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Es existieren zahlreiche Gattungsgeschichten zur Autobiographie; es gibt neuerdings in der Literaturwissenschaft endlich auch eine Geschichte der Biographie; es fehlt aber eine Untersuchung zu dem komplexen Verhältnis von Autobiographie und Biographie, diesen beiden Grenzgängern zwischen Geschichtsschreibung, Wissenschaft und Kunst. Und doch liegt hier ein methodisch, gattungstheoretisch und ästhetisch ungemein interessantes Beziehungsnetz vor, das, wenn es ausgelegt werden könnte, Rückwirkungen auf die Gattungsgeschichte der Biographie und Autobiographie haben würde.
Das Meer als Faszinosum und Das Meer als Ort von Katastrophen sind nicht zu trennen. Diese kleine Abhandlung beginnt daher mit einer Hommage an das Meer durch Lichtenberg (1793) und endet mit einer nicht weniger einzigartigen minutiösen protokollartigen Darstellung einer "Sturmspringflut" an der Nordsee mit ihren katastrophalen Folgen durch Ernst Willkomm (1854).
Greta Gaard shows how many of the key concerns and objectives of human-animal studies and of related fields such as critical animal studies can be traced back - sometimes directly, at times obliquely - to earlier forms of intersectional activism as well as scholarship by women on behalf of (non)human others. In her account of the emergence of human-animal studies as a distinct institutionalized discourse, Gaard stresses the important contributions made by feminist scholars working at the intersection of fields such as ecofeminism and critical race studies, as well as environmental justice and animal liberation movements. These perspectives have, Gaard argues, greatly contributed to the evolution of human-animal studies into a dynamic and increasingly transdisciplinary field. These developments have opened up numerous lines of inquiry regarding modes of oppression and exploitation across species lines for researchers and students alike while also pointing to, in very practical terms, numerous opportunities for sustainability initiatives, for example, on campuses. Perhaps most importantly, human-animal studies has, Gaard emphasizes, effectively dismantled dominant and destructive conceptions of Western identity, inviting us to reclaim and practice "ecological multispecies kinship, powering and re-storying our collective humanimal resistance and recovery in the Anthropocene."
Spinnenbrille, Dog-Cam und Gassi mit Ziege : Reflexionen über ein tierlinguistisches Projektseminar
(2022)
In her article, "Spinnenbrille, Dog-Cam und Gassi mit Ziege: Reflexionen über ein tierlinguistisches Projektseminar" ("Spider-Glasses, Dog-Cams, and Walkies with a Goat - Reflections on a Project Seminar on Animal Linguistics"), Pamela Steen describes a linguistics seminar that she taught in the summer semester of 2020 at the University of Koblenz-Landau. The author offers a general classification of pragmatic linguistics in HAS in order to justify its categorization as a sub-discipline of cultural animal studies. Steen pays special attention both to the creative methods participants use to incorporate animal perspectives into their research and to the aspect of empathy for animals. This aspect is not only a central linguistic feature but also relevant to the researcher's perspective. A particularly sophisticated method of empathizing with animals are the "spider glasses" developed by a student of Steen's seminar, Katharina Anna-Lena von Werne. In excerpts from her research report, von Werne describes how she sees the world "through the eyes of a spider" and what personal changes this has brought about for her in relation to nonhuman animals.
Jobst Paul proposes an approach to teaching HAS that develops learners' ability to understand and evaluate how representations of animals may function as vehicles for racism, antisemitism, and other dehumanizing ideologies that are based on modes of thinking that provide justifications for animal death, suffering, and exploitation. As Paul notes in "The Philosophical Animal Deconstructed: From Linguistic to Curricular Methodology," the animals that appear in Western philosophical and theological traditions have been disconnected from their referents and have primarily served various human purposes, for example, as figures of thought. Analyzing representations of wolves in the 2019 election campaign by Alternative für Deutschland (AfD), a right-wing German political party, Paul demonstrates how animals have been used to stigmatize and marginalize vulnerable populations such as refugees, and how these stereotypes have, in turn, been instrumental in justifying centuries of violence against nonhuman animals. To help learners understand this vicious circle, Paul introduces a method that can be used in various educational contexts, at different levels, and with learners of all ages. The approach to teaching HAS that he proposes allows learners to reconsider how language and power work through the figure of the animal and to develop the ability to think intersectionally. Particularly in an age of numerous political and environmental crises, there is an urgent need for pedagogical interventions such as the one proposed by Paul.
