Although ultra culture in public spaces, in the form of graffiti, tags, and stickers, is ubiquitous, this particular aspect of football fan culture has remained linguistically unexplored. This exploratory investigation of ultra stickers aims to bring together the previously disconnected research areas of linguistic football fan research and linguistics. Specifically, the study examines which practices of staging, positioning, and spatial appropriation are realized through the visual medium of ultra stickers in public spaces. The data basis consists of stickers that were photographically documented in the following cities from November 2022 to February 2023: Dresden, Greifswald, Rostock, and Lübeck. In terms of appropriate data collection and analysis, a methodological approach combining ethnographic linguistic landscape with principles of grounded theory was utilized. It can be demonstrated that this visual medium is functionalized for various practices of staging and positioning. These range from the de-temporalization of the stadium experience, along with identity-building collective experiences, to the perpetuation of specific enemy images, and the perpetuation of hegemonic masculinity and the glorification of one’s own delinquent behavior or affinity for violence. Furthermore, an interactive dimension can be identified, which is revealed by the fact that these stickers are frequently embedded in multi-stage negotiation processes concerning territorial interpretation authority.
The purpose of this contribution is to investigate the degree of elaboration of the period as a syntactic and semantic unit in a High German/Danish parallel corpus of narrative prose from the late 1580’s. The question of period has not been considered from the point of view of Early Modern Danish yet. Furthermore, 16th century narrative prose is sometimes considered to be immune to periodic writing, which at that time was arguably still a feature of rhetorical genres. Narrative prose, in Renaissance French, is claimed to display another type of syntax, the “linked sentence”, which exhibits neither the same binary composition, nor the same formal strategies of clause-linkage. The study of the corpus leads to the distinction between two levels of periodic organization: the discourse level, based on the dispositio of côla, and the level of syntactic clause‑linkage, where correlative constructions play a central role. The comparison of the two languages shows the functional equivalence between correlative marking in Danish and topological strategies in German: the order of constituents and the placement of the verb are used as opening and closing signals; they can mark a periodic composition of the côla even when the formal markers are typical of the “linked sentence”. The two notions are therefore not strictly antithetical in a language like German. Finally, the analysis is extended to ellipsis and anaphora, which can also participate in a periodic organization of discourse breaks and continuities.
Abstract Background In 1926, Fritz Jahr described bio-ethics (German: bio-ethik) as “the assumption of moral obligations not only towards humans, but towards all forms of life.” Jahr summarized his philosophy by declaring, “Respect every living being on principle as an end in itself and treat it, if possible, as such!.” Bioethics was thus originally an ethical system concerned with the “problems of interference with other living beings… and generally everything related to the balance of the ecosystem” according to the 1978 Encyclopedia of Bioethics. This definition was predicated on the work of Fritz Jahr, Menico Torchio, and Van Rensselaer Potter. Methods In order to proceed with depthful analysis of the origin and major bioethical flare up, we will use critical analysis of existing literature, followed by a study trip to relevant bioethical localities (collecting photo and other documentations regarding Menico Torchio). Results While Jahr and Potter are typically given intellectual credit for developing the field of bioethics, the eco-ethical contributions of Menico Torchio have been forgotten.This article will first trace the origins of “bioethics” – now commonly bifurcated into “biomedical ethics” and “environmental bioethics.” The former was developed by Tom Beauchamp from the Philosophy Department and James Childress of the Religious Studies department at Georgetown University and is based on principlism, with a narrow focus on medical settings. The latter addresses the environmental impact of the medical industry and climate change health hazards. Second, we will present a panorama of Torchio’s significant intellectual contribution to bioethics. Menico Torchio’s concept of bioethics synthesized work of both Jahr and Potter, advocating “the need to expand our ethical obligations and embrace the most developed groups of animals, not only physically but also psychologically.” Third, we will reflect on the lasting legacy of “bioethics” on biomedical and environmental bioethics today. Thematic elements such as interconnectedness of planetary health and human health, dedication to living in harmony with nature, and emphasis on systems and symbiosis remain unchanged from the legacy of Tochio onward. Conclusion Our conclusion will underscore the necessity of understanding the connections between planetary, environmental, and human health.
