Archive

In this workshop, we depart from feminist theory to explore the academic landscape by putting the experiences of scholarly work and practices at the center. By reflecting upon the university as a place of being and becoming, this workshop aims to connect scholars in a sense of shared experiences. 

“What stories are told? How are they told? Where are they told? And told by whom?”

In an informal lunch setting, we aim to open a space for Grada Kilomba to talk about her experiences and insights into knowledge production within and without academia and the praxis of performing knowledge.

Johnson writes about breaking (popularly known as breakdancing) and the foundational aesthetic elements that fuel it as a global phenomenon.

Die Texte vieler Philosophen, von Aristoteles über Hegel bis zu Heidegger und der zeitgenössischen Philosophie, sind geprägt von androzentrischen und sexistischen Implikationen. Das ‚Männliche‘ wird zum Ideal- oder Normalzustand erhoben, die ‚Frau‘ befindet sich in diesen Texten immer zwischen Inklusion und Exklusion.

The lecture addresses the urgent question of reshaping the present in the context of German colonial history. Mirrianne Mahn, of German-Cameroonian origin, has a split role - as a German woman who emphasizes the responsibility to come to terms with the colonial past, and as a descendant of victims of colonialism in Cameroon.

What does it mean to work with an archive about Fasia Jansen, a Black German Holocaust survivor, singer and activist? What are the consequences of the fact that this archive was created mainly from white feminist perspectives?

Welche (Körper-)Bilder ‚des Jüdischen‘ werden in Kunst und Medien (re-)produziert und verhandelt? Als Orte der kulturellen Bedeutungsproduktion haben künstlerisch-mediale Repräsentationen und die Bilder, die sie hervorringen, einen entscheidenden Anteil an Vorstellungen von Judentum und ‚Jüdischsein‘.

The film is divided into three chapters, three acts that follow three different lives of a middle-aged woman of the same name – Draginja.

Age has always been a factor of great sensitivity in the careers of screen actors. In 1957, Edgar Morin wrote that beauty and youth are the inseparable requirements of film stars.

Halla is a fifty-year-old independent woman. But behind the scenes of a quiet routine, she leads a double life as a passionate environmental activist. Known to others only by her alias “The Woman of the Mountain,” Halla secretly wages a one-woman-war on the local aluminum industry.

In recent years, several European films released in movie theaters have cast middle-aged stars in order to portray characters of an older age: relevant examples that come to mind are Alex Lutz playing a washed-up pop singer in Guy (Alex Lutz, 2018), Tilda Swinton embodying her character’s mother in The Eternal Daughter (Joanna Hogg, 2022

The decade of the 2010s and the early 2020s have witnessed the release of several high-profile films in different European countries which featured male protagonists over 60 years of age who were faced with reformulations of their notions of maleness and masculinity and subsequent losses of meaning.

One of the most important characteristics of contemporary societies has been the emergence of the visual and the virtual. Age itself has become a visual phenomenon - whereby the older people, women in particular, have become more strongly defined by their appearance.

Eco-Marxist and Marxist feminist thought frequently draws analogies between unwaged reproductive labor and the unvalued activities of nonhuman nature. But what is the basis of this analogy?

Over the last twenty years, conflict-related sexual violence (CRSV) has become a conspicuous concern of academics, activists, and practitioners. However, fundamental conceptual and political problems are also increasingly visible in the field. I suggest that we now need to turn our attention to knowledge production about gender-based violence.