MLU
Seminar: Aufbaumodul Kulturwissenschaft 2: Kultur und Gesellschaft der Gegenwart/Aufbaumodul: Kulturwissenschaft II; Aufbaumodul Kulturwissenschaft GB/USA 2 (1. Teil) - Details
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Veranstaltungsname Seminar: Aufbaumodul Kulturwissenschaft 2: Kultur und Gesellschaft der Gegenwart/Aufbaumodul: Kulturwissenschaft II; Aufbaumodul Kulturwissenschaft GB/USA 2 (1. Teil)
Untertitel Cutpurses, Thieftakers, Felons, Terrorists: Crime in British History
Semester SS 2017
Aktuelle Anzahl der Teilnehmenden 19
Heimat-Einrichtung Englische Literatur und Kultur
Veranstaltungstyp Seminar in der Kategorie Offizielle Lehrveranstaltungen
Erster Termin Donnerstag, 06.04.2017 08:15 - 09:45
Voraussetzungen Erfolgreich abgeschlossenes Basismodul Kulturwissenschaft
Lernorganisation Texts:
Gay, John. The Beggar’s Opera, to which is prefixed the Musick to each Song. Kindle e-book.
Moore, Alan and David Lloyd. V for Vendetta. New York: Vertigo, 2008.

Further Reading:
Cox, David. Crime in England, 1688-1815. London: Routledge, 2014.
Linebaugh, Peter. The London Hanged: Crime and civil society in the eighteenth century. London: Verso, 2006.
Skye Mackie, Erin. Rakes, Highwaymen, and Pirates: The making of the modern gentleman in the eighteenth cendor tury. Baltimore: John Hopkins University Press, 2009.
Leistungsnachweis Referat und Klausur (B.A.) oder mündliche Prüfung (LA)
Studiengänge (für) alle Studiengänge
SWS 2

Räume und Zeiten

Keine Raumangabe
Donnerstag: 08:15 - 09:45, wöchentlich(14x)
Mittwoch, 17.05.2017 18:00 - 20:00
Mittwoch, 28.06.2017 18:00 - 20:00

Modulzuordnungen

Kommentar/Beschreibung

This course will take a stroll through the seedy underbelly of British history from the sixteenth century to the present. We will concern ourselves with Tudor criminal slang by reading excerpts of a pamphlet by the criminally well-connected Robert Greene (“A Defence of Conny-Catching,” 1592), which will begin a long tradition of cant dictionaries attempting to help the middle classes - and magistrates - catch up with slum and gang communications. We will also have to consider religion as a crime, be it in the burning of dissenters (and their subsequent canonization in Fox’s Book of Martyrs, 1563) or the dismembering of papists (and their subsequent canonization as in the trial of Edmund Campion, now St Edmund). Before that, of course, came the Gunpowder Plot in which religion becomes an excuse for crime as well as a motivation for centuries of anti-Catholic propaganda and legislation. Moving historically on to the first Puritan terrorist organisations, we will consider the Fifth Monarchy Men who tried to bring about the Apocalypse in 1666 by assassinating the freshly restored Charles II (since he embodied their ideas of the Anti-Christ), as well as the seeming Hippie precursors, the Family of Love, a Puritan sect attempting to disseminate Addamist teachings that threw English authorities into a frenzy of persecution. With the dawn of the 18th century, the Enlightenment brought about discussions of the didactic effects of public Tyburn hangings – always a popular family event – as well as London’s first crime scare. The Old Bailey records and the digitalized Newgate Calendar (the third most printed book in the history of England, after the Bible and Bunyan’s allegorical Pilgrim’s Progress) will provide material to analyse contemporary discourses of criminality. Jonathan Wild, the thieftaker, famous highwayman Dick Turpington, and The Beggar’s Opera (1728) attest to the century’s fascination with crime and criminals, while Mary Bryant’s return from transportation led to debates of the effects of overflowing prisons and too distant convict colonies. Porridge (1974-77), a comedy prison tv series continues the criminal classes discourse that Victorians developed while Moore’s graphic novel V for Vendetta (1989) paints a fascist British dystopia of vigilantism and corruption that was meant to criticise Thatcherism in 1980s Britain yet has come to be seen as iconic for the present. Finally, the comedy Four Lions (2010) ridiculed would-be Islamists yet was overtaken by history in a way that makes for profoundly uncomfortable viewing today, despite its BAFTA 2011 award for its director, Chris Morris.