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Die erste deutsche Homer-Übersetzung zeugt nicht nur von der typisch humanistischen Wertschätzung antiker Autoren, sondern stellt einen genuinen Beitrag zur Entwicklung frühneuzeitlicher Poetologie dar. Durch die Verwendung rhetorischer und metrischer Mittel sowie durch die logische Begründung kausaler und temporaler Zusammenhänge setzt Simon Schaidenreisser eigene Akzente, die die deutsche Odyssee von der lateinischen Vorlage und dem griechischen Prätext unterscheiden. Das in der Vorrede angegebene Ziel seiner Übersetzung, die deutsche Sprache und Literatur zu bereichern, hat Schaidenreisser zweifellos erreicht.
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.
In 2013, three hundred years had passed since the foundation of the Real Academia Española (RAE). The celebrations accompanying this anniversary were extended across the year and came to a closure with the publication of the 23rd edition of the Diccionario de la lengua española in 2014. Spanish media followed the above-mentioned festivities with a detailed coverage. The purpose of this article is to study the image of the RAE conveyed through the media and the Internet, which can be subsumed under the three terms ‘diverse, democratic and modern’. This form of representation is put into a broader context by considering the linguistic politics pursued by the RAE and the Asociación de Academias de la Lengua Española (ASALE) under the keyword of panhispanism. Finally, a closer look is taken at El buen uso del español, a student manual published by the RAE and the ASALE in 2013, in relation to panhispanism and prescriptivism.
According to the Senegalesian scholar Felwine Sarr who conceives an African utopia in his programmatic essay Afrotopia (2016), this Afrotopos has already germinated in contemporary African literature. However, it still needs to be enquired to what extent the narrated topos of the street in Sarr’s own anthology 105 Rue Carnot (2011) has already realized the Afrotopos. In order to respond to this question, we would like to mobilise Michel Foucault’s concept of heterotopia, which elaborates on the interactions between truth production/knowledge, power and space, and permits us to conceive of «les lieux utopiques» (Foucault 2005: 40) as actually locatable on the map and real other places outside of all places (cf. Foucault 1994: 755). Thus, in the street, a different relationship between global North and South is founded, which becomes legible as an African «utopie localisée» (Foucault 2005: 41) that Sarr calls for in Afrotopia (2016).
After the terrorist attacks on November 13th, the French public, the whole of Europe and many parts of the world were waiting for president François Hollande to address his fellow “citoyens”. Being the most important political figure – both by constitution and by influence on public discourse – the president’s words bear great importance for the subsequent debate and interpretation of the events. Therefore, the question arises: How did the president shape the debate in the hours and days after the attacks? To answer this question, we have identified typical structures in Hollande’s rhetorical reaction to the attacks, performing a topos as well as a keyword analysis of the speeches the president held within two weeks after November 13th. In a contrastive analysis we have compared Hollande’s speeches to the Europarl Corpus. Using the software programme sketch engine, we have filtered out the 100 most frequent keywords and classified them into semantic fields (data-driven approach). All in all, terrorism, action and nation/identity are the three predominant semantic fields, whereas references to victimhood barely appear. These findings are congruent with the results of our topos analysis that reveals a predominance of argumentative structures that form a strong main topos of resilience, emphasising the greatness of France and its people and culture, calling to action and avoiding any tendencies of resignation.
This article seeks to analyse the volume of poems Vapor de foto (2006) written by the young contemporary poet Luciana Romano from Buenos Aires. Romano is also an activist of the politically engaged artist collective Etcétera… founded in the late nineties. Her poetry reveals a certain correlation with the aesthetics of the actions and interventions developed by Etcétera… in the streets and public spaces not only of Argentina but also of Europe. Furthermore, the creation of Vapor de foto is based on the collective’s experiences and practices. Using a methodological approach that combines close reading and a cultural and socio-critical focus, several poems will be exemplarily analysed in order to examine the interrelation between Romano’s style of writing and her activism. Assuming that her poetry, as well as the work of Etcétera…, belongs to a postdictatorial contemporary aesthetics characterized by the complex interplay between dadaistic and surrealistic dis/continuities, this article will focus on the analysis of different forms of relations between text and image.
