TY  - JOUR
A1  - Mencke, Johanna
T1  - Multimodalität als strategisches Framing – Die mediale Selbstinszenierung von Marion Maréchal-Le Pen (FN) in den sozialen Netzwerken
JF  - promptus - Würzburger Beiträge zur Romanistik
N2  - The present study focuses on Marion Maréchal-Le Pen’s self-representation on social media. Despite her youth, the niece of the party’s chairwoman and granddaughter of its founder is a distinguished member of the French radical right-wing populist and nationalist party Front National. The corpus-based analysis of her digital presence on Twitter, Instagram and Facebook on which this paper is based shows a specific use of linguistic and multimodal resources as a means of strategic framing of political content. In particular, an analysis of Maréchal-Le Pen’s use of searchable hashtags and @mentions referring to different political and non-political actors reveals it as a strategy of polarization between a constructed us and a negatively connoted them.
KW  - Web 2.0
KW  - Marion Maréchal-Le Pen
KW  - Front National
KW  - politischer Diskurs
KW  - Twitter
KW  - Facebook
KW  - Instagram
KW  - social media
KW  - framing
KW  - multimodality
KW  - political discourse
KW  - technomots
Y1  - 2018
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:20-opus-173990
SN  - 2364-6705
VL  - 4
ER  - 
TY  - JOUR
A1  - Kurth, Sarah
T1  - La semiótica escenográfica en Todo lo demás (2016), de Natalia Almada
JF  - promptus - Würzburger Beiträge zur Romanistik
N2  - In the wake of the general tendency towards slow cinema which has been evolving in Mexican cinema, cinematographic devices have gained importance not only with regard to the construction of a persuasive narrative but also in terms of the aesthetic constitution of the movie itself. Not only is this observation evident in the absence of camera movements but also in the semiotic depth of mise en scène resulting from this circumstance. Natalia Almada’s movie Todo lo demás (2016) provides an impressive example of both the repercussions of this technique in the representation of loneliness as well as the suggestive power of the scenographical composition. Hence, the ensuing analysis of those scenes referring to water is to elucidate the semiotics of mise en scène and its influence on the representation of the main character and the repetitive routine constricting her freedom.
KW  - Mexican cinema
KW  - Todo lo demás
KW  - Natalia Almada
KW  - mise en scène
KW  - semiotics
Y1  - 2018
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:20-opus-187979
SN  - 2364-6705
VL  - 4
ER  - 
TY  - JOUR
A1  - Eibensteiner, Lukas
A1  - Koch, Christian
T1  - El uso de los tiempos del pasado en español como lengua extranjera: Una comparación de aprendientes escolares austriacos con políglotas románicos
JF  - promptus - Würzburger Beiträge zur Romanistik
N2  - The normative use of past tenses is supposed to be a big challenge for learners of Spanish. Although they might understand the grammatical chapter in theory, adequate past tense use in spontaneous oral production is not guaranteed. Morphological errors, overgeneralizations of tenses and interferences with other languages characterize the interlanguage of the learners. Based on two corpuses, we analyse how the past tense use differs between secondary school students from Austria and Romance polyglots. Qualitative and quantitative analyses show that polyglot speakers surpass the secondary school students in some areas such as the distinction of verbal aspect. However, the students tend less to use the perfecto compuesto in an inadequate way in narration.
KW  - Vergangenheitstempus
KW  - Spanisch
KW  - Vergangenheitstempora
KW  - Tempus- und Aspekterwerb
KW  - Spanisch als Fremdsprache
KW  - Mehrsprachigkeit
KW  - perfecto compuesto
Y1  - 2018
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:bvb:20-opus-187955
SN  - 2364-6705
VL  - 4
ER  -