Stereotype Vorstellungen von Mathematik und Mathematiker*innen beeinflussen das Interesse von Jugendlichen an MINT-Fächern. Daher plädiert dieser Beitrag dafür, populäre Filme und erfolgreiche Serien nicht nur im Fremdsprachenunterricht, sondern auch im Mathematikunterricht einzusetzen. Durch die Analyse audiovisueller Medien im Unterricht können verzerrte Darstellungen über Mathematiker*innen erkannt, die Gründe dafür benannt und alternative Sichtweisen entwickelt werden. Dies trägt dazu bei, das Bild der Mathematik zu entmystifizieren und den Spaß an Mathe und Englisch zu fördern. Die Einbindung sozialwissenschaftlicher Themen steigert zudem die Motivation der Schüler*innen.

Besides gaining in-depth knowledge in the fields of linguistics, literature, and culture, pre-service teachers of English need to be trained in intercultural competence and reflexive processes, as well as communicative and performative teaching approaches. Heeding the performative turn in cultural studies and drama pedagogy, the article introduces an educational project that was conducted at the Pädagogische Hochschule Vorarlberg (University of Teacher Education Vorarlberg) and that was designed to offer students both a holistic and aesthetic-practical learning experience. Over the course of the semester, students developed the skills necessary to write a scholarly paper and process the insights gained in the drama workshop. From an evaluative discussion with workshop participants, we infer that the combination of discussion-based seminar and drama workshop provides an ideal setting to explore literary texts and cultural-societal questions, as well as performative skills. The article encourages and enables university teachers to carry out similar projects.

“No ideas but in things!” William Carlos Williams’s leitmotif for the modernist epic Paterson seems to anticipate the current renewal of academic attention to the materialities of culture: When the Smithsonian Institution accounts for The History of America in 101 Objects (Kurin) or when Neil MacGregor, designated director of the Humboldt Forum in Berlin, aims at telling The History of the World in 100 Objects (2011), they use specimens of material culture as register and archive of human activity. Individual exhibitions explore the role of objects in movements for social and political change (Disobedient Objects, Victoria and Albert Museum, London). Large-scale national museum projects like the new Humboldt Forum in Berlin or the National Museum of African American History and Culture in Washington, D.C., draw attention to the long existence of collections in Western institutions of learning and reveal the inherently political character of material culture—be that by underscoring the importance of institutional recognition of particular identities or by debates about provenance and restitution of human remains and status objects. The plethora of objects assembled in systematic as well as idiosyncratic collections within and outside the university is just beginning to be systematically explored for their roles in learning and education, funded by national research organizations such as the German BMBF.1 In theatrical performances, things function as discussion prompts in biographical work (Aufstand der Dinge, Schauspielhaus Chemnitz) or unfold their potential to induce a bodily experience (The Force of Things: An Opera for Objects, GK Arts Center, Brooklyn, NY). Things are present: as heritage, as commodities, as sensation; they circulate in processes of cognition and mediation, they transcend temporal and spatial distantiations. Things figure in narration and performance, in our everyday life practices, in political activism. They build knowledge of ourselves and others, influence the ways in which we interact with our fellow human beings, and in which we express or control our feelings. They combine the apparent concrete and the fleetingly abstract. Overall, things make us do things.