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Who are you writing to? The Addressee in the Autotheoretical, Autofictional and Diaristic Works of Chris Kraus, Ocean Vuong, Alice Diop and Miko Revereza - Detailseite

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Veranstaltungsart Projekttutorium Veranstaltungsnummer 532862
Semester WiSe 2021/22 SWS 2
Rhythmus keine Übernahme Moodle-Link  
Veranstaltungsstatus Freigegeben für Vorlesungsverzeichnis  Freigegeben  Sprache englisch
Belegungsfrist Es findet keine Online-Belegung über AGNES statt!
Veranstaltungsformat Digital


Gruppe 1
Tag Zeit Rhythmus Dauer Raum Gebäude Raum-
Lehrperson Status Bemerkung fällt aus am Max. Teilnehmer/-innen
Mo. 18:30 bis 20:00 wöch 25.10.2021 bis 14.02.2022  0.02 (Seminarraum)
Stockwerk: EG

Soph22 Institutsgebäude - Sophienstraße 22-22a (SO 22)

  findet statt     15
Gruppe 1:

Zugeordnete Person
Zugeordnete Person Zuständigkeit
Schmöl, Carmen verantwortlich
Abschluss Studiengang LP Semester
Bachelor of Arts  Kulturwissenschaft Kernfach ( Vertiefung: kein LA; POVersion: 2014 )   -  
Bachelor of Arts  Kulturwissenschaft Zweitfach ( Vertiefung: kein LA; POVersion: 2014 )   -  
Bachelor of Science  Kulturwissenschaft Zweitfach ( Vertiefung: kein LA; POVersion: 2014 )   -  
Zuordnung zu Einrichtungen
Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, Institut für Kulturwissenschaft

“[…] I tried at various points to write and it always kind of dead ended because I didn’t know who I was writing to. […] I do still write to specific people, I’m very lucky that I’ve had, I have such a great relationship with my editor at Semiotext(e) Hedi El Kholti. I mean we’re collaborators and friends, so it’s not working, it’s a personal relationship first and I really feel like I’ve written a lot of my work to Hedi, he’s my first reader and we have such a kind of shared understanding and pool of cultural references, sometimes I feel as if I’m writing something for Hedi, something that he might think and I’m writing it for him and I felt that was Sylvère, too.”  

In a conversation with Emma Holten at the Louisiana Museum of Modern Art in August 2017, writer and filmmaker Chris Kraus points to the importance of the role of the addressee for and in her writing. Kraus’ reflections seem particularly significant when it comes to questions concerning a writing and filming of the self that is especially evident in diaristic and autofictional modes of contemplation as well as in the discursive reformulations and re-examinations of queer-feminist works in the newly emerging field of autotheory. In this research seminar we will focus on the (fragmented) self in relation to the addressee(s) and ask what this proxemics means for the respective work. To avoid a formalistic and overtly canonical approach, we will work through a series of case studies centered around the textual and cinematic works of Chris Kraus, Ocean Vuong, Alice Diop and Miko Revereza.


From late October, we will subject excerpts from Kraus’ epistolary novel ‘I Love Dick’ (1997) to a critical reading and discuss them together with selected chapters from Lauren Fournier’s recently published study ‘Autotheory as Feminist Practice in Art, Writing and Criticism’ (2021). This reflection will be further enriched by insights into the discursive environment of the publishing house Semiotext(e) and fanned out by the screening of Kraus’ films ‘The Golden Bowl, or Repression’ (1988) and ‘Gravity & Grace’ (1996).


This first part will be followed by a close reading of Ocean Vuong’s autofictional work ‘On Earth We’re Briefly Gorgeous’ (2019), which runs from December to mid-January and can be complemented with passages from Vuong’s poetry collection ‘Night Sky with Exit Wounds’ (2016). The focus will be on the epistolary writing process, a long fragmentary letter written by the protagonist Little Dog to his mother, who won’t be able to read it. Alongside the question of American identity, trauma and war, queerness and the precarious space in which language is written and spoken, we will especially follow the line Vuong accentuates in one of his 2019 interviews: “[…] And that’s why the book is obsessed with it, language is almost another character here. When you have a recipient of a letter who won’t receive it necessarily, the pressure now falls on language: Is it enough? Is the sentence a true architecture to hold thinking and feeling in this world?”. 

Alongside his shorter autobiographical film essays ‘Droga!’ (2014), ‘Disintegration 93-96’ (2017) and ‘Distancing’ (2019), we will engage with Miko Revereza’s diaristic feature film ‘No Data Plan’ (2019) and, with the help of this experimental film work that formulates a milieu of a stateless cinema, trace the question Revereza asks himself in his practice: “How does an undocumented documentary filmmaker document himself?”. In late January, Revereza will join our discussion in which we will explore with him the relevance and necessity of an addressee’s position for and in his cinematic language, and further ask about the ‘wandering psychogeographical journey’ he depicts in his upcoming filmic poetic memoir ‘Nowhere Near’. 

In the last two sessions of February, we will turn to Alice Diop’s documentary film ‘Nous’ (2020) to explore how the ‘I’ in Diop’s cinematic language unfans into a ‘we’ and how the latter reclaims an/the ‘I’ in its trial. We will ask about Diop’s filmic forms of articulation towards a French society, her filmic practice of preserving ordinary life, the rich literary underpinnings of her cinematic work, and what it means for her to write and film autobiographically.


The course is limited to a maximum of 20 participants, please register at and explain briefly which focus you would like or find particularly interesting.


multimediale Präsentation


Keine Einordnung ins Vorlesungsverzeichnis vorhanden. Veranstaltung ist aus dem Semester WiSe 2021/22. Aktuelles Semester: SoSe 2024.
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