Open-Access-Bücher zu den Digital Humanities

In der let­zten Zeit sind u.a. diese frei ver­füg­baren Titel erschienen:

Geographical Research in the Digital Humanities: Spatial Concepts, Approaches and Methods

Finn Dammann & Dominik Kre­mer (Hrsg.)–3‑8376–6918‑3/geographical-research-in-the-digital-humanities/
die DOI ist noch nicht reg­istri­ert

The rich­ness of social and cul­tur­al the­o­ry in the human­i­ties offers count­less oppor­tu­ni­ties for using the­o­ry-informed con­cepts in data-based analy­sis work­flows. The con­trib­u­tors to this vol­ume thus encour­age fur­ther research uti­liz­ing out-of-the-box mod­els and approach­es to space and place in the field of Dig­i­tal Human­i­ties. The col­lec­tion fol­lows the two com­ple­men­tary goals of pro­vid­ing promis­ing con­cep­tu­al­i­sa­tions of space and place for a broad audi­ence from Dig­i­tal Human­i­ties, and of pre­sent­ing cur­rent work in Dig­i­tal Human­i­ties using dif­fer­ent con­cep­tu­al­i­sa­tions of space and place or offer­ing inno­v­a­tive meth­ods for their analy­sis.

Mixing Methods: Practical Insights from the Humanities in the Digital Age

Bir­git Schnei­der, Beate Löf­fler, Tino Mager, Car­o­la Hein (Hrsg.)

The dig­i­tal trans­for­ma­tion is accom­pa­nied by two simul­ta­ne­ous process­es: dig­i­tal human­i­ties chal­leng­ing the human­i­ties, their the­o­ries, method­olo­gies and dis­ci­pli­nary iden­ti­ties, and push­ing com­put­er sci­ence to get involved in new fields. But how can qual­i­ta­tive and quan­ti­ta­tive meth­ods be use­ful­ly com­bined in one research project? What are the the­o­ret­i­cal and method­olog­i­cal prin­ci­ples across all dis­ci­pli­nary dig­i­tal approach­es? This vol­ume focuss­es on dri­ving inno­va­tion and con­cep­tu­al­is­ing the human­i­ties in the 21st cen­tu­ry. Build­ing on the results of 10 research projects, it serves as a use­ful tool for design­ing cut­ting-edge research that goes beyond con­ven­tion­al strate­gies.

Zeitschrift „Digital Humanities in the Nordic and Baltic Countries Publications“

Dig­i­tal Human­i­ties in the Nordic and Baltic Coun­tries Pub­li­ca­tions (short: DHNB Pub­li­ca­tions) is a dia­mond open-access pub­li­ca­tion out­let for Dig­i­tal Human­i­ties and Social Sci­ences con­fer­ences, work­shops, and oth­er aca­d­e­m­ic events main­ly from, but not lim­it­ed to, the Nordic and Baltic regions.

The series DHNB Pub­li­ca­tions is pub­lished at the Uni­ver­si­ty of Oslo Library, Nor­way, and edit­ed by Anni­ka Rock­en­berg­er (Uni­ver­si­ty of Oslo) and Eetu Mäkelä (Uni­ver­si­ty of Helsin­ki). 

The Board of the Asso­ci­a­tion for Dig­i­tal Human­i­ties in the Nordic and Baltic Coun­tries serves as the Edi­to­r­i­al Board and ensures region­al and inter­na­tion­al anchor­ing.

Indi­vid­ual DHNB Pub­li­ca­tions also reg­u­lar­ly have guest edi­tors, as the respec­tive con­fer­ence organ­is­ers edit and pub­lish each pro­ceed­ings. The pub­li­ca­tion edi­tors over­see the pub­li­ca­tion process.

DHNB Pub­li­ca­tions does not charge any fees for pub­lish­ing arti­cles. Access­ing, read­ing, and down­load­ing arti­cles is free of charge as well.



Kennen Sie schon … die Datenbank „Der Rote Elefant“?

