Tag Archives: Leuphana

2020 Haiku Contest

Compiled by the U.S. Consulate General Leipzig

“bro­ken win­dow” by Ilias Theodoropoulos

Just last month, the U.S. Con­sulate Gen­er­al Leipzig orga­nized a Haiku con­test for both high school and uni­ver­si­ty stu­dents. The mot­to for this cre­ative writ­ing chal­lenge was “Look­ing out­side – Look­ing inside,” that is, notic­ing the con­nec­tions between the change in sea­son and the change in one’s inter­nal land­scape. Stu­dents were asked to put their thoughts and feel­ings into a Haiku con­sist­ing of three lines and 17 syl­la­bles in total.

The con­sulate received about 100 sub­mis­sions from eight Ger­man states and places as far away as Nige­ria. Amer­i­can poet and now also haiku con­test judge, Jen­nifer Kro­novet, select­ed 10 of her favorite Haikus and com­ment­ed on her top three.

The blog edi­tors con­grat­u­late all win­ners. Keep up the good work!

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Digital Age Ruminations: The U.S. Humanities and Employability Concerns

By Andrew Urie

As any­one who has scanned recent U.S. edu­ca­tion head­lines knows, the human­i­ties face a cri­sis of legit­i­ma­tion amidst a tech-dri­ven econ­o­my in which the mantra of ‘job pre­pared­ness’ seems to have trumped the tra­di­tion­al aca­d­e­m­ic notion of human­ist schol­ar­ly inquiry. Faced with the task of defend­ing the rel­e­vance of their field of study, aca­d­e­mics have jus­ti­fi­ably cit­ed the crit­i­cal think­ing skills that are gained via a human­i­ties education.

Saint Anselm Col­lege, a tra­di­tion­al New Eng­land lib­er­al arts college.

More often than not, how­ev­er, many of these very same aca­d­e­mics pro­ceed to under­mine this emi­nent­ly legit­i­mate point by claim­ing that a uni­ver­si­ty edu­ca­tion should bear no rela­tion to voca­tion­al con­cerns. Indeed, when­ev­er any­one par­rots out this shaky line of rea­son­ing, I find myself pon­der­ing the fol­low­ing ques­tion: In what sense has the Amer­i­can uni­ver­si­ty ever stood entire­ly apart from con­cerns about employability?

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A Call for 60s-Style Teach-ins on Anti-Racism

By Sabrina Völz

 

Pho­to Cred­it: “DSC8902 – The Ele­phant in the Room” by damienconway30

Let’s start off with a few telling facts: The ori­gin of the word “racism” stems from the French word racisme which appeared dur­ing the last decades of the 19th cen­tu­ry. In Eng­lish, how­ev­er, accord­ing to the Mer­ri­am Web­ster Dic­tio­nary, “Racism appears to be a word of recent ori­gin, with no cita­tions cur­rent­ly known that would sug­gest the word was in use pri­or to the ear­ly 20th cen­tu­ry.” Now, let that sink in. The peo­ple at Web­ster are also quick to point out that just because the word is “fair­ly new” doesn’t mean that “the con­cept of racism did not exist in the dis­tant past.” No won­der we – and with we, I mean all soci­eties – have a prob­lem with racism. So let’s get to the root of it and root it out.

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So much to stream, so little time? Netflix has a solution.

By Kai-Arne Zimny

Whether it’s the mo(u)rning rou­tine of hav­ing to leave your beloved bed, or the devi­ous­ly bril­liant book that won’t let you stop turn­ing pages while the dig­its relent­less­ly move towards 3 a.m. – there are quite a few occa­sions where hav­ing more time would come in handy.

I’ll spare you any more time-con­sum­ing pas­sages of intro­duc­tion and cut right to the chase:

Net­flix is test­ing a fea­ture that lets users accel­er­ate play­back speed up to 1.5 times the nor­mal speed. Ever since the news went viral, Net­flix was hit hard with back­lash­es from a num­ber of moviemak­ers and actors. Net­flix defend­ed the choice by stat­ing it’s been a “heav­i­ly request­ed fea­ture from subscribers.”

It’s impos­si­ble for me to val­i­date whether that’s true or not; what we do know is that as of now, Net­flix is only test­ing the fea­ture on a small frac­tion of their cus­tomers and only on Android devices. And even if this were to become a reg­u­lar fea­ture, as long as Net­flix doesn’t force cus­tomers to indulge in stream­ing-quick­ies, it’s all fine, isn’t it?

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A Changing Mindset: Teaching “A Mown Lawn” by Lydia Davis

By Sabrina Völz

Thurs­day, Jan. 23, 2020 (10:47 a.m.)
Lydia Davis (1947- ) is a lover of lan­guage and an Amer­i­can writer, prob­a­bly in that order. She’s best known for her min­i­mal­ist writ­ing style and works of brevi­ty (short sto­ries, flash fic­tion, and nar­ra­tives made up of only a cou­ple of lines). One of my favorite prose poems is “A Mown Lawn.” It is lit­er­al­ly one-of‑a kind. Well, almost. I think Davis wrote two polit­i­cal pieces, of which “A Mown Lawn” is one. If you aren’t famil­iar with it, please read it, oth­er­wise this blog might not make sense (see image below).
As some of our loy­al read­ers might recall, my col­league Maria Moss has writ­ten sev­er­al blogs on how to teach poet­ry, includ­ing “Stop­ping by Woods on a Snowy Evening” by Robert Frost and Haikus. But I’m not like her. To be hon­est, I’m some­what leery of the long faces stu­dents often make when they hear the word ‘poet­ry.’ Deter­mined to give it a try, I pre­pared a les­son that would hope­ful­ly help my stu­dents appre­ci­ate Davis’s poem, engage with the top­ics, and think about lan­guage – the pow­er of lan­guage, or should I say, the lack there­of? Any­way, here are my notes:

12:10 p.m.
Off to class. Let’s see how it goes.
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Can Artists Save Us?

By Jessica Müller

How much do celebri­ties, influ­encers, and social media actu­al­ly impact us? The way we con­sume media has changed dra­mat­i­cal­ly over the past decade, and while many of these changes come with a mul­ti­tude of new chal­lenges, social media has also enabled us to com­mu­ni­cate on a glob­al scale. Celebri­ties, influ­encers, artists and the work they pro­mote and pro­duce direct­ly and indi­rect­ly influ­ence our soci­ety and our behav­ior towards our planet.

A while back, rap­per Lil Dick­ey released a song in col­lab­o­ra­tion with thir­ty famous artists and celebri­ties in order to raise aware­ness for the issue of cli­mate change and the dam­ages it pro­duces. Lil Dickey’s song imme­di­ate­ly went viral, and mil­lions of peo­ple watched it. But what is this song actu­al­ly good for? Will it change any­thing at all?

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