The present paper is concerned with the use of English cognitive verbs like think, mean and guess as well as with fixed expressions that contain these verbs like guess what (?) or think about it in Portuguese online discourses. In the qualitative analysis of examples retrieved from the Corpus do Português (Web/Dialects) I mainly focus on the syntactic behavior of the expressions under survey, also comparing their use and function in the English language. In the final part of the paper I reflect about possible reasons of the employment of English elements in Portuguese conversation.
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.
No abstract available.
While French Enlightenment seems philosophically dominated by a pejorative idea of the medieval past as the ‘Dark Ages’, this is only one conception among others. This article focuses on a different, a positive, representation of the Middle Ages in eighteenth-century literature, analyzing the chivalric novella Bliombéris (1784) by Jean-Pierre Claris de Florian. On the one hand, the eponymous hero is considered a ‘noble savage’ who develops into an ideal knight by education and successful learning – two central ideas of the Enlightenment period. On the other hand, the study shows how the medieval topic of the Matière de Bretagne, exclusively required by English literature for a long time, is finally regained by the French and is reintegrated into their national memory.
Investigations focusing on the social criticism in La Regenta (1884-1885) by Leopoldo Alas «Clarín» have constantly referred to the unmasking of society’s hypocrisy and provincialism through the implementation of satire and irony in the novel. This observation, though, has to be defined more clearly. Vetustan society, specifically the bourgeoisie, is characterized primarily by the incessant exhibition of supposed wisdom and intelligentsia in public to generate social prestige and power. By analyzing the narrative strategies which are related to the composition of the secondary characters, the role of two specific public venues (Casino and Theatre of Vetusta) and the (de)construction of P. Ronzal, P. Guimarán and S. Bermúdez in the novel, this article illustrates how false wisdom and pseudo-intelligentsia become central motifs regarding social criticism in La Regenta.
Multilingualism is part of our everyday lives and has recently entered the medium of film. Based on the linguistic diversity of Spanish-speaking countries, the present paper explores multilingualism as a key competence of foreign language learning. Since film provides students with audiovisual access to multilingual situations, a selection of educational videos that form parts of German textbooks will be critically explored concerning the presentation of multilingual phenomena. The results will be discussed in order to contribute to the systematic acquisition of multilingual skills in the sense of language and cultural awareness during classroom learning.
Unaufhörliches Suchen – Gaddas Roman Quer pasticciaccio brutto de via Merulana als carmen perpetuum
(2016)
Gadda’s novel Quer Pasticciaccio brutto de Via Merulana tells the tale of two crimes committed in Rome in the 1920s. The search for the perpetrators turns into a pasticciaccio brutto (an awful mess), challenging the reader with its linguistic complexity and a myriad of references to history and culture; the large number of allusions to antiquity is particularly striking. References to Virgil’s Aeneid and to Rome’s mythical past do not constitute a mere transfer, but document a creative approach of transformational nature. Deformation and inversion are part of this process, changing the μορφή not only in formal terms, but also within the plot itself. These transformations of both form and content are read as Metamorphoses and analysed in comparison to Ovid’s homonymous work. The perpetual, never-ending quest for truth in Gadda’s novel necessitates a perpetual, never-ending narrative, which is conceptually related to Ovid’s carmen perpetuum.
In Enrique Gaspar y Rimbau’s 1887 science fiction novel El anacronópete, comedy presents itself in a variety of guises. One of the central comic elements of the book is the playful way in which the lower class characters, namely the maid Juana and the soldier Pendencia, engage with language. This article will compare Gaspar’s El anacronópete with two of its official translations, Leyla Rouhi’s The Anacronópete and Yolanda Molina-Gavilán and Andrea Bell’s The Time Ship: A Chrononautical Journey, in order to ascertain to what extent the Spanish author’s comic touch is preserved in the English translations of Juana’s and Pendencia’s speech. The maid’s and the soldier’s use of double meaning, the mondegreen, and code-switching will be the specific focus of our analysis. We will see that, as Salman Rushdie claims, although «[i]t is normally supposed that something always gets lost in translation […] something can also be gained» (1991: 17).