Der Rote Ele­fant emp­fiehlt Literaturvermittler*innen aktuelle, ästhetisch her­aus­ra­gende Kinder- und Jugend­büch­er. Die Rezen­sio­nen enthal­ten Vorschläge, wie auf die jew­eili­gen Büch­er in Ver­anstal­tun­gen mit Kindern und Jugendlichen neugierig gemacht wer­den kann.

Her­aus­ge­ber ist die „Gemein­schaft zur Förderung von Kinder- und Jugendlit­er­atur (e. V.)“, der Trägervere­in von LesArt, Berlin­er Zen­trum für Kinder- und Jugendlit­er­atur.

Zurzeit – Stand März 2024 – umfasst die Rezen­sio­nen-Samm­lung 862 Bände.
Sie kön­nen sie sortiert nach Gen­res anzeigen lassen (Bilder­büch­er, Kinder­büch­er, Jugend­büch­er, Comics/Graphic Nov­els, Sach­bilder­büch­er, Sach­büch­er) oder über alle Titel suchen.

Wer auf dem Laufend­en bleiben möchte, kann den Newslet­ter abon­nieren.



Open-Access-Bücher zur anglistischen Sprachwissenschaft

In der let­zten Zeit sind u.a. diese frei ver­füg­baren Titel erschienen:

Concessive constructions in varieties of English

Ole Schüt­zler

This vol­ume presents a syn­chron­ic inves­ti­ga­tion of con­ces­sive con­struc­tions in nine vari­eties of Eng­lish, based on data from the Inter­na­tion­al Cor­pus of Eng­lish. The struc­tures of inter­est are com­plex sen­tences with a sub­or­di­nate clause intro­duced by althoughthough or even though.

Var­i­ous func­tion­al and for­mal fea­tures are tak­en into account: (i) the semantic/pragmatic rela­tion that holds between the propo­si­tions involved, (ii) the posi­tion of the sub­or­di­nate clause, (iii) the con­junc­tion that is used, and (iv) the syn­tax of the sub­or­di­nate clause.

By explor­ing pat­terns of vari­a­tion from a Con­struc­tion Gram­mar per­spec­tive, the study works towards an explana­to­ry mod­el, whose point of depar­ture is at the func­tion­al (semantic/pragmatic) lev­el, and which makes hier­ar­chi­cal­ly organ­ised pre­dic­tions for dif­fer­ent for­mal lev­els (clause posi­tion, choice of con­nec­tive and real­i­sa­tion of the sub­or­di­nate clause). It treats con­ces­sives as com­plex form-func­tion pair­ings, and devel­ops argu­ments and rou­tines that may inform quan­ti­ta­tive approach­es to con­struc­tion­al vari­a­tion more gen­er­al­ly.

Production, perception, and comprehension of subphonemic detail: word-final /s/ in English

Dominic Schmitz

The com­plex­i­ties of speech pro­duc­tion, per­cep­tion, and com­pre­hen­sion are enor­mous. The­o­ret­i­cal approach­es of these com­plex­i­ties most recent­ly face the chal­lenge of account­ing for find­ings on sub­phone­mic dif­fer­ences. The aim of the present dis­ser­ta­tion is to estab­lish a robust foun­da­tion of find­ings on such sub­phone­mic dif­fer­ences.

One rather pop­u­lar case for dif­fer­ences in sub­phone­mic detail is word-final /s/ and /z/ in Eng­lish (hence­forth S) as it con­sti­tutes a num­ber of mor­pho­log­i­cal func­tions. Using word-final S, three gen­er­al issues are inves­ti­gat­ed. First, are there sub­phone­mic dura­tional dif­fer­ences between dif­fer­ent types of word-final S? If there are such dif­fer­ences, how can they be account­ed for? Sec­ond, can such sub­phone­mic dura­tional dif­fer­ences be per­ceived? Third, do such sub­phone­mic dura­tional dif­fer­ences influ­ence the com­pre­hen­sion of S?