The subject of this article is the epistolary novel Amanda and Eduard (1803) by the German writer of the classical-romantic era, Sophie Mereau-Brentano. The starting point for scientific research is the theme of mountain chasm/disintegration, which appears on the margins of the presented world, characteristic of horror literature and somewhat incomparable to the novel's poetics, which is paying homage to sentimental patterns. Analyzing selected descriptions of novel landscapes, the author of the article shows that the discourse of horror is closely intertwined with the character of Amanda. The reference to Eduard Burke and Friedrich Schiller's aesthetic theories makes it possible to conclude that novel horror is a necessary condition for the existence of a discourse of the sublime. This leaking of sentimental narrative patterns simultaneously results in a poetic elevation of the main character.
During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental training and a solid musical education, typical of their Bildungsbuürgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and “in context” approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions.
The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.
History of scholarship and learning. The humanities, Literature (General)
The study presented in this article investigates the resources of legal terminology used in an important legal document written by the Olomouc court scribe Jindřich Polan. The first part of the study describes the development of German legal terminology in four stages, from the compilation of the ʻSachsenspiegelʼ until the beginning of the 19th century. The second part deals with the characteristics of German legal terms in Polan’s regulations, and the third part discusses the use of legal terminology of Latin origin in the same document. Polan’s approach to Latin loanwords is also analyzed – especially his approach to their semanticization, which is intended to simplify users’ understanding of the text and the morphology of loanwords.
Karl Kraus has attached a selection of photographs to his five-act tragedy Die letzten Tage der Menschheit (The Last Days of Mankind, 1918): the first serial publication contained seven photographs—two of which also seem to “frame” the drama in the book version. The polemical criticism of Alice Schalek’s war reports which are presented in this dramatic text are also related to the many photographs which illustrated the reworked versions of her scattered newspaper columns, Tirol in Waffen (Tyrol in Arms, 1915) and Am Isonzo (On the Edge of Isonzo, 1916). In addition, the characters share their comments on photographs and reproductions in several scenes (I/24, III/9, III/41 et V/55). This paper begins with a panorama of the intermedial references embedded in the drama. It then offers a literary commentary on the images, before concluding with an attempt to define their aesthetic function.
Der vorliegende Beitrag konzentriert sich auf die Frage, wie das Phänomen Terrorismus in Form schrecklicher
Bilder vermittelt wird und welche Motive und Aspekte thematisiert werden. Das Korpus besteht aus
multimodalen Kommunikationen, die mittels einer Internetsuche mit Hilfe der Suchmaschine Google
ermittelt wurden. Unter multimodaler Kommunikation versteht man Kombinationen aus geschriebenen
Texten und zweidimensionalen statischen Bildern, die zusammen mit anderen relevanten (Sub)Modalitäten
wie Typografie und Farbe den Empfang bestimmen. In der Analyse wird folgenden Fragen nachgegangen:
Was wird gezeigt? Wie wird es gezeigt? Welche Funktionen haben Text und Bild sowie die multimodale
Kommunikation insgesamt?