In "Jagd oder die Kultivierung der Gewalt: Tierethische Sensibilisierung anhand der Filme 'Die Spur' und 'Auf der Jagd'" ("Hunting or the Cultivation of Violence: Sensitizing Students to Animal Ethics using the Films 'Spoor' and 'On the Hunt'"), Björn Hayer proposes an intervention that allows students to understand hunting as a cultural practice and its representation in contemporary film, and to develop greater compassion for nonhuman animals. Arguing that it is possible to relate the cognitive and affective educational goals listed in several secondary school curricula with the objectives of HAS as defined by Gabriele Kompatscher, Hayer sketches a teaching sequence that focuses on two texts featuring hunts: Agnieszka Holland's "Pokot" ("Spoor", the 2017 screen adaptation of Olga Tokarczuk's novel "Drive Your Plow Over the Bones of the Dead") and Alice Agneskirchner's 2018 documentary "Auf der Jagd". Framing his nuanced readings of these two films with recent debates on hunting and animal ethics, Hayer shows that this approach allows secondary school students to develop a better understanding of cinematography. In addition, students also discover how cinematic animals can be used to elicit different cognitive and affective responses that may lead to the development of an ethical regard for nonhuman animals. Contributing to both the literature on animals in film and on related pedagogies, Hayer proposes an approach that could easily be implemented both in secondary schools and in various other educational contexts and settings.
Taking her cue from Margo de Mello's "Teaching the Animal", Maria Moss employs a hands-on, didactic approach to teaching human-animal studies (THAS), introducing texts that she has used in her seminars in the past - from philosophical background materials and sociological surveys to novels, short stories, and poems. In her article, "'The skin and fur on your shoulders': Teaching the Animal Turn in Literature," Moss uses texts that "look at the animals from inside out," ending with a discussion of SF and chimp fiction. From James Lever's "Me Cheetah" to George Saunders's story "Fox 8", she focuses on animal agency within the narrative form, presenting texts that feature animals as narrators. Once we acknowledge that notions of language, cognition, and thinking about the future are no longer limited to human narrators and that "storying" is no longer specific to humans, Moss writes, interspecies storied imaginings mark one possible alternative to the long history of human dominance and exceptionalism - not just in life, but in literature, too.
Teaching empathy and emotions : J. M. Coetzee's "The lives of animals" and human-animal studies
(2022)
In "Teaching Empathy and Emotions: J. M. Coetzee's 'The Lives of Animals' and Human-Animal Studies," Alexandra Böhm focuses on one of the most influential novels in the field of HAS. In her article, she delineates the two main difficulties in teaching Coetzee's text: firstly, the text's protagonist, fierce and fearless Australian author Elizabeth Costello, is often less-than-lovable and offers few grounds for identification; secondly, the text's multilayered structure further problematizes the authorial voice. However, by focusing on Costello's reassessment of emotion and empathy, Böhm convincingly demonstrates that Coetzee's text offers possibilities for understanding the key concepts of HAS, such as animal agency, alterity, and the necessity of assuming a non-anthropocentric perspective. In the narrative, Costello employs empathy in her approach to animals, but is this also true of the metadiegetic level of Coetzee's text? Does the text itself suggest how to teach empathy? Alexandra Böhm demonstrates that it is possible to elicit affective responses to these questions through emotion journals and role-playing.
