Call for Participation: Invitation to Undergraduate Researchers – Poster
Are you an undergraduate student eager to share and discuss your research results with peers as well as faculty from around the world? Are you interested in working together on global issues?
Present your research at the 2nd World Congress on Undergraduate Research, an interdisciplinary congress clustered around six major research themes addressing some of the most significant challenges the global community is facing today.
Learn more at https://uol.de/en/worldcur2019
Get in touch with us through our official Facebook page or by email: WorldCUR2019@uol.de
It gives me great pleasure to invite all of you to the upcoming guest lecture “Wasted Lives, Drowned: Plays on the Refugee Crisis and the Bare Life on Stage” which is scheduled for Tuesday, 20th December 2016, at 10:15 a.m. at GW2, B2900. The lecture will be held by Dr Julia Boll.
Marco Martinelli’s haunting play “Rumore di acque” (Noise in the Waters, 2010) is the portrayal of an embittered modern Charon cataloguing those who drowned attempting to cross the Mediterranean Sea to reach European shores. Shocking and poignant, the play explores the fate of contemporary refugees at a time when the political, geographical and cultural space commonly called ‘the West’ has turned into a huge gated community. Those ‘ousted’ from the ‘Fortress West’, maybe even rendered stateless by denaturalisation decrees, may become refugees or asylum seekers and so find themselves outside the law. The statelessness of refugees is not always to be accredited to the active stripping-away of rights. Zygmunt Bauman points out that ‘their statelessness is raised to an entirely new level’ at a time of crumbling or failed states with no state authority to speak of and no body of state to which the refugees could be referred. They are thus truly ‘hors du nomos – outside law; not this or that law of this or that country, but law as such’.
Correspondingly, French theatre maker Ariane Mnouchkine’s epic production “Le Dernier Caravansérail (Odyssées)” (2003-2005) for her Théâtre du Soleil depicts refugee odysseys across dangerous waters in the desperate search for a new homeland, which turns out to be a place where the refugee is not regarded as deserving of citizen status. In Mnouchkine’s production, the refugees are imagined from a perspective of respect and recognition, and while we witness their odysseys and their often inconceivable plight, the affecting production also lets us experience a sense of hope.
In this talk, I will draw a line between Bauman’s concept of ‘wasted lives’ and the figure Giorgio Agamben has called the homo sacer, or the bare life. The bare life appears in contemporary plays as a victim of war and conflict or as a person or group of people that have been legally ostracised from or have never been part of the community (such as asylum seekers, refugees, illegal immigrants, etc.). Agamben points out that Western politics is based on the simultaneous exclusion and inclusion of bare life into its legislation. Patterns of the depiction of the bare life can be traced across the whole of the Western sphere, allowing for parallels to be drawn between the present-day Western realm and the ancient polis as to their mutual policies concerning the consolidation of borders, citizenship based on exclusion, and a consensus about the human value of those excluded. By contemplating recent plays on the refugee crisis, we may come to an understanding of the way Western civilization defines itself politically and culturally with respect to those it excludes, and we might find an answer as to why a post-modern society sees fit to let people drown at its borders.
Biographical brief Dr Julia Boll
Julia Boll holds a doctorate in drama from the University of Edinburgh, but did her Magister Degree here at the University of Bremen. She was a director of the Scottish Universities’ International Summer School, a teaching assistant at Edinburgh, and also worked for the Edinburgh Review. In 2013, she joined the University of Konstanz to research the representation of the bare life on stage, a project for which, as PI, she has recently received funding from the German Research Foundation. Since 2012, she has also been a member of the multi-disciplinary research project Fiction Meets Science (Univs. of Bremen and Oldenburg). Julia has spoken and published on the theatrical representation of war and violence, on grief and pornography, theatre and transnationalism, questions of ethics in literature on science, neoliberalism in European playwriting, utopia at the theatre, the performance of knowledge, community and the theatre, and the bare life on stage. Her monograph “The New War Plays” was published by Palgrave Macmillan in 2013.