The article inserts Kafka’s short story “The Judgement” (1912) into the context of the “Petersburg
text of Russian literature” and offers an example for the analysis of one of the most famous texts of German
literature using the other “reference frame”. By “reference frame” or “reading formation” modern hermeneutics mean historical and cultural suppositions, that manage the act of reading. A formation can be designated as other cultural formation if these suppositions (models of self-description, statements of questions,
concepts, approaches to research) belong to foreign cultural space with its own cultural tradition. Reading
formation’s function remains unchanged: as control mechanism for the searches of sense it must define how
a text can be read, which sense is possible and convincing in this context. What changes when you change
the reading formation, is the role of the interpreter and semantic orientation of piece of art. The interpreter
accepts the role of cultural mediator, his interpretation becomes a way of cultural transfer and the piece of
art gets semantic dynamics. The story of Kafka with its open structure and “catachretic logic” provokes the
reader to the formation of meaning on its territory, in the sphere of its perception. This right, proclaimed by receptive aesthetics, is
also confirmed by the statements of the writer himself in his diaries and letters. Such, above all, is his indication to the presence in the
narrative of the psychoanalytic code. He is the link between the German story and the Petersburg myth in his Russian interpretations.
Including of “The Judgement” into the complex system of relations that describes “Petersburg text of Russian literature”, grounds the
possibility to read this story as the variant of the “Petersburg tale” (“петербургская повесть”) and enrich his semantic potential with
new meanings.
Dos vários recursos disponíveis ao aprendizado da língua estrangeira (LE), o livro didático tem provado ser indubitavelmente um dos elementos centrais para os mecanismos de ensino-aprendizagem em nossas salas de aula ao longo das décadas (RÖSLER; SCHART 2016). Este artigo avança as discussões atuais acerca da utilização do livro didático de alemão como língua estrangeira (ALE) especificamente no contexto do ensino superior brasileiro e tem como objetivo apresentar e discutir criticamente a partir de uma pesquisa exploratório-interpretativa (CASPARI; HELBIG; SCHMELTER 2007) a percepção dos alunos sobre o livro didático DaF Kompakt, utilizado por uma universidade pública no Rio de Janeiro que oferece o Curso de Letras Português-Alemão. O artigo apresenta inicialmente uma discussão acerca do papel do livro didático e das crenças e percepções discentes sobre ensino-aprendizagem de ALE, em seguida apresenta e analisa os dados coletados por meio de pesquisa qualitativa junto a discentes do ensino superior e, por fim, propõe uma agenda de pesquisa que aponta para possibilidades de análise crítica do uso do livro didático de língua estrangeira e de uma investigação mais aprofundada e contrastiva sobre limites e possibilidades dos materiais usados em cursos de língua alemã nas universidades brasileiras.
German literature, Germanic languages. Scandinavian languages
Débora B. Maehler, Silke Martin, Beatrice Rammstedt
Abstract Background European countries, and especially Germany, are currently very much affected by human migration flows, with the result that the task of integration has become a challenge. Only very little empirical evidence on topics such as labor market participation and processes of social integration of migrant subpopulations is available to date from large-scale population surveys. The present paper provides an overview of the representation of the migrant population in the German Programme for the International Assessment of Adult Competencies (PIAAC) sample and evaluates reasons for the under-coverage of this population. Methods We examine outcome rates and reasons for nonresponse among the migrant population based on sampling frame data, and we also examine para data from the interviewers’ contact protocols to evaluate time patterns for the successful contacting of migrants. Results and Conclusions This is the first time that results of this kind have been presented for a large-scale assessment in educational research. These results are also discussed in the context of future PIAAC cycles. Overall, they confirm the expectations in the literature that factors such as language problems result in lower contact and response rates among migrants.
