It's
the start of the semester break for students at Heidelberg University,
but forget any expectations you may have of Monday morning lie-ins and
nonstop traveling, for most students the semester break consists of writing term papers and preparing for the next round of courses.
The
summer term doesn't officially begin until mid-April, ( this would
normally be when students at Leicester have finished their classes for
the year!) so students spend the remainder of their free time handing in
essays and collecting credit points.
Not
used to this system of study, it currently feels like I'm competing in a
mental marathon. But saying goodbye to fellow international students
this week who are returning home has reminded me just how temporary the
study abroad experience is.
One
of the best things about studying abroad is the diverse range of
courses on offer, from the fantasy fiction of Tolkein to plays by
American literary greats such as Eugene O'Neille. I've specifically
enjoyed courses on postmodern literature, as these writers offer an
alternative perspective to the conventionally studied canonical writers.
Authors like Zadie Smith, who in NW deftly conveys the diversity
of London, and Tony Harrison who has long produced poetry wrought with
working class concerns. At Heidelberg, you are given free reign to write
on the subjects that most interest you.
Despite
the fact that the end of term is like Mo Farah striving to reach the
finish line after ten thousand miles, the freedom of choice is
liberating and I'm enjoying taking part in the race.
Side note:
This week I had my first experience of visiting a cinema in Germany.
The popcorn servings were huge and the seats super comfy, but the
pleasantries stopped there. Watching 12 Years a Slave was a harrowing experience.
McQueen
did well to capture the hauntingly beautiful landscape of the American
Deep South, and the soundtrack by Hans Zimmer was moving, as was the
stellar cast but the end of the film left me deflated. It would have
been nice to see more character development and subtle resistance, as
opposed to repeated scenes of violence.
Towards the end of 12 Years a Slave,
when the universally liked Brad Pitt strode in as a symbol of idealism
against the Big Bad South the film drifted into a simplistic narrative.
And the main character Solomon Northup once self-sufficient and
quick-witted, was rendered disempowered and dependent.
Whereas Django offers its audience empowerment through comic relief and escapism, 12 Years A Slave's
sombre tone and desire to cling to accuracy, ultimately fails to leave
its audience uplifted nor with a new perspective on the slave
experience.
