but also the relation of visual culture and politics in Mozambique, Angola and Burkina Faso among others.With contributions from: Stefanie Alisch, Petrus Amuthenu, Ana Balona de Oliveira, Ute Fendler, Katharina Fink, Raí Gandra, Goldendean, Jelsen Lee Innocent, Onejoon Che, Luís Carlos Patraquim, Marco Russo, Nadine Siegert, Serubiri Moses, Johan Thom, Drew Thompson, Fabio Vanin, Ulf Vierke

The present volume brings together contributions which explore artworks – including literature, visual arts, film and performances – as dynamic sites of worlding. It puts emphasis on the processes of creating or doing worlds, implying movement as opposed to the boundary drawing of area studies. From such a processual perspective, Africa is not a delineated area, but emerges in a variety of relations which can reach across the continent, but also the Indian Ocean, the Atlantic or Europe. Contributors are: Thierry Boudjekeu, Elena Brugioni, Ute Fendler, Sophie Lembcke, Gilbert Ndi Shang, Samuel Ndogo, Duncan Tarrant, Kumari Issur, CJ Odhiambo, Michaela Ott, Peter Simatei, Clarissa Vierke, Chinelo J. Enemuo.

This book provides an insight into the complex entanglements between African countries and India, China, and South Korea from multidisciplinary perspectives connecting approaches from cultural, anthropological, literary, and music studies and art history. The three parts present a regional focus, namely Africa-India, Africa-South Korea, and Africa-China while the single contributions speak to each other and offer complementary insights. At the same time, the chapters also link across the regional realms as they deal with similar topics, such as travelling music genres. In part I, for Pombo material culture is the starting point to investigate the connections between the islands of the Indian Ocean and India by questioning the construction of memory. It highlights various aspects of the multilayered history of connections between Africa, the islands, and India. Part II gathers contributions that are complimentary to each other and therefore contribute to the understanding of the complex entanglements in area studies. Part III (Africa-South Korea) explores the impact of African-American arts and artists on South Korea's popular culture as well as the changing perception of artists of African descent in visual popular culture. It shows the impact of Korean content in South Africa.