As a result of its topic and its narrative style, Uwe Timm’s novel ‘Morenga’ (1978) marks an important step in the development of postcolonial German literature. The main theme of the book is the bloody suppression of the Herero and the Nama uprisings through the German army in South-West Africa at the beginning of the 20th century. With recourse to historical and fictional documents and by using different narrative perspectives, the text achieves a plurality of voices and thereby destabilizes a one-dimensional view on colonialism. The present article discusses the functions of the nonhuman animals appearing in ‘Morenga’. It is assumed that the animal representations are an essential part of the plot and underscore the criticism of colonial rule in a narrative manner too. The novel contains several descriptions of suffering animals and links them to the harm of the Herero and the Nama in order to point out the ruthlessness of the colonists. Moreover, the book features a story-telling ox, which initiates a reflection process about possible ways of narrating colonial history. The talking ox adds a specific animal-centered perspective on colonial oppression and raises questions about emancipation, self-determination, and the agency of the nonhuman ‘other’
History of scholarship and learning. The humanities
Der Beitrag führt in das umfangreiche kritische Werk Max Herrmann-Neißes ein. Sein Kritikverständnis schließt an Alfred Kerrs Definition der Kritik als vierte Gattung neben Lyrik, Epik und Dramatik an und begreift Kritik als Metaliteratur. Herrmann-Neiße entwirft als Kritiker eine Literaturgeschichte seiner Zeit, die neben regionalen Literaturen wie der schlesischen west- und osteuropäische Literaturen im Kontext von Weltliteratur verortet. Dieses bedeutende Archiv einer historischen Kulturgeschichtsschreibung wird durch die analoge und digitale kritische, kommentierte Edition seiner Kritiken und Essays (1909–1939) gerade für den wissenschaftlichen und allgemeinen Gebrauch erschlossen.
Sustainability is one of the core challenges for education in modern times, particularly concerning cultural heritage. The study evaluates, from a German point of view, how Latvians outside of Latvia after World War II kept their cultural heritage alive by educational concepts, which can be characterized as early roots of modern sustainable education. The evaluation focus concerns a group of Latvians in Germany associated with the Latvian high school in Muenster (MLG). The study concerns the 25 years from 1957 (school relocation to Muenster) until 1982 (founding of the organization “Latvian Center of Muenster e.V.” (LCM), and combines interviews and literature research. It underlines that environmental, social and heritage education can be seen as core elements of Latvian education abroad. Therefore, the study will not present a concise history of the Latvian high school in Muenster (MLG), which has already been done (Sprogis, 2009), but will concisely evaluate the educational concepts of this particular period as a model, how Latvians maintained their heritage in a sustainable way.
O conceito de Witz, como aparece nos fragmentos de Friedrich Schlegel, publicados entre 1798 e 1800, está ligado ao entendimento estético e foi recuperado por Walter Benjamin em O conceito de crítica de arte no romantismo alemão. O Witz faz parte da "terminologia filosófica" romântica, é um instante na reflexão crítica sobre uma obra de arte onde se dá o conhecimento súbito. O Witz opera na obra uma iluminação de diferentes níveis: semanticamente, aparece na obra como as figuras de estilo da subitaneidade, ou como parabase, a ruptura que autoexplica a obra. Witz, etimologicamente, seria uma corruptela de wissen (saber), e representado pela metáfora da luz. O termo original Witz mantém uma relação sonora com Blitz (relâmpago), é o saber que emerge à consciência subitamente, como um relâmpago, uma iluminação súbita da cena. Witz/Bliz constituem-se em um par conceitual, ou seja, a sonoridade dos termos permite um permuta visual e fonética que vem ao encontro das possibilidades semânticas, compondo um par de opostos.
German literature, Germanic languages. Scandinavian languages
In his fragmentary work Die schwarze Messe (1920) Werfel goes back to traditional theological ideas and he anthropomorphizes and fictionalizes the Evil. The aesthetic representation and the staging of the Evil are characteristic of an Anti-Bildungsroman. The action takes place in a monastery, in the opera and in a tavern. The Evil is symbolized by ambivalent personalities representing different strata of a demonic modernity: women, scientists and a monk who had lost his faith. Well informed about the processes of interiorization of the Evil that create the sentiment of culpability (Freud, Groß, Steiner), Werfel stipulates the exteriority, the antecedence and the autonomy of the Evil. He recovers religious thought and turns the Evil into the figure of a certain Dr Grauh, an avatar of the devil and spokesman of the secularization. Werfel’s text must be understood as an apology of mankind, as a renewed mythology of the Evil that results from the double nature of human beings. The author challenges the triumphant spirit of rationalisation which prevails in his epoch.