Peau d’Âme has often been regarded as an enigmatic and mysterious text which prevented a broad attention and interpretation since its posthumous publication in 1935. But putting the perspective on Pozzi’s Journal, particularly during the years 1920 and 1921, allows us to discover a significant intertextuality between both of them. Catherine Pozzi’s perception of space in her every day writing does not differ from her philosophical work, since for her the concepts of center and periphery do not form a strict dichotomy. It becomes superfluous in a world without limits. The perception and philosophy of Catherine Pozzi tends to go beyond the boundaries of space which allows us, as readers of these two forms of writing, to comprehend her vision of a spatial and temporal eternity.
This contribution deals with the phonetic heterogeneity of spoken Spanish in Andalusia in the sector of public auditory media, specifically in the program ¡Anda Levanta! of Canal Fiesta Radio. First, we take into consideration Article 10 of the Statute of the Autonomy of Andalusia, which enhances the protection, promotion, study, and prestige of the Andalusian modalities and its respective variety (cf. Parlamento de Andalucía 2007: 13). Second, we refer to the Libro de Estilo, a mandatory guide for presenters of public audiovisual media in Andalusia since 2014. The results of the qualitative analysis indicate divergences between the presenters and their audience with regard to their use of phonetic characteristics typical of the Andalusian varieties: where the presenters tend to avoid the salient aspects of the varieties, the audience employs a range of phonetic characteristics typical for Andalusian varieties, including some of the characteristics that are considered less prestigious.
Besides external characteristics and reading a piece of DNA (barcode), the DNA weight per nucleus (genome size) via flow cytometry is a key value to detect species and hybrids and determine ploidy. In addition, the DNA weight appears to be related to various properties, such as the size of the cell and the nucleus, the duration of mitosis and meiosis and the generation time. Sometimes it is even possible to distinguish between groups or sections, which can lead to new classification of the genera. The variation in DNA weight is also useful to analyze biodiversity, genome evolution and relationships between related taxa. Moreover, it is important to know how large a genome is before one determines the base sequence of the DNA of a plant. Flow cytometry is also important for understanding fundamental processes in plants such as growth and development and recognizing chimeras. In the literature, DNA weight measurements are usually limited to one genus and often only locally (Siljak et al. 2010; Bai et al. 2012). In this study, however, it was decided to investigate all vascular plants from one country. This can also contribute to the protection of rare plants. This study is the first flora in the world whose weight of DNA per nucleus and peak patterns has been determined. More than 6400 plants, representing more than 2350 (sub)species (more than 90%) have been collected, thanks to the help of almost 100 volunteers of Floristisch Onderzoek Nederland (Floron). Multiple specimens of many species have therefore been measured, preferably from different populations, in some cases more than fifty. For 1370 species, these values were not previously published. Moreover, a good number of the remaining 45% are new for The Netherlands. In principle, each species has a fixed weight of DNA per nucleus. It has also been found that, especially between the genera, there are strong differences in the number of peaks that determine the DNA weight, from one to five peaks. This indicates that in a plant or organ there are sometimes nuclei with multiples of its standard DNA weight (multiple ploidy levels). It is impossible to show graphs of more than 2350 species. Therefore, we have chosen to show the peak pattern in a new way in a short formula. Within most genera there are clear differences in the DNA weights per nucleus between the species, in some other genera the DNA weight is hardly variable. Based on about twenty genera that were previously measured completely in most cases (‘t Hart et al. 2003: Veldkamp and Zonneveld 2011; Soes et al. 2012; Dirkse et al. 2014, 2015; Verloove et al. 2017; Zonneveld [et al.] 2000−2018), it can be noted that even if all species of a genus have the same number of chromosomes, there can still be a difference of up to three times in the weight of the DNA. Therefore, a twice larger DNA weight does not have to indicate four sets of chromosomes. Finally, this research has also found clues to examine further the current taxonomy of a number of species or genera.
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.
