@article{Schoech2020,
  author    = {Sch{\"o}ch, Christof},
  title     = {Interview mit Prof. Dr. Christof Sch{\"o}ch},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-235128},
  pages     = {7-20},
  year      = {2020},
  abstract  = {Interview mit Prof. Dr. Christof Sch{\"o}ch},
  language  = {de}
}
@article{Leschzyk2020,
  author    = {Leschzyk, Dinah},
  title     = {Corona-Kommunikation. Wie Jair Bolsonaro die Wissenschaft diskreditiert und Verschw{\"o}rungstheorien befeuert},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-244271},
  pages     = {107-129},
  year      = {2020},
  abstract  = {This article deals with discursive and argumentative strategies used by Brazilian President Jair Bolsonaro to bring science in discredit during the 2020's COVID-19-pandemic. Based on official statements and Tweets launched over the crisis the Discourse-Historical Approach is applied to make strategies brought into play by Bolsonaro visible. While the President declares scientific advice such as distancing and quarantine as ineffective, he recommends the use of hydroxychloroquine as well as old fashioned prayers for staying safe and healthy. He evokes that there are «fake news» and «partners of paralysis», to which he responds by demasking and bringing the one and only truth towards «the people». The analysis points out that Bolsonaro is downplaying the virus and the risk of transmission and puts the economy ahead of health. His supporters as a consequence tend to ignore the WHO recommendations how to behave during the pandemic.},
  language  = {de}
}
@article{Bobineau2020,
  author    = {Bobineau, Julien},
  title     = {Belgiens gespaltene Erinnerung: Aufarbeitung und Verdr{\"a}ngung von kolonialer Geschichte in Flandern und Wallonien},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-244224},
  pages     = {23-42},
  year      = {2020},
  abstract  = {This article examines so-called colonial discourses in Belgium on the former Sub-Saharan colony owned by the Belgian King, Leopold II., which today is known as the Democratic Republic of Congo (DR Congo) or the Congo-Kinshasa. After having introduced the colonial history of the DR Congo from the 15th century until 1910, an empirical analysis of the colonial discourses in Belgium from the 1890s until today will be illustrated in conjunction with Belgium's linguistic-cultural division and the age-related divergence. Belgian colonial discourse is characterized by a historical misrepresentation by the political authorities while especially social forces have pled for a critical examination of their own colonial history in Belgium since the year 2000.},
  language  = {de}
}
@article{Luetzelberger2020,
  author    = {L{\"u}tzelberger, Florian},
  title     = {Federico Garc{\´i}a Lorcas Trilog{\´i}a dram{\´a}tica de la tierra espa{\~n}ola als Knotenpunkt von Kontinuit{\"a}t und Wandel von der Antike bis zu Netflix: Tradition, Adaption, Innovation, Inspiration},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-244280},
  pages     = {131-153},
  year      = {2020},
  abstract  = {To this day, Lorca's most popular plays, the Trilog{\´i}a dram{\´a}tica de la tierra espa{\~n}ola, are considered to be among the most widely read texts of twentieth century Spanish literature. By combining elements from Antiquity with classic and modern features of Spanish theatre and placing them in new functional contexts, the author succeeds in creating an innovative theatre of sociocritical nature in times of political repression. This article analyses several of these innovations and aims to demonstrate the influence Lorca's Tragedias rurales still have on today's literature and culture. Simon Stone's play Yerma (2017) and the Netflix series Las Chicas del Cable (2017-2020) are approached here with this purpose.},
  language  = {de}
}
@article{Koehler2020,
  author    = {K{\"o}hler, Britta},
  title     = {A Room of One's Own : Weiblichkeit, Schreiben und kollektive Erfahrung in Elena Ferrantes Tetralogie L'amica geniale (2011-2014) und Annie Ernaux' Les Ann{\´e}es (2008)},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-244246},
  pages     = {87-104},
  year      = {2020},
  abstract  = {With her famous suggestion to «give her [the woman] a room of her own and five hundred a year, let her speak her mind» from 1929, Virginia Woolf verbalized a core issue of female writing by hinting at the socioeconomic circumstances and domestic obligations of most women - valid at her times, but still today. Both Elena Ferrante and Annie Ernaux discuss, in their respective novels, the topics of being women in the particular sociocultural landscape (in Italy and, respectively, in France) after World War II and up to these days, the themes of marriage and motherhood, employment and especially (female) authorship. This article aims to show in a close reading of both Ferrante and Ernaux that the two writers play with the literary form of the (auto-)biography on a diegetic, but also extradiegetic level, while formulating at the same time a collective work that embraces the experience of womanhood but circumvents the hazard of a merely subjective and sensitive writing, as female writing has sometimes been claimed to be.},
  language  = {de}
}
@article{Richter2020,
  author    = {Richter, Verena},
  title     = {Das Mittelmeer als pluraler Erinnerungsraum im franz{\"o}sischen Essayfilm: zu Jean-Daniel Pollets M{\´e}diterran{\´e}e (1963)},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-244292},
  pages     = {155-175},
  year      = {2020},
  abstract  = {The present article aims to examine images of the Mediterranean Sea in Jean-Daniel Pollet's essay film M{\´e}diterran{\´e}e (1963), with a particular focus on its representation as a multifaceted space of cultural memory. After some preliminary observations on the relation between the essay film as a genre and images of the Mediterranean, I shall, on the one hand, have a look at the semantic processes through which the film builds up a recognizable image of the Great Sea. On the other hand, however, I will argue that, at the same time, M{\´e}diterran{\´e}e calls this signifying process into question by representing the sea as a space of cultural memory understood as a space of becoming and of deferral of meaning.},
  language  = {de}
}
@article{vonRoeder2020,
  author    = {von Roeder, Alena},
  title     = {Salvador als Opfer seiner eigenen Triebe im Film Los girasoles ciegos. Die filmische Darstellung der Fokalisierung unter psychoanalytischer Betrachtung},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-244303},
  pages     = {177-196},
  year      = {2020},
  abstract  = {This paper analyzes the mental development of the main character Salvador in the Spanish movie Los girasoles ciegos (2008) by Jos{\´e} Luis Cuerda, based on the camera perspective and focalization, as well as the three-instance model according to Sigmund Freud. For this purpose, screen captures from the movie are examined to see how Salvador's loss of control is pictured. This is applied to Freud's three-instance model to prove the takeover of the Id. Throughout the whole movie, the inner conflict between his Ego and Id, i.e. his life as a deacon versus his life as a soldier, is present. The whole process of the breakdown of his mental state is revealed through the camera perspective and visual focalization.},
  language  = {de}
}