Maiden Thought Theatre and Theatrale Bretter e.V. casting the English–speaking staging (non-profit) of the classic John Lyly play, ‘Gallathea’ in May 2017.
We are looking for:
– 16 actors (all genders) in the Bremen area, acting age 16–80
– 18 years of age by May 2017
– Confident use of English required, second/third-language speakers welcome.
Please send an e-mail with your name, contact number, and preferred audition date to
– 1st professional workshop on December 16–18th.
– Allowances for working people and students can be made regarding rehearsal times.
The Dublin novelist Paul Murray will be reading from his new novel / The Dublin novelist Paul Murray will be reading from his new novel
Paul Murray, Der gute Banker / The Mark and the Void
Freitag, 18. November 2016, 20 Uhr
Buchhandlung Geist, Balgebrückstraße 16, 28195 Bremen
Eintritt: € 8,- / ermäßigt € 5,- Kartenvorverkauf: Buchhandlung Geist
Moderation/Lesung der deutschen Textstellen: Ian Watson
Paul Murray, Der gute Banker (Antje Kunstmann Verlag, 24.08.16)
Vom Autor des Bestsellers Skippy stirbt (dt. 2011). Hat Claude Martingale gehofft, er könne seinem Leben als Banker durch seinen Umzug von Paris nach Dublin die ersehnte Wende geben? Sein neuer Job in der aufstrebenden Bank von Torabundo raubt ihm jedenfalls schnell jegliche Illusion. Auch hier verbringt er, wie alle seine Kollegen, seine Tage und Nächte einzig im Dienste des Geldes. In diese lähmende Eintönigkeit platzt der Schriftsteller Paul, der, auf der Suche nach neuem Stoff, Claude zu seinem modernen Jedermann erkoren hat, zum Helden seines künftigen literarischen Meisterwerks. Unter Pauls höchst erfindungsreichem Einfluss wird Claudes Leben tatsächlich aufregender, besonders als die schöne griechische Kellnerin Ariadne ins Geschehen tritt.
Doch Paul treibt ein doppeltes Spiel, und auch die Bank von Torabundo erweist sich als weniger ehrenwert als erhofft: zwielichtige Übernahmen, dubioser Derivatehandel und eine neue Unternehmensstrategie, die sich »kontraintuitives Handeln« nennt – kann das alles gut gehen?
Paul Murray, The Mark and the Void (Random House, 2015; Penguin 2016)
Winner of the Everyman Wodehouse Prize 2016; a comic masterpiece about love, art, greed and the banking crisis, from the author of Skippy Dies (2010).
What links the Investment Bank of Torabundo, www.myhotswaitress.com (yes, hots with an s, don’t ask), an art heist, a novel called For the Love of a Clown, a four-year-old boy named after TV detective Remington Steele, a lonely French banker, a tiny Pacific island, and a pest control business run by an ex-KGB man? You guessed it …
The Mark and the Void is Paul Murray’s madcap new novel of institutional folly, following the success of his wildly original breakout hit, Skippy Dies. While marooned at his banking job in the bewilderingly damp and insular realm known as Ireland, Claude Martingale is approached by a down-on-his-luck author, Paul, looking for his next great subject. Claude finds that his life gets steadily more exciting under Paul’s fictionalizing influence; he even falls in love with a beautiful waitress. But Paul’s plan is not what it seems-and neither is Claude’s employer, the Bank of Torabundo, which inflates through dodgy takeovers and derivatives-trading until-well, you can probably guess how that shakes out.
The Mark and the Void is a stirring examination of the deceptions carried out in the names of art, love and commerce – and is also probably the funniest novel ever written about a financial crisis.
Mehr über den Autor / More about the author:
Office hours in the lecture-free period (July 11th 2016 – October 14th 2016)
July 13th 2016; July 27th 2016; August 10th 2016; August 31st 2016; September 28th 2016 and upon request
1:00 p. m – 3:00 p. m. – GW2 A3590
Please register on Stud.IP for a time slot of your choice (“Profile” “Appointments”) or alternatively contact me in advance if you would like to arrange an additional appointment (Stud.IP – https://elearning.uni-bremen.de/)