Nach bisheriger Kenntnis sind aus den Alpen Vorkommen von fünf Taraxacum-Kleinarten der Sektion Borealia in Frankreich, der Schweiz, Österreich, Italien und Slowenien bekannt: Taraxacum gallicum, Taraxacum handelii, T. kraettlii, T. mazzettii und T. melzerianum. Zwischen 2004 und 2014 wurden diese Vorkommen und weitere potentielle Wuchsorte aufgesucht. Durch detaillierte Untersuchung der Vorkommen vor Ort sowie zahlreicher Belege aus mehreren europäischen Herbarien können nun Merkmale ergänzt, präzisiert und einige Fehler, Unklarheiten in den Originalbeschreibungen korrigiert und Lücken ergänzt werden. Zahlreiche Fotos und Zeichnungen sowie ein neugefasster Schlüssel sollen den Zugang zur Sektion Borealia erleichtern. Mit Taraxacum cimae-gallinae vom Hühnerspiel bei Sterzing (Italien, Südtirol) wird eine neue Art der Sektion Borealia beschrieben. Die Wuchsorte der Borealia-Arten in der alpinen Stufe sind überwiegend Schotterböden auf windgefegten Graten und Gipfelverebnungen. Diese sind derzeit sowohl durch den Ski-Tourismus als auch durch die Klimaerwärmung gefährdet.
The present article examines the narrative modes in which Lebanese author Amin Maalouf investigates his roots in Origines a hybrid work which stands in contrast with his previous essays and fictions as to its (auto)biographical dimension. Resembling what Dominique Viart and Bruno Vercier in their analysis of predominant themes and narrative strategies in contemporary French literature name «récit de filiation», Maalouf’s quest for his familial past explores the concept of intergenerational transmission of memory. However, despite this individual postmemorial approach, Maalouf’s intimate writing is intrinsically linked with the complex history of the Ottoman Empire and therefore with collective narratives of war, diasporic identities, and migration relating to the present time or the recent past.
The article deals with the educational comics of the Mozambican artist Sérgio Zimba, especially in the context of the current pandemic situation caused by Covid-19. First, comics from and comic research on Africa will be presented, especially in their repercussion within the German-language comics landscape. This will be followed by a discussion of the special situation in lusophone Africa, exemplified and illustrated by the works of the Mozambican cartoonist Sérgio Zimba. The article closes with a brief comparison of Zimba’s work with the cartoons of Sérgio Piçarra from Angola, to better classify the artist's work.
Eine Liste der 205 Arten und 1561 Unterarten der Gattung Hieracium s. l. , die in Deutschland, aufgeschlüsselt nach Bundesländern vorkommen, wird vorgestellt. Da die meisten infraspezifischen Namen unter Hieracium publiziert wurden und um die Zahl der invaliden Namen unter Pilosella in der Liste zu minimieren, wird auf eine Aufteilung in Hieracium und Pilosella verzichtet. Durch Farbmarkierungen wird gekennzeichnet, welche Unterart ursprünglich aus einem Bundesland beschrieben wurde bzw. ob ein Syntypus aus einem Bundesland stammt.
After independence, in the sixties, sub-Saharan Africa including Francophone, saw moving to the head of his governments, dictatorial powers. Henri Lopès translated this in his work by a formal violence. We will study in this paper, the violence employed by the Congolese novelist in Le Pleurer-rire (1982): the technique of fragmentary. Our work is structured in three parts: the presentation of formal violence in Le Pleurer-rire, manifestations of postcolonial political system in this novel and the operation of the technique of fragmentary.
Spray‐drying is a scalable process enabling one to assemble freely chosen nanoparticles into supraparticles. Atomic layer deposition (ALD) allows for controlled thin film deposition of a vast variety of materials including exotic ones that can hardly be synthesized by wet chemical methods. The properties of coated supraparticles are defined not only by the nanoparticle material chosen and the nanostructure adjusted during spray‐drying but also by surface functionalities modified by ALD, if ALD is capable of modifying not only the outer surfaces but also surfaces buried inside the porous supraparticle. Simultaneously, surface accessibility in the porous supraparticles must be ensured to make use of all functionalized surfaces. In this work, iron oxide supraparticles are utilized as a model substrate as their magnetic properties enable the use of advanced magnetic characterization methods. Detailed information about the structural evolution upon individual ALD cycles of aluminium oxide, zinc oxide and titanium dioxide are thereby revealed and confirmed by gas sorption analyses. This demonstrates a powerful and versatile approach to freely designing the functionality of future materials by combination of spray‐drying and ALD.
