Vorlesungsverzeichnis Sommersemester 2012 - Institut für ...

Winnicott, “The Fear of Breakdown”
Arbeitsform: Hauptseminar
Online-Anmeldung: Hauptbelegfrist: 26.03.2012 - 02.04.2012
Belegnummer: 14611
*PROF. DR. MARCUS COELEN
”Symptoms” and Their ”Interpretation” ? - Questions of Seeing, Reading, Listening …
2-stündig,
Efrat Biberman / Marcus Coelen / Felix Ensslin / Shirley Sharon-Zisser
”Symptoms” and Their “Interpretation” ? - Questions of Seeing, Reading, Listening ...
A Graduate and Research Students Seminar and Workshop
June 18 to 21 - Tel Aviv University (with preparatory sessions in Munich / Stuttgart, June 8 to 9)
Starting from a discussion of freudian and lacanian texts on the questions of reading and
interpretation as well as on the symptom and other “formations of the unconscious”, this
seminar will proceed as a workshop.
Students are invited to present papers, projects, readings or observations in relation to the general
problematics of interpretation, its limits and impossibilities. Please write to: mcoelen@web.de
(Seminar funded by the DFG / German Research Foundation)
Arbeitsform: Hauptseminar
Belegnummer: 14610
*PROF.DR. TOBIAS DÖRING
Writing the Silence: Poetry and Painting
2-stündig,
Di 10-12 Uhr c.t., Schellingstr. 3 (R) Rg., 205,Döring
Beginn: 17.04.2012, Ende: 17.07.2012
This course invites students to think about -- and work upon -- the intermedial interrelations
between the verbal and the visual arts. As a matter of fact, the challenge of art for poetry has long
and ancient roots. At least since Horace’s classic statement ut pictura poesis (”as with the
painter’s work, so with the poet’s”), writers have often addressed poems to works of art and have
used poetic language to render their visual experience of the world as interpreted by painters. But
poems on paintings must also contend with crucial difficulties: how can words reflect, or recreate,
the richness and complexity of pictures? Would the poet’s or the painter’s medium seem better
suited to represent visual experience? Is there a way in which poetic imagery may go beyond, or
possibly even go against, the image as presented in a painting? This latter question is particularly
relevant for contemporary poets who write from a cross-cultural perspective and sometimes
bring to a familiar painting a new and rather unexpected dimension. This may, for instance, be
the case when the Irish poet Paul Durcan writes about English art or when the Caribbean poet
David Dabydeen, in Turner (1994), writes about J.M.W. Turner’s celebrated painting “Slave
Ship” (1804). Similarly, feminist poets such as U.A. Fanthorpe have written critically on paintings
with conventional images of maidens and madonnas.
Our seminar sets out to investigate poetic texts like these, old or new, against the background of
aesthetic debates on inter-art relations. After the first part in which some of the relevant theory
will be explored, the presentation of poems for discussion is open to participants and their
project groups. Likely examples range from Shakespeare’s The Rape of Lucrece, via D.G.
Rossetti and the Pre-Raphaelites, to John Ashbery’s “Self-Portrait in a Convex Mirror” and other
postmodern as well as postcolonial texts. In preparation, all participants should read the article on
“ekphrasis” in The New Princeton Encyclopedia of Poetry and Poetics (eds Preminger &
Brogan, 1993ff) and the following theoretical groundwork (to be purchased and prepared by all
participants): G.E. Lessing, Laokoon (Reclam UB, 1986). The best comprehensive discussion of
our topic is James A.W. Heffernan: Museum of Words: The Poetics of Ekphrasis from Homer to
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