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The nameless protagonist of the postmodern novel Monsieur, written by Belgian author Jean-Philippe Toussaint, can be described as a rather strange man. He lacks ambition, a drive for action and seems to be unfit for daily life. He constantly fails to accomplish his predestined role as a real man, as for instance to pay the bill for dinner when dating a woman. The scope of the present paper is to analyse, on the one hand, how this novel deconstructs hegemonial concepts of masculinity but, on the other hand, is in itself also a parody of the latter.
This article examines principles of gender assignment in the German and Spanish language and in this way tries to answer the question of why loanwords are preferably assigned a particular gender and what criteria motivate this choice. After introducing some general aspects about gender as well as some important properties of the German and Spanish gender systems, this paper compares several formal (morphological and phonological) and semantic rules regarding gender assignment. Despite large structural differences between the languages, the comparison shows that the assignment rules prove to be in a sense cross-lingual, which do not only testify to the assumption but also the validity of an underlying system of rules.
In this contribution, chants of the followers of the Argentine football team Boca Juniors are analyzed with regard to possible identity constructions and othering. The results of the corpus-driven discourse-linguistic analysis demonstrate in particular metaphors and topoi that can be highlighted as a constitutive part of the discursive construction of a Boca Juniors supporters’ identity and the otherings of River Plate hinchas. Through the use of certain metaphors and determined lexical fields that clearly call for acts of violence, a masculine ethos is discursively constructed among Bocas own followers, which goes far beyond comparable insulting and cheering chants of comparable European football teams.
Despite some critical voices, in German linguistics the concept of confix can meanwhile be considered as an established morpheme category. Schmidt (1987) introduced the term into German to describe bound morphemes that are lexical, but not inflectable. Since the 2000s, an increasing number of publications deal with the phenomenon and the term has begun to enter linguistic reference works as well. In French, the situation is completely different due to the structure of the language (poor in compounds and mostly post-determinative). Although the term and the concept have originall y been coined by the French structuralist André Martinet ([1961] \(^3\)1980 ), the denomination itself is barely present in Romance linguistics. French researchers usually take different approaches to discuss the phenomenon (e.g., neoclassical compounds, constructed lexemes). In Italian, the denominations confisso/ confissazione are first used by De Mauro (1999), who adopts both the term and concept directly from Martinet; moreover, they can be found in some contributions on word formation and lexicology (e.g., Adamo/Della Valle 2008). Nevertheless, the Italian termino-logy remains heterogeneous, with some researchers still using the terms prefissoide/suffissoide coined by Migliorini (1963). As I will show by comparing the languages in question, the terminology and the concept of confixes vary greatly between Romance and Germanic languages.
In this article dedicated to Jean-Paul Sartre’s first novel La Nausée, we analyze how the idea of conversion to art grows in the imagination of the hero, Antoine Roquentin. Furthermore we show that all the narrative actions in the novel are based on the hero’s communicational interaction with the other characters. This lonely person who complains in his diary about social exclusion, yet he converts to art not through his reflections, but through communica-ting with the other characters. Also, many critical studies on La Nausée have considered jazz music that the hero listens to in a café as the critical moment of his conversion. In our opinion this reflects juste one phase of a connected sequence of events through which the hero passes from a state of relational negativity and existential alienation to a state of openness, achieved again mainly by the virtue of other characters.
French history of literature is undoubtedly characterized by a tradition of social criticism portraying the working class’ misery that can be traced back at least to the 19th century. Among these depictions, Zola’s novels have a prominent position. This is, among other aspects, due to their pretended scientific foundation and their pretentious claims to be scientific studies. The contemporary author Édouard Louis situates himself in this tradition of Zola’s naturalism. This invites us to examine the interrelation between Zola and Louis more closely. Based on the common ground of scientific foundation, scientific ambition and social commitment pursued in their novels, it will be demonstrated that Louis is a late-modern Zola whose milieu and character descriptions follow in detail Zola’s constructions.