The encounter with non-human animals has always been a major preoccupation in the (philosophical) quest of understanding the human (condition). Of course, they are not only present in literary texts, but also in other media such as music and art. We consider ourselves aware of their selves, natures and skills as well as their sensory perceptions. Indeed, the ways we interact with non-human animals in everyday life and in the fictional world, how we perceive, think and talk about them as well as how we communicate with them are often related to our own self-perceptions in the social collective and in social-historical discourse. If we take a closer look at literary interspecies relations, we can detect clear shades in language and communication. Based on the approaches of Human-Animal Studies, this article deals with those nuances regarding animal-human encounters in Juan Ramón Jiménez’ Platero y yo (1914/1917) and Thomas Mann's Herr und Hund (1919) in a comparative perspective. In addition to this, a special focus is placed on the effect these elements can have on (inter)acting literary subjects as well as on extra-textual recipients.
Spielregeln für das Überleben: Dietrich von Bern im "Nibelungenlied" und in der "Nibelungenklage"
(2012)
Anknüpfend an Jan Dirk Müllers Studie ‘Spielregeln für den Untergang’ fragt der Beitrag nach jenen Verhaltensweisen im ‘Nibelungenlied’, mit denen die Katastrophe hätte verhindert werden können. Im Zentrum des Beitrags steht Dietrich von Bern, der wiederholt Handlungsalternativen aufzeigt, die eine andere Entwicklung des Geschehens ermöglicht hätten. Seine Spielregeln für ein Überleben funktionieren nur deshalb nicht, weil der Herr der Amelungen in der nibelungischen Welt keine Mitspieler findet, die sich dauerhaft an seine Regeln halten. Nach der Katastrophe werden seine Maximen jedoch bestätigt und anerkannt, wie die zeitgenössischen Reflexionen im Umfeld des Epos zeigen. In der ʻNibelungenklageʼ wird nicht nur rückblickend das Fehlverhalten einzelner Figuren getadelt, sondern ermöglichen die Anweisungen Dietrichs auch ein Weiterleben und die Gestaltung künftigen Geschehens. Um diese These zu stützen, werden zunächst die für Dietrich relevanten Episoden des ‘Nibelungenlieds’ in chronologischer Folge untersucht und die jeweiligen Handlungsmaximen bestimmt, anschließend die Bedeutung und Bewertung seiner Spielregeln in der ‘Klage’ untersucht. Flankierend werden auch die Werke der historischen Dietrichepik herangezogen.
Die Arten des Schweizer Ranunculus-auricomus-Komplexes sind nur zu einem Teil bekannt. Zur vollständigeren Erfassung des Komplexes wurden Exkursionen in die südwestliche und östliche Schweiz unternommen. Es wurden sieben neue Arten entdeckt, die hier beschrieben und abgebildet sind. Ihre Taxonomie und Gefährdung wird diskutiert. R. chalarocarpus W. Koch ex Dunkel ist bereits bei Koch provisorisch erwähnt, R. clavicornis Dunkel wird nun gültig beschrieben. Beide Arten sind aufgrund ihres Vorkommens in Auwäldern und feuchten Laubwäldern stark gefährdet, R. clavicornis sogar fast ausgestorben. Der neu beschriebene R. thurgoviae kommt im Osten der Schweiz vor (Kanton Thurgau). Die bislang bekannte Verbreitung von R. allobrogorum Dunkel, R. crenulatus Dunkel, R. genevensis Dunkel und R. lineatus ist fast vollständig auf den Kanton Genf beschränkt. Die Arten des Ranunculus auricomus-Komplexes sind ein sensibler Indikator für Veränderungen der Vegetation und Umwelt und sollten diesbezüglich deutlich mehr Gewicht bekommen.
This article is dedicated to the analysis of the body, which is staged as sick and painful. El último cuerpo de Úrsula by Peruvian author Patricia de Souza is characterized by the connection between body, pain perception and eroticism. Illness and paralysis play a fundamental role in the narrative because they cause the recomposition of the ego, which leads the protagonist, Úrsula Res, to perceive and reflect the fragmentation of her identity and the increasing distance from her body. Through approaches to pain and disability, the expressiveness of the narrativized eroticism of this text, based on an obedient relationship to the body, is revealed.
