Kern der Vorlesungsreihe sind die studentischen Vorträge, die interessante Themen aus einladenden Blickwinkeln beleuchten sollen. Hierbei ist es den Studierenden gerne auch erlaubt eigene Theorien, Ideen und Ansätze zu formulieren. Die Studierenden sind auch eingeladen mit ihrem Vortragsstil zu experimentieren und eigene Vortragsweisen zu entwickeln, bzw. einzubringen.
Da wir prinzipiell davon ausgehen, dass jeder Studierende etwas Interessantes beizutragen hat und alle Studienfächer unterschiedliche Perspektiven auf denselben Gegenstand eröffnen können, befürworten wir ausführliche Diskussionen der vorgestellten Inhalte im Anschluss an die Vorträge. Besonders interessant wird dies, wenn Studierende ihre eigenen Ansätze vortragen und danach zur Diskussion freigeben.
Um die Arbeit der Teilnehmenden an den Veranstaltungen, in dozierender oder diskutierender Form, zu sichern, haben wir uns vorgenommen, die Sitzungen festzuhalten. Aus diesem Grund werden wir während den Sitzungen Film und Ton aufnehmen, um sie anschließend im Internet verfügbar zu machen. So gedenken wir der SV-HD eine möglichst ausdrucksstarke öffentliche Präsenz zu geben. Die ersten Videos sind weiter unten zu finden.
Bemerkung: Die Vorlesungen werden auf Englisch gehalten, die Titel und Beschreibungen sind dementsprechend auch auf Englisch. Dies soll mehr Leuten Zugang zu dem diskutierenten Material gewähren.
Note: The lectures will be held in English to allow as many people as possible to follow the material. The lecture titles and descriptions are thus also in Englisch.
Our interpretation of the world and ourselves is channeled and communicated through narratives. Thus, they represent the fundamental resource of psychology. Narrative structures are necessary since they function as an organizing agent that allows us to ‘make sense’ of what we perceive of the world and ourselves. We use the logic of language to put events into relationships of causality and temporality.
The lecture focuses on the field of narrative psychology and explores the application of narrative theory on psychotherapy, especially psychopathology.
Since this lecture has taken place already it can be found online.
The lecture will be split into three parts:
The first part will map out the use of narratives in paintings and how to decipher them. We will go through different phases of art history to see how the approach to the accessibility and visibility of ‘a narrative’ inside of art pieces has changed over time.
Part two addresses Narratives in Comics from the viewpoint of the artist. Comics tell stories through imagery guiding the reader through the visual landscape, and pieces of dialogue and thought. Comics are interesting in the regards of narratives since narration takes place on different levels of analysis that are most of the time at play simultaneously. Different characters have their own narratives, their thoughts and dialogues tell a different story than the visual landscape that is portrayed, or their actions imply. The art and the texts mingle together but still tell different stories on their own. The most important narrative for this part of the lecture however, is the overarching idea of a plot that pulls all the art and all the utterances together and creates one transcending narrative framework that contains all possible narratives of creation and reception.
The final part of the lecture will focus on how works of art are influenced by socio-political narratives and thereby channel a new kind of (socio-politically) formative narrative themselves.
Since this lecture has taken place already it can be found online.
In the grand scheme, this lecture is concerned with the task of the audience to decipher an artwork’s narrative. We will examine ‘texts’ in the form of spoken language and look at jokes to understand some of the key characteristics of narratives in texts and how they interact with audiences. Then we will move on to compare the aforementioned characteristics with those of narratives in music. We will focus on how music narrates a story but entirely differently than literal narration in spoken language: Music’s narration is more abstract, pre-language, pre-definition. Lastly, we will look at films and enlighten their specific narrative characteristics.
Something we will be concerned with in every part of the lecture is the form of narrative realization that every different medium invokes and how much fantasy or involvement these mediums presuppose to be deciphered.
The lecture can be found online following this link: https://youtu.be/ET9Eu4EDqc8
Every narrative is intertextually and intermedially intertwined with a network of other narratives. Every ‘new’ narrative is only a slight derivation of what has already been produced, after patterns that have most likely already been used elsewhere. This is the reason why we can predict – to some degree - what is going to happen in a movie, book or play. Humans are creatures of structure, pattern and habit. For art, this is also the case: Art is never entirely original.
In this lecture, we will examine the underlying unconscious structure of narratives and show that there are archetypical characters and archetypical plots used instinctively. Learning to recognize, decipher and understand those archetypical components of narratives will help to understand how art (as a narrative) is produced as the result of a cognitive process where the artist puts a little bit of himself into the art but takes everything else from the world that he perceives. And this world that the artist perceives is nothing else but the tangling network of other narratives that inspiration is always coming from.
The lecture can be found online: https://youtu.be/PhRwVGDeemY
In this lecture we will be looking at the relationship between history, culture and narratives. Narratives are used to create a sense of unity between constituents of a culture and thus create, to some degree, the thing that we call culture. This understanding of narratives within the context of culture(s) can be turned into a useful tool of analysis for historic periods and the rites and thoughts. We will be concerned primarily with Asian and Eastern history and cultures.
Originally, we had planned to cancel this lecture because the lecturer couldn't make it after all but we have found a replacement and hope that the lecture will be to your satisfaction.
This lecture focuses on narratives in the sphere of economics. We will look at how narratives are used within strategies of economics
to convey a certain image, to appear a certain way - to make a product or brand appealing. The idea behind this is that people spend their money
rather on something that makes them feel good (about themselves, about the world, their purchase behaviour, etc.) than something that doesn't affect
them emotionally, or worse even that makes them feel uncomfortable.
We will look at interesting phenomenons and new strategies that brands have come up with to put their products into interesting contexts, to build certain narratives that they think will sell.
Computers and most importantly the internet changed the world. The ‘Digital Revolution’ sounded the bell for the Information Age, an era where data is the richest and most valuable resource on the planet, easily accessible for everyone. The internet means infinite information on everybody’s fingertips. But how to deal with such potential? How make sense and use of such impalpable vastness and complexity? Questions like these subsequently gave rise to the genre of encyclopaedic fiction. The canon of this literary movement includes novels such as Thomas Pynchon’s Gravity’s Rainbow, Don DeLillo’s Underworld and David Foster Wallace’s Infinite Jest.
The lecture tries to investigate the phenomenon of encyclopaedism and to understand its origins, motivations, and intentions by focussing on the narrative structure of David Foster Wallace’s fiction, in particular his magnum opus Infinite Jest.