In her contribution, "Of Birds and Men: Lessons from Mark Cocker's 'Crow Country,'" Michaela Keck discusses strategies for teaching Mark Cocker's encounters with the often-ignored members of the corvid family in "Crow Country" (2007). Part natural history, part pastoral, and part personal memoir, "Crow Country" raises and explores questions central to HAS regarding both dichotomies such as self / other, human / animal, and subject / object, as well as the potential and limitations of anthropocentrism and the narratives humans construct about other animals. As Cocker's twenty-first-century account of the rooks in East Anglia demonstrates, these corvids are neither domesticated nor companion animals. Since students will be familiar with crows and might even consider them a nuisance at times, Cocker's text offers new perspectives for thinking about so-called "trash animals." However, crows are also famous for their cognitive skills and cooperative capacities, and are therefore particularly suitable agents for challenging human-animal distinctions and simple notions of species boundaries. Keck's paper engages with "Crow Country" as an entry point to teaching core questions of HAS, exploring the ways in which Cocker's narrative draws students' attention to the de-/constructions of the birds' natural and cultural history and, conversely, of human animality and/or difference. Focusing on rooks as social constructs and agents, as well as rooks anthropomorphized and reconfigured, Michaela Keck illuminates the role of human-bird relationships in current Anthropocene contexts.
Liza B. Bauer looks at science fiction or speculative fiction writing - the literary genre par excellence for exploring alternative models of human-nonhuman coexistence. In her article "Reading to Stretch the Imagination: Exploring Representations of 'Livestock' in Literary Thought Experiments," she dissects processes of reciprocal negotiation between human and nonhuman beings in texts such as Sue Burke's "Semiosis" and Margaret Atwood's "Oryx and Crake" and "The Year of the Flood." Following Brian McHale's and Donna Haraway's credo that highly unlikely worlds encourage readers to critically reflect on current realities, Bauer addresses the following questions: What if chickens, cows, or pigs had the chance to exist for their own ends? What would happen if they could communicate in human language? Or if they were of superior intelligence? Would they subdue humankind, domesticate their co-inhabitants, or coexist harmoniously? By enacting these scenarios in literary storyworlds, SF proves to be particularly fertile ground, yielding insights into the current and future challenges of coexistence. As Bauer convincingly outlines, immersing ourselves in (science) fictional worlds to practice multispecies living does not seem too far removed from reality. The redistribution of animal agency shows that the passivity to which most livestock animals are condemned is not irrevocable. The well-being of both human and nonhuman animals will depend on whether it is possible to theoretically and practically broaden students' understanding of these entanglements. Since alternatives to animal commodification are thinkable in experimental SF storyworlds, they could constitute, Bauer argues, a significant step toward abolishing animal exploitation.
Roman Bartosch assesses the pedagogical potential of literature and the role of literary studies in an age of climate change, biodiversity loss, environmental destruction and degradation, and animal death and suffering. As he points out, these developments and students' responses to these various crises have received little or no attention in most educational contexts. Furthermore, many of today's curricular goals are essentially useless and meaningless for students facing an uncertain future. Bartosch asks us to reconsider what education could and should be in the Anthropocene, to acknowledge students' needs, and to reflect on why and how we teach literature and literary HAS in particular. As he also shows with his reading of Max Porter's novel "Grief Is the Thing with Feathers" (2015), engaging with literary and cultural animals can be a means to "[cultivate] an interest in acts of relating animality and textuality in ways that open up ambiguity and, thus, imaginative spaces for potential conviviality and flourishing." In contrast to the current emphasis on competencies, solutions, and teleological thinking, this kind of learning, Bartosch suggests, "is geared toward bearing witness, ruminating on its meanings, and thus repositioning oneself within a larger web of ecological and semiotic diversities under threat." Teaching literary HAS and emphasizing "[c]apabilities, resilience, and multispecies flourishing," then, could be important means of preparing students for the uncertain and perilous times ahead.
In "'Preventing Malicious and Wanton Cruelty to Animals': Historical Animal Welfare and Animal Rights Education," Andreas Hübner outlines future historical animal welfare and animal rights education, sketching concepts and themes such as animal agency and historicity as well as the relational, spatial, and material practices employed between humans and animals. Hübner then historicizes present-day attitudes toward anthropocentricism and discusses educational and learning processes that (can) help to overcome human-animal dichotomies in the history classroom. Hübner presents subject-specific recommendations for critically integrating topics into future curricula and shows that it is possible to teach in a way that acknowledges the role of nonhuman actors. He thereby challenges conventional human-centered narratives of historical learning.