This paper analyzes the mental development of the main character Salvador in the Spanish movie Los girasoles ciegos (2008) by José 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.
Für das Vorkommen einer Ranunculus auricomus-Sippe im Oberen Inntal bei Innnsbuck, Nordtirol, Österreich, existieren belegte Nachweise seit 135 Jahren. Diese Sippe sammelte L. Sarnthein am 08.06.1884, J. Murr 1887 bei Flaurling. Von beiden Aufsammlungen befinden sich Belege im Tiroler Landesmuseum (Herbarium Ferdinandeum Innsbruck; IBF). Trotz Trockenlegung der Sumpfwiesen und Eutrophierung des Biotops kommt die Art noch aktuell in einem kleinen Nasswiesenrest vor. Sie wird hier als R. sarntheinianus Dunkel beschrieben, abgebildet und ihre Taxonomie wird diskutiert. Der mutmaßlich letzte Wuchsort ist vom Aussterben bedroht. Eine graphische Darstellung soll bei Artbestimmung und Auffinden neuer Wuchsorte behilflich sein.
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.
This article focuses on selected Latin American female rap artists (Anita Tijoux, Rebeca Lane, and the duo Krudas Cubensi), and the way they perform feminism, autobiography and testimony through their lyrics and performances. The analysis concentrates on the synergies between the texts themselves, the official music videos shared on YouTube and the background music. It aims to demonstrate that only such a synergistic approach to rap allows a profound understanding of its particularities and its contributions to feminist discourses and spaces for feminist testimony in the current rise of both right-wing politics and feminist movements on the continent.
This paper deals with the taxonomical position and the nomenclature of two taxa belonging to the genus Sedum (Crassulaceae), today treated as Phedimus, namely Sedum middendorffianum Maxim var. diffusum Praeger and Sedum oppositifolium Sims. The correct taxonomical application of names is based on the nomenclatural types designated here.
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.
Der Beitrag stellt das didaktische Konzept und das digitale Produkt eines mediävistischen Lehrprojekts der Goethe-Universität Frankfurt vor. In einem auf zwei Semester angelegten ‚Schreibforschungsseminar‘ setzten sich Studierende wissenschaftlich mit der lokalen Spieltradition im späten Mittelalter auseinander und entwickelten einen Stadtrundgang in zwölf Stationen für eine App, die Geschichten rund um das ‚Frankfurter Passionsspiels‘ von 1493 erzählt. Was bei der Vermittlung fachspezifischer Inhalte an ein fachfremdes Publikum zu beachten ist, wird thematisiert und an der Hörstation zur Frankfurter Nikolaikirche ‚Die Ratsherren und das Letzte Abendmahl‘ exemplarisch vorgeführt.
The novel Madame Chrysanthème (1887) and the essays collected in Japoneries d’automne (1889) written by French travel author Pierre Loti offer a paradoxical view of Japan during the Meiji period. In both travel writings, the author is torn between aesthetic japonism – which spread all over Europe at the end of the 19th century – and exotic expectations, i.e. the picturesque fascination of the Other. The latter, however, remains unsatisfied throughout his stay. In both writings, Pierre Loti provides an insight into Japan that entirely reflects the spirit of his time. Thereby, he contributes to an image of Japan, which will long remain vivid in the Occident. Contemporaries perceive Loti’s representation of Japan as a realistic testimony, tinged with both sensory impressions and his highly ambiguous feelings towards the distant country, which in the end remained incomprehensible to him.
The history of intellectual and cultural contact between West and East is very complicated and contradictory. A long time ago, eastern culture attracted the attention of many writers, orientalists and researchers, who headed east not only to study and describe the fascinating eastern civilizations, but also to analyze their different literary, historical and scientific aspects.
The new mysterious but exciting environment inspired the orientalists to record and describe what they experienced regarding the architecture, the nature and the people. The attractive eastern natural views which are distinguishable from the monotonous western environment – especially after the industrial revolution – helped them to find new prospects.
