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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.
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.
This article exemplifies Gunter Grimm’s concept of productive reception by analyzing César Fernández García’s young adult novel La última bruja de Trasmoz (2009) and the episode Tiempo de hechizos (2017) of the TV series El ministerio del tiempo as two modern works which artistically and creatively deal with Gustavo Adolfo Bécquer’s Cartas desde mi celda (1864). The study is based on the core assumption that the choice of genre greatly influences the treatment of motives such as the perception of nature and the idea of dreams, as well as the image of the witch. While Bécquer’s letters, which focus on the rural people’s superstition, present the witch of Aragonese folklore, the modern examples portray two of her fantastic counterparts: the novel depicts its magical protagonist as an evil supernatural being, whereas the TV episode of the science fiction series shows the witch as a time traveller and a victim.
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 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.
Eine Reihe mehrtägiger Suchexkur-sionen / Transekte in verschiedene Regionen Bayerns in den Jahren 2011 bis 2014 waren der Gattung Taraxacum gewidmet. Unter den gesammelten und beobachteten Arten ist Taraxacum broddesonii (sect. Ruderalia / Taraxacum) neu für Deutschland. Neu für Bayern sind Taraxacum fusciflorum, marklundii, spiculatum (sect. Hamata) und Taraxacum acroglossum, atroviride, clarum, floccosum, freticola, glossodon, hemicyclum, homoschistum, infuscatum, intumescens, lacinulatum, leucopodum, lundense, ottonis, pallidipes, praestabile, pseudoretroflexum, pulverulentum, saxonicum, sellandii, sundbergii, uncidentatum, uniforme, violaceinervosum (sect. Ruderalia / Taraxacum). Taraxacum lojoënse wird als ältester und korrekter Name für T. lippertianum und T. matricium und wahrscheinlich auch für T. ampelophytum und T. debrayi angesehen. Seltenere Arten sind abgebildet.
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.
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.
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.
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.
The present study is concerned with a critical discourse analysis of the speeches of the Italian politicians Silvio Berlusconi and Matteo Renzi in different situations. The aim of the study was to find out how historical and speech contexts influence discourse structures and argumentations, and if any similar speech patterns or speech strategies were used. The results show that both politicians in many cases tend to utilize similar speech patterns to achieve different aims; each of them shows a preference for particular words, structures and strategies. It is noteworthy that one of the important differences between speeches of Berlusconi and Renzi is the use of various speech strategies. While Renzi uses these strategies to create an image of himself as a young and honest politician, Berlusconi makes use of them to defend himself or attack his opponents.
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.
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.
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.
Economic, academic or artistic cooperation among actors of different countries or disciplines offers numerous new perspectives, but it also confronts the ones profiting from it with several challenges. First, identity has to be firmly established, which requires intercultural skills, such as role-distance, empathy and tolerance for ambiguities. Secondly, a third space is required in which meaning can be newly negotiated to make the partnership succeed. This paper proposes that even within one and the same language-group, one can speak of intercultural communication. A particular collaboration between Portuguese-speaking comic artists will be introduced, raising questions of the conditions necessary to make such a cooperation work. Answers will be provided according to the decisions the artists made in their publications.
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.
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.
The present article aims to examine images of the Mediterranean Sea in Jean-Daniel Pollet’s essay film Méditerranée (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, Méditerranée 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.
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.
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.
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).
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 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.
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.
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.
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.
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.
To this day, Lorca’s most popular plays, the Trilogía dramática de la tierra española, 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.
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.
This article explores the construction of Catalan masculinity and Catalan identity in literature on the Spanish-Moroccan War of 1859/60. During the war, an immense amount of patriotic literature in Catalan language was published in Catalonia, in which the authors glorified the deeds of the Catalan general Joan Prim i Prats and of the Catalan volunteers who fought in the war. The article aims to illustrate, on the basis of the analysis of poems, theatre plays, patriotic songs, reports and chronicles written by Catalan authors, the importance of the First Spanish-Moroccan War for the development of Catalan identity. It attempts as well to demonstrate that the authors used the literature about the war to diffuse a specific Catalan ideal of masculinity and to stylize General Prim and the volunteers into national heroes, who embodied the strength of the Catalan cultural nation, since the Catalan community needed new idols after a long time of political and cultural decline caused by the centralist policies of the Spanish state. The Catalan ideal of masculinity was utilized to differentiate the Catalans from the other Spaniards whose masculinity was considered to be in decadence by the other European nations.
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.
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.
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.
No abstract available.
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.
This article deals with the outstanding linguistic character of Salvatore in Umberto Eco’s novel Il nome della rosa. The first section is a critical review on problems and potentials of linguistic analyses of fictional texts, especially of those which have been written in uncommon or inexistent languages. The text-based analysis of Salvatore’s polyglot idiolect shows that this is more than a simple and confused mixture of Latin, German, and some Romance dialects and languages. Based on the linguistic concepts of intertextuality, frame-dependent text styles, and diaphasic variety several language choices in Salvatore may be explained in a new way. The analysis of four concrete text fragments also envisions the possibilities of a deeper comprehension of Salvatore’s utterances through attentive context reading.
This article aims to trace the development of different verb forms that express future tense of Old Portuguese from the 13th to the 15th century by analyzing a historical text corpus. During this period, Portuguese future tense could be expressed through one synthetical as well as two analytical morphological verb constructions. Adapting an analytic model formerly employed by the Mexican researcher Concepción Company Company for an investigation of similar future tense forms in Old Spanish, this article seeks to point out that the use of the different verb forms in Portuguese followed distinct functions regarding aspects of both information structure as well as modality.
Women in Caribbean culture traditionally occupy the role of guardians of collective memory, as tellers of stories, legends and myths. Through oral tradition, they transfer the cultural and family knowledge from one generation of women to the next. We will offer an analysis of oral transmission as a way of preserving a memory of women in Le livre d’Emma (2001) by the Québec author of Haitian origin, Marie-Célie Agnant. We will primarily analyze the transformation of communicative memory into cultural memory, following the distinction by Jan Assmann. We will interpret the oral transfer as a possibility to stabilize, to legitimize female memory and to inscribe it into the female body.
The arrival of the Spanish in present-day Oaxaca, Mexico, led to manifold communicative challenges and was the origin of the first written documents in the local indigenous languages. This paper focuses on Spanish-Zapotec translations produced by Christian missionaries during the colonial period. In this context, it aims to investigate the expression of the concept of soul in their catechisms and confesionarios by analyzing chronologically how different authors apply the Spanish synonyms alma and ánima. On the one hand, we can observe some similar tendencies in central Mexican documents for the early colonial period so that we can assume that the corpus was influenced by Nahuatl translations. On the other hand, there is an independent development in Spanish-Zapotec translations not only regarding the target text but also the source text.
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.
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.
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 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.
France, Italy, and Spain are three Romance-speaking countries which – at least in Europe – have been affected to a very high degree by the consequences of the Corona pandemic. This paper examines discursive strategies on social media (Twitter and Facebook) by the three heads of government/state of the aforementioned countries – namely Emmanuel Macron (France), Giuseppe Conte (Italy), and Pedro Sánchez (Spain)- from a corpuslinguistic point of view. For this purpose, a corpus was created which contains all Twitter and Facebook messages posted by these heads of government/state from the beginning of February until the end of April 2020. By applying corpus-linguistic methods we find that all three politicians consciously use social media to sensitize, inform, and – in view of a dramatic pandemic situation – unite their respective populations behind them.