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In jüngerer Vergangenheit erlebt der zumeist auf Michel Foucault zurückgeführte Begriff des 'Dispositivs' – ähnlich wie zuvor der des 'Diskurses' – eine regelrechte Konjunktur in den Geistes-, Sozial- und Kulturwissenschaften. Seine Verwendung weist jedoch eine Reihe von Verkürzungen und Entstellungen auf; so werden damit recht pauschal meist bloß die architekturalen und/oder räumlichen Umstände bzw. Kontexte sozialer, medialer oder anderer Situationen bezeichnet, ohne die für Foucault so wichtigen Fragen nach Wissen, Macht und Subjektivität zu beachten. So gerät der Begriff in Gefahr, seine theoretische und analytische Potenz einzubüßen.
In „Im Dispositiv. Macht, Medium, Wissen“ legt die Autorin daher in einem ersten Schritt eine Präzisierung des Dispositivbegriffs vor, der den zugrundeliegenden Theoriehorizont Foucaults systematisch miteinbezieht. Dazu werden zunächst diskurstheoretische Grundlagen erläutert und anschließend deren strukturelle Analogien zu den machtanalytischen Befunden Foucaults mit Hilfe einer neuen Terminologie sichtbar gemacht.
Vor allem in den Medienwissenschaften ist der Begriff des Dispositivs prominent, um die gesellschaftliche Einbettung von Einzelmedien zu pointieren. Jedoch fällt auf, dass der dort in weiten Teilen vertretene Ansatz, Medien als Dispositive zu verstehen, den Blick auf medienspezifische Eigenlogiken verstellt. In einem zweiten Schritt weist die Autorin daher die strukturellen Analogien von Medialität, Wissen und Macht auf und kommt so zu einem integrativen Dispositivkonzept, das die drei Sphären als dynamisch miteinander verknüpfte, interdependente und reziproke Felder von Kultur modelliert.
Content and Language Integrated Learning (CLIL) has experienced growing importance in the last decades and an increasing number of schools have already implemented CLIL programmes or are planning to do so. Though the potentials of CLIL programmes are widely praised, first research results also raise doubts if CLIL students can live up to these high expectations. Both Fehling (2005) as well as Rumlich (2013; 2016), for example, found that CLIL programmes not inevitably show the expected results but that the CLIL students’ success might also be at least partially explained by other influences, such as the selection process of future CLIL students. Hence, CLIL students apparently fall short of the high expectations that are usually connected to the respective CLIL programmes and as this is mainly based on the unsatisfactory quality of these programmes, Rumlich concludes that “it is now high time to focus on the quality of CLIL provision” (Rumlich 2016: 452). He continues to explain that “the promises of CLIL do not materialise automatically owing to the fact that another language is used for learning in a non-language subject” (Rumlich 2016: 452). It must be assumed that the success of CLIL teaching also highly depends on the quality of the CLIL teachers.
In contrast to the continuously growing number of CLIL schools, however, the number of specifically trained CLIL teachers is comparably small. In Germany, CLIL teachers are not (yet) required to attend any special training in order to teach in a CLIL programme. Notwithstanding, is it sufficient for a CLIL teacher only to be trained in the content subject and the foreign language? Or does CLIL teaching require more than the sum of these two components? Do CLIL teachers need additional teaching competences to the ones of a content and a language teacher? In the light of the recent findings of CLIL programmes falling short of the high expectations, the answer to these questions must clearly be “Yes”. Hence, in order to appropriately train (future) CLIL teachers, special training programmes need to be developed which consider the teachers’ individual educational backgrounds, i.e. their qualifications as language and/or as content teachers and build up on these competences through adding the CLIL-specific teaching competences.
Therefore, this thesis aims at developing a German Framework for CLIL Teacher Education, which considers both the already published, theory-based standards of CLIL teacher education as well as the practical perspective of experienced CLIL teachers in Germany. This German Framework for CLIL Teacher Education classifies the different teaching competences, which are derived from integrating the theoretical and the practical perspective on CLIL teacher education, with regard to the three different competence areas, i.e. the general teaching competence, the language teaching competence and the subject teaching competence and is hence adaptable to different CLIL settings and educational backgrounds. In addition to developing this German Framework for CLIL Teacher Education, which provides the content of future CLIL teacher education programmes, this thesis discusses different forms of structurally implementing CLIL teacher education programmes in the existing structures of teacher education in Germany. This is achieved through analysing the current state of the art of CLIL teacher education at German universities and systematising the different forms of implementing these training programmes in the prevailing educational structures. Building on these first two steps, in the third and final step, this thesis develops a CLIL teacher education programme at a German university that is based on the results and elements of the German Framework for CLIL Teacher Education as well as the state of the art of CLIL teacher education in Germany. Thus, this thesis is allocated at the intersection between foreign language teaching as well as teacher education and is structured in eleven chapters.
Focusing on the triangulation of detective fiction, masculinity studies and disability studies, "Investigating the Disabled Detective – Disabled Masculinity and Masculine Disability in Contemporary Detective Fiction" shows that disability challenges common ideals of (hegemonic) masculinity as represented in detective fiction. After a theoretical introduction to the relevant focal points of the three research fields, the dissertation demonstrates that even the archetypal detectives Dupin and Holmes undermine certain nineteenth-century masculine ideals with their peculiarities. Shifting to contemporary detective fiction and adopting a literary disability studies perspective, the dissertation investigates how male detectives with a form of neurodiversity or a physical impairment negotiate their masculine identity in light of their disability in private and professional contexts. It argues that the occupation as a detective supports the disabled investigator to achieve ‘masculine disability’. Inversing the term ‘disabled masculinity’, predominantly used in research, ‘masculine disability’ introduces a decisively gendered reading of neurodiversity and (acquired) physical impairment in contemporary detective fiction. The term implies that the disabled detective (re)negotiates his masculine identity by implementing the disability in his professional investigations and accepting it as an important, yet not defining, characteristic of his (gender) identity. By applying this approach to five novels from contemporary British and American detective fiction, the dissertation demonstrates that masculinity and disability do not negate each other, as commonly assumed. Instead, it emphasises that disability allows the detective, as much as the reader, to rethink masculinity.
How to begin? This short question addresses a problem that is anything but simple, especially when regarding something as sophisticated and multilayered as musical theatre. However, scholars of this vast research area have mostly neglected this question so far. This study analyses and compares the initial sections of late Victorian popular musical theatre and is therefore a contribution to several fields of research: the analysis of initial sections of musical theatre in general, the analysis of the music of popular musical theatre in particular, and therefore operetta studies. The 1890s are especially interesting times for popular musical theatre in London: The premiered works include the last collaborations of Gilbert and Sullivan as well as offshoots of Savoy opera; but the so-called ‘naughty nineties’ also saw the emergence of a new genre, musical comedy, which captured the late Victorian zeitgeist like no other. This new form of theatrical entertainment was carefully and consciously constructed and promoted as modern and fashionable, walking a fine line between respectability and mildly risqué excitement.
Because a deep understanding of the developments and new tendencies concerning popular musical theatre in the 1890s is crucial in order to interpret differences as well as similarities, the analyses of the opening numbers are preceded by a detailed discussion of the relevant genres: comic opera, musical comedy, musical play and operetta. Since the producers of the analysed works wanted to distance themselves from former and supposedly old-fashioned traditions, this book also considers influences from their British predecessors, but also from Viennese operetta and French opéra bouffe.