The East has been coming into focus since the middle ages, when the church campaigns started to study Islam as the prevalent religion in this area. The orientalist motivations were not only religious, but also followed economic, colonial and scientific agenda, which lead to a plethora of specialized research, stories, novels and analytical studies. A close look at the orientalists’ works will provide us with an overview of eastern civilization. Therefore, their works are considered as a mirror reflecting their point of view to the east and the north of Africa, especially to pharaonic Egypt.
The orientalists who travelled to the east and expressed their passion to this old civilization in their writings influenced the literary movement deeply. But what do we mean by the term orientalism? Edward Saïd has defined this term in different ways. Saïd presented and interpreted it as a way of thinking, a historical phenomenon. Defining orientalism has become a problem indeed, and now it is carrying a number of meanings which do not match. Therefore, the aim of the study is to bring into focus the most important definitions of the term orientalism from the late 17th to the mid-20th century.
This article deals with the reception of Dante and Goethe in Ermanno Wolf-Ferrari’s and Hector Berlioz’s compositions La Vita Nuova and La Damnation de Faust. Although Dante Alighieri’s Vita Nova and Johann Wolfgang von Goethe’s Faust belong to completely different genres and epochs, the texts provide the basis for the oratorio-style works from the Romantic era, which justifies a comparative analysis of the latter. The examined reductions, extensions, modifications and rearrangements of the texts in the libretti – which were compiled almost entirely by the composers themselves – as well as the instrumental parts and the use and functions of the orchestra, the choir and the soloists, portray the intermedia relations between literature and music in the selected compositions. The chosen examples will show that the common idea of setting literature to music and the translation studies concept of intersemiotic translation are not appropriate for all literature-based pieces of music, as the analysis of both works demonstrates that with regard to vocal music a distinction should be made between the musicalization of literature and the literarization of music.
This article seeks to analyse urban representation in José Cardoso Pires’s Lisboa – Livro de Bordo (1997), a book dedicated to the author’s home city Lisbon, by focusing on its prevailing nautical and maritime imagery. This imagery as well as its tendency to design Lisbon as a city-ship shall be examined with regard to spatial construction in the Livro de Bordo. Urban sailing as well as the recurrent representations of the Portuguese capital’s spaces as heterotopias will be interpreted as approaches to subvert institutional and homogenic discourses on Lisbon.
Die Beschreibung von Ranunculus puberulus W. Koch erfolgte bereits 1933. Walo Koch bestimmte in der Folge eine Vielzahl von Belegen zum Teil deutlich verschiedener Taxa als R. puberulus. In Übereinstimmung mit den Arbeiten von Borchers-Kolb 1985 und Brodtbeck 1988 wird unter Hinzuziehung der publizierten Diagnose ein Lectotypus aus der Originalsammlung von Kummer & Koch von Hilzingen, Baden-Württemberg, ausgewählt und abgebildet. Anhand von rezenten Aufsammlungen an der Typuslokalität wird R. puberulus nach inzwischen standardisierten Kriterien charakterisiert und dargestellt. R. puberulus ist durch eine feine unregelmäßige Zähnung der Schlussblätter auffällig und stellt im Gegensatz zur weit verbreiteten Auffassung einen Endemiten des Hegau im südwestlichsten Deutschland dar. Insgesamt sind zur Zeit nur zwei Populationen bekannt, so dass für die Art zumindest eine starke Gefährdung anzunehmen ist.
The study uses the category of disgust in order to analyse the representation of the human body and the corpse in one of the most influential medieval treatises, the De Miseria Condicionis Humanae (1195) written by Pope Innocent III, and its little known old French adaptation Double lay de fragilité humaine (1383) by Eustache Deschamps. Analysing how both use disgust as an aesthetic means, which appeals to emotions and turns off reason, helps to point out the pedagogical and moral function of the texts. The comparison between them shows that Deschamps stays faithful to his Latin model, but that he nevertheless has to make certain modifications in order to adapt the prose text into a lyrical form. Furthermore, this approach clearly elucidates what differences there are between the conceptions of the human body and death in the two texts, revealing at the same time divergent theological points of view.
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.
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.