Due to an ever-increasing number of automobiles on the roads, automobility fails more and more to fulfil its promise of free individual mobility, leading to traffic density and congestions of unprecedented proportions. However, those conditions seem to possess an aesthetic potential which we seek to analyze in terms of literature. Therefore, we are going to look on three novels from Romance-language areas: Julio Cortázar’s short story La autopista del sur (1966), Carlo Lucarelli’s novel Autosole (1998) and Grégoire Gauchet’s novel Les robinsons de l’autoroute (2018). First, we will analyze the nature of deceleration/congestion by referring to human geographer Tim Cresswell’s concept of friction. Second, we will examine recurring motifs linked to the deceleration/congestion in all novels before taking a closer look at Gauchet’s novel where the friction not only applies to traffic but also to human relationships. The aim is to look at different literary representations of an everyday experience like traffic congestion and to see how literature deals with such an occurrence.
On the basis of four relevées of hedges around Straiton en Dailly in South Ayrshire, Scotland, some features of hedges are discussed. On the basis of the brambles, the vegetation of these hedges can be assigned to the Pruno-Rubion sprengelii, which comprises the bramble scrubs of circumneutral and nutrient rich soils in West Europe (Haveman et al. 2017, Haveman & de Ronde 2019). Until now, this alliance was thought to be restricted to the northwestern edge of the European continent, but based on these relevées and the known distribution area of Rubus nemoralis and Rubus polyanthemus, both characteristic for the Pruno-Rubion sprengelii, large parts of North England and Scotland have to be included in the distribution area of the alliance.
The Pruno-Rubion sprengelii is optimally developed in rather narrow structures, like hedges, which are pruned every year. Here, brambles and herbs alike can grow with and under the shrubs, facilitated by the light that reaches large parts of the ground. Where the economic base of hedges perishes, they are not longer maintained, and the shrubs can grow out to their natural proportions. This changes the amount of light reaching the surface in the inner parts of the thicket, changing the competition between the species. The brambles as well as the herbs are displaced to the outer edges of the scrub, and the vegetation "dissociates" in a high-growing scrub, a fore-mantle ("cuff") with brambles, and a fringe with perennial herbs. These elements can hardly ever be assigned to the Pruno-Rubion anymore.
The Pruno-Rubion sprengelii in optima forma is a scrub in which the three elements (shrubs, brambles, and herbs) grow closely intertwined. This is rarely found in natural landscapes, and thus the alliance is a typical element of the old farmer landscape. What is more: the typical species of the alliance, like Rubus nemoralis and R. polyanthemus, could only evolve after the landscape was opened by farmers in the last six millennia (Matzke-Hajek 1997), giving way to Rubus ulmifolius to expand its distribution area. This caused an explosion of hybrids which stabilised through apomixis into the wealth of Rubus species inhibiting the West European landscape nowadays (Sochor et al. 2015). Many of these species have their original home in a man-made landscape. Therefore, the Pruno-Rubion sprengelii can be characterised as a "farmers alliance" pur sang.
Hieracium rotundatum subsp. silvae-bavaricae wird als neu für die Wissenschaft beschrieben und abgebildet. Die neue Unterart gehört zu einem Formenkreis von Arten (H. rotundatum, H. transylvanicum), dessen Hauptverbreitung auf dem Balkan liegt. Die wechselvolle nomenklatorische Geschichte des Artnamens wird nachgezeichnet. Diagnostische Merkmale zur Unterscheidung der in der Wuchsform ähnlichen Arten H. murorum, H. rotundatum und H. transylvanicum werden diskutiert. Dabei wird auf die Bedeutung der Ausbildung des Grundblattzyklus besonders hingewiesen. Entgegen bisheriger Kenntnis reicht die nordwestliche Verbreitungsgrenze von H. rotundatum nun bis Südost-Bayern. Bei der Suche nach H. rotundatum konnte auch eine morphologisch auffällige Unterart von H. rotundatum nachgewiesen werden, die hier als neu beschrieben wird.