Tiere im imperialen Diskurs : die Human-Animal Studies als Unterrichtsparadigma für das antike Rom
(2022)
Steffensen combines human-animal studies with the concept of new political history to explore innovative perspectives for teaching Roman history. He thus provides a framework that allows students to further their understanding of the political dimensions of historical consciousness and to enhance their orientation competency. Students learn to recognize and analyze power structures and relationships in historical and contemporary societies. According to Steffensen, HAS is of utmost significance for the initiation of this process. Animals played important roles in political decision-making processes in ancient Rome, and animals were meaning-making figures in governance discourses. Focusing on the practical and semantic functions of animals in the context of divination and the discourse of decadence, this essay shows that HAS can serve as a starting point for teaching in a way that addresses the formation and utilization of empire. However, Steffensen does not only seek to promote students' understanding of political processes in the past but also hopes to motivate students to assess modern-day politics.
Current objectives of human-animal studies : why the story of Harriet the tortoise should be retold
(2022)
In her article, "Current Objectives of Human-Animal Studies: Why the Story of Harriet the Tortoise Should Be Retold," Mieke Roscher responds to Haraway's call to action in "When Species Meet" in order to propose a political history of animals. To develop this new historiographical approach, she turns to concepts of agency and human-animal interaction as the most widely discussed paths to making visible the involvement of animals in "our" shared history. Built on the story of Harriet, a Galápagos tortoise and a decisive historical figure living in the Galápagos Islands during Darwin's visit in 1835, who died as recently as 2006, Roscher shows how praxiography, material culture, and spatial approaches could be connected to tell different stories to the ones currently being told by traditional historiography. Tortoises and turtles in particular have already influenced historical thinking, not least because they have come to symbolize the extinction discourse as well as debates on climatic change and the Anthropocene. Hence, Roscher introduces a political history of animals that pays attention to agency and relations (and agency as a relation), practices and materialities, spaces and places, and offers a way to retell Harriet's life story - and the life stories of many other animals - in the future.
In light of the dramatic growth and rapid institutionalization of human-animal studies in recent years, it is somewhat surprising that only a small number of publications have proposed practical and theoretical approaches to teaching in this inter- and transdisciplinary field. Featuring eleven original pedagogical interventions from the social sciences and the humanities as well as an epilogue from ecofeminist critic Greta Gaard, the present volume addresses this gap and responds to the demand by both educators and students for pedagogies appropriate for dealing with environmental crises. The theoretical and practical contributions collected here describe new ways of teaching human-animal studies in different educational settings and institutional contexts, suggesting how learners - equipped with key concepts such as agency or relationality - can develop empathy and ethical regard for the more-than-human world and especially nonhuman animals. As the contributors to this volume show, these cognitive and affective goals can be achieved in many curricula in secondary and tertiary education. By providing learners with the tools to challenge human exceptionalism in its various guises and related patterns of domination and exploitation in and outside the classroom, these interventions also contribute to a much-needed transformation not only of today's educational systems but of society as a whole. This volume is an invitation to beginners and experienced instructors alike, an invitation to (re)consider how we teach human-animal studies and how we could and should prepare learners for an uncertain future in, ideally, a more egalitarian and just multispecies world.
Der Beitrag von Aurea Klarskov verhandelt die Genauigkeit als methodischer Parameter in der Etablierung eines neuen künstlerischen Mediums, nämlich der Videokunst. Im Zentrum steht ein Close Reading der frühen Videoarbeit "Slow Angle Walk (Beckett Walk)" (1968) des US-amerikanischen Künstlers Bruce Nauman, welches das Verhältnis von Körper und Technik herausarbeitet: Für die Laufzeit eines Videobandes wiederholt der Künstler eine kurze, gleichbleibende Bewegungssequenz so präzise und gleichmäßig wie möglich, was die Arbeit mit (selbst auferlegter) Körperdisziplinierung und subtilem Zwang rahmt. Der individuelle, verletzliche Körper steht dabei dem vorangegangenen 'Befehl', der die Bewegungen bestimmt sowie der scheinbar objektiv die Situation aufnehmenden Kamera, gegenüber. Diese frühe Arbeit nimmt die Leitthematik späterer Arbeiten Naumans vorweg: die Selbst- und Fremddisziplinierung des lebendigen Körpers, registriert durch die technische Genauigkeit des überwachenden Kameraauges.