This paper discusses complementation strategies in Spanish, focusing on a specific construction most speakers are not aware of: the complementation clause preceded by the verb conocer. Not being a typical complement-taking verb, conocer surprises with a stable and persistent presence throughout the centuries, from Old Spanish to Modern Spanish. After giving an introduction into the field of complementation clauses and one of its main focus of study, grammatical mood, this study uses empirical data from the corpus programs CORDE, CREA and CORPES XXI to show the usage and prevalence of the construction in question. In doing so, this analysis gives a quantitative insight, exemplifying the results with several examples from all ages.
When it comes to linguistic norms in France, one standard will be immediately evoked – le bon usage. This version of traditional French is taught at school and has been serving as a model ever since the French Revolution. Yet – and maybe as a counter-reaction to such strict and prescriptive norm – there exists a multitude of alternative forms, especially with regard to the lexis, which are marked by different registers or styles. Thus, the French language is characterized by lexical doublets in the transition area between standard and familier. A varied terminology in the description of styles in dictionaries as well as a stigmatisation of the nonstandard lead to speaker insecurities and to a general devaluation of the parallel vocabulary. What are the consequences of this in speech behaviour? Is there a remarkable difference between speech behaviour and prescriptive norm? Do speakers show any sign of linguistic insecurity when using nonstandard structures? The research issue will be addressed by means of a qualitative analysis of videoblogs from French YouTubers.
Amyotrophic lateral sclerosis (ALS) is a fatal neurodegenerative disease that causes progressive autonomy loss and need for care. This does not only affect patients themselves, but also the patients’ informal caregivers (CGs) in their health, personal and professional lives. The big efforts of this multi-center study were not only to evaluate the caregivers' burden and to identify its predictors, but it also should provide a specific understanding of the needs of ALS patients' CGs and fill the gap of knowledge on their personal and work lives. Using standardized questionnaires, primary data from patients and their main informal CGs (n = 249) were collected. Patients' functional status and disease severity were evaluated using the Barthel Index, the revised Amyotrophic Lateral Sclerosis Functional Rating Scale (ALSFRS-R) and the King’s Stages for ALS. The caregivers' burden was recorded by the Zarit Burden Interview (ZBI). Comorbid anxiety and depression of caregivers were assessed by the Hospital Anxiety and Depression Scale. Additionally, the EuroQol Five Dimension Five Level Scale evaluated their health-related quality of life. The caregivers' burden was high (mean ZBI = 26/88, 0 = no burden, ≥24 = highly burdened) and correlated with patients' functional status (r\(_p\) = −0.555, p < 0.001, n = 242). It was influenced by the CGs' own mental health issues due to caregiving (+11.36, 95% CI [6.84; 15.87], p < 0.001), patients' wheelchair dependency (+9.30, 95% CI [5.94; 12.66], p < 0.001) and was interrelated with the CGs' depression (r\(_p\) = 0.627, p < 0.001, n = 234), anxiety (r\(_p\) = 0.550, p < 0.001, n = 234), and poorer physical condition (r\(_p\) = −0.362, p < 0.001, n = 237). Moreover, female CGs showed symptoms of anxiety more often, which also correlated with the patients' impairment in daily routine (r\(_s\) = −0.280, p < 0.001, n = 169). As increasing disease severity, along with decreasing autonomy, was the main predictor of caregiver burden and showed to create relevant (negative) implications on CGs' lives, patient care and supportive therapies should address this issue. Moreover, in order to preserve the mental and physical health of the CGs, new concepts of care have to focus on both, on not only patients but also their CGs and gender-associated specific issues. As caregiving in ALS also significantly influences the socioeconomic status by restrictions in CGs' work lives and income, and the main reported needs being lack of psychological support and a high bureaucracy, the situation of CGs needs more attention. Apart from their own multi-disciplinary medical and psychological care, more support in care and patient management issues is required.
This article focuses on the mediality of the Donaueschinger passion play, oscillating between textuality and performativity, rituality and theatrality. It argues that the play is composed as a reading text, regarding the speech, style and the narrative, poetological and exegetical character of its stage directions. In spite of its being intended to be read the passion play exhibits theatralic and liturgical elements, that allow to identify its literary genre. The detailed description of décor and actions on stage and even of the audience helps to imagine a performance, that exceeds the textual status of the manuscript. The text's performative dimension invites the reader to participate in contemplating Christ's passion and in worshiping him.