These ques­tions are inves­ti­gat­ed by five high­ly con­trolled stud­ies: a pro­duc­tion task, an imple­men­ta­tion of Lin­ear Dis­crim­i­na­tive Learn­ing, a same-dif­fer­ent task, and two num­ber-deci­sion tasks. Using not only real words but also pseu­do­words as tar­get items, poten­tial­ly con­found­ing effects of lex­i­cal stor­age are con­trolled for.

Con­cern­ing the first issue, the results show that there are indeed dura­tional dif­fer­ences between dif­fer­ent types of word-final S. Non-mor­phemic S is longest in dura­tion, clitic S is short­est in dura­tion, and plur­al S dura­tion is in-between non-mor­phemic S and clitic S dura­tions. It appears that the dura­tional dif­fer­ences are con­nect­ed to a word’s seman­tic acti­va­tion diver­si­ty and its phono­log­i­cal cer­tain­ty. Regard­ing the sec­ond issue, sub­phone­mic dura­tional dif­fer­ences in word-final S can be per­ceived, with high­er lev­els of per­cep­ti­bil­i­ty for dif­fer­ences of 35 ms and high­er. In regard to the third issue, sub­phone­mic dura­tional dif­fer­ences are found not to influ­ence the speed of com­pre­hen­sion, but show a sig­nif­i­cant effect on the process of com­pre­hen­sion. The over­all results give raise to a revi­sion of var­i­ous extant mod­els of speech pro­duc­tion, per­cep­tion, and com­pre­hen­sion.

The semantics of English ‑ment nominalizations

Lea Kawaletz

It is well-known that deriva­tion­al affix­es can be high­ly pol­y­se­mous, pro­duc­ing a range of dif­fer­ent, often relat­ed, mean­ings. For exam­ple, Eng­lish dever­bal nouns with the suf­fix -er can denote instru­ments (open­er), agents (writer), loca­tions (din­er), or patients (loan­er). It is com­mon­ly assumed that this pol­y­se­my aris­es through a com­po­si­tion­al process in which the affix inter­acts with the seman­tics of the base. Yet, despite inten­sive research in recent years, a work­able mod­el for this inter­ac­tion is still under debate.

In order to study and mod­el the seman­tic con­tri­bu­tions of the base and of the affix, a frame­work is need­ed in which mean­ings can be com­posed and decom­posed.
In this book, I for­mal­ize the seman­tic input and out­put of deriva­tion by means of frames, that is, recur­sive attribute-val­ue struc­tures that serve to mod­el men­tal rep­re­sen­ta­tions of con­cepts. In my approach, the input frame offers an array of seman­tic ele­ments from which an affix may select to con­struct the derivative’s mean­ing.
The rela­tion­ship between base and deriv­a­tive is made explic­it by inte­grat­ing their respec­tive frame-seman­tic rep­re­sen­ta­tions into lex­i­cal rules and inher­i­tance hier­ar­chies.

I apply this approach to a qual­i­ta­tive cor­pus study of the pro­duc­tive rela­tion­ship between the Eng­lish nom­i­nal­iz­ing suf­fix -ment and a seman­ti­cal­ly delim­it­ed set of ver­bal bases. My data set con­sists of 40 neol­o­gisms with base verbs from two seman­tic class­es, name­ly change-of-state verbs and verbs of psy­cho­log­i­cal state. I ana­lyze 369 attes­ta­tions which were elicit­ed from var­i­ous cor­po­ra with a pur­pose­ful sam­pling approach, and which were hand-cod­ed using com­mon seman­tic cat­e­gories such as event, state, patient and stim­u­lus.