Felix Hempe beschreibt eine dritte, zwischen quantitativer und qualitativer Sozialforschung vermittelnde Position der 'disziplinierten Subjektivität', die Siegfried Kracauer im Kontext des Methodendiskurses im US-amerikanischen Bureau of Applied Social Research in den 1950er Jahren entwickelte. Mit der Zuordnung von Genauigkeit zu statistischen Methoden und Präzision zur Beschreibung sozialer Verhältnisse, besteht Kracauer darauf, dass Genauigkeit im Sinne einer Exaktheit der Naturwissenschaften die sozialen Ereignisse und Bedingungen der Lebenswelt als eigentlicher Gegenstand der Sozialforschung nicht "präzise" genug bestimmen kann. Umgekehrt kann qualitative Forschung, die nicht zu einem gewissen Grad kodiert und operationalisierbar gemacht wird, keine Allgemeingültigkeit beanspruchen. Entscheidend wird in dieser Konstellation nun das, was Kracauer eine "disziplinierte Subjektivität" nennt. Methodisch kann sie erst dann gelingen, wenn beispielsweise kritisch reflektiert wird, wie die Imagination des Forschersubjekts vom zu untersuchenden Material angeregt wird. Hempe deutet dieses Verfahren deswegen auch als Vermittlung zwischen Genauigkeit und Imagination.
Lisa Cronjäger untersucht entlang einer aus dem 19. Jahrhundert stammenden forstwissenschaftlichen Taxationskarte von Claës Wilhelm Gyldén, auf welche Weise Zukunft als kartografische Projektion entworfen wird. Das Ziel von Gyldén, den Holzertrag eines Waldes prognostisch zu regulieren, wird hierbei über diagrammatische und kalkulatorische Berechnungs- und Darstellungsverfahren erst möglich gemacht. Die Imagination einer genauen Planbarkeit von Ressourcennutzung, kartografische Genauigkeit und die Unterdrückung von (subalternen) Waldnutzungspraktiken bedingen sich in dieser Konstellation gegenseitig.
'Ultima mano' : Endretusche und Nachbearbeitung in der italienischen Kunsttheorie der Neuzeit
(2021)
Projektion als Entwurfs- und Übertragungsverfahren kann auch ein Kalkül mit offenem Ausgang sein. Diesem Problem widmet sich Laura Valterio in ihrem kunsttheoretischen Beitrag, in welchem das abschließende Moment der 'ultima mano' ins Zentrum gerückt wird. In den kunsttheoretischen Debatten der Frühen Neuzeit wird die 'letzte Hand' gleichermaßen zu einem symbolischen Moment der Vollendung, wie auch der technischen Meisterschaft des Malers. Valterio zeigt, wie die 'ultima mano' als Versprechen der Vollkommenheit stets entrückt bleibt, aufgeschoben wird und damit einen Projektionsraum etabliert, in welchem die Genauigkeit als Akt des Abschließens zur Disposition steht.
Projektionsverhältnisse zwischen Körper, Linien und Zeichen stehen im Zentrum des Beitrags von Li-Chun Lee, der sich den Visualisierungsformen von Pulskurven im europäischen und chinesischen Kontext widmet. Mit Rekurs auf Maurice Merleau-Ponty verfolgt Lee die Frage, wie die leibliche Phänomenalität des Pulses in eine für medizinische Analysen genaue Zeichenform übersetzt werden kann. Lee kann in der Gegenüberstellung von sprachlich-metaphorischen, technischen und grafischen Übersetzungsprozessen eine Situation skizzieren, in welcher unterschiedliche Zeichenregime des Pulses und Genauigkeitsvorstellungen aufeinanderstoßen.