My results show that -ment can tar­get a sys­tem­at­i­cal­ly restrict­ed set of ele­ments in the frame of a giv­en base verb. It there­by pro­duces a range of pos­si­ble read­ings in each deriv­a­tive, which becomes ulti­mate­ly inter­pretable only with­in a spe­cif­ic con­text. The deriva­tion­al process is gov­erned by an inter­ac­tion of the seman­tic ele­ments pro­vid­ed by the base on the one hand, with prop­er­ties of the affix (e.g. -ment’s aver­sion to [+ani­mate] read­ings) on the oth­er. For instance, a shift from the verb annoy to a result-state read­ing in annoy­ment is pos­si­ble because the input frame of verbs of psy­cho­log­i­cal state offers a RESULT-STATE attribute, which, as is fixed in the inher­i­tance hier­ar­chy, is com­pat­i­ble with -ment. Mean­while, a shift from annoy to an expe­ri­encer read­ing in annoy­ment fails because the val­ue range of the attribute EXPERIENER is fixed to [+ani­mate] enti­ties, so that -ment’s ani­ma­cy con­straint blocks the inher­i­tance mech­a­nism.

Fur­ther­more, a quan­ti­ta­tive explo­ration of my data set reveals a like­ly block­ing effect for some -ment read­ings. Thus, while I have found most expect­ed com­bi­na­tions of nom­i­nal­iza­tion and read­ing attest­ed, there are pro­nounced gaps for read­ings like instru­ment or stim­u­lus. Such read­ings are like­ly to be pro­duced by stan­dard­ly sub­ject-denot­ing suf­fix­es such as -er or -ant, which may reduce the prob­a­bil­i­ty for -ment deriva­tion. The quan­ti­ta­tive analy­sis fur­ther­more shows that, with­in the sub­set of attest­ed com­bi­na­tions, ambi­gu­i­ty is wide­spread, with 43% of all com­bi­na­tions of nom­i­nal­iza­tion and read­ing being only attest­ed ambigu­ous­ly.

This book shows how a deriva­tion­al process acts on the seman­tics of a giv­en ver­bal base by report­ing on an in-depth qual­i­ta­tive study of the seman­tic con­tri­bu­tions of both the base and the affix. Fur­ther­more, it demon­strates that an explic­it seman­tic decom­po­si­tion of the base is essen­tial for the analy­sis of the result­ing derivative’s seman­tics.



BBC Radio 4: „Memorial No More? A History of Russian Forgetting“

Logo BBC bei Wikimedia Commons„His­to­ri­an Cather­ine Mer­ri­dale wit­nessed the birth of Memo­r­i­al in 1989 as the Sovi­et Union died. An organ­i­sa­tion devot­ed to recov­er­ing the past of the Sovi­et Gulag and soon doc­u­ment­ing the new trans­gres­sions of the Russ­ian state and its impe­r­i­al wars. Even as Rus­sia wnet to war against Ukraine it sought to close Memo­r­i­al down, silence its voice and reshape his­to­ry. But months after the inva­sion Memo­r­i­al shared in the Nobel Peace Prize, only adding to the Russ­ian government’s ire. It has closed its archives and offices and pur­sued lead­ing fig­ures in Russ­ian Memo­r­i­al through the courts, declar­ing them respon­si­ble for ‚reha­bil­i­tat­ing Nazism‘.
Mer­ri­dale tells a per­son­al sto­ry of the open­ing of his­to­ry that Memo­r­i­al was essen­tial to and the tragedy of its clos­ing and the clos­ing of the past. The Kremlin’s cur­rent occu­pants are no more will­ing to con­sid­er the vic­tims of state repres­sion – large­ly Stalin’s repres­sion – than their Sovi­et pre­de­ces­sors were. The sto­ry of Memo­r­i­al, the asso­ci­a­tion, estab­lished in 1989, that set out to find, inves­ti­gate and dis­cuss the Sovi­et Union’s record of polit­i­cal vio­lence against its own cit­i­zens, is one of real hero­ism. From its ini­tial aim of cre­at­ing a phys­i­cal memo­r­i­al to Stalin’s vic­tims it became a focus for research and advo­ca­cy, a liv­ing wit­ness to the intel­lec­tu­al free­dom that comes after the past is faced.
The state argues that what it does – harp­ing on about Stalin’s crimes – dilutes great Russ­ian patri­o­tism. Some of its crit­ics have gone as far as to say that Memorial’s work helps to jus­ti­fy Nazism. But branch­es of Memo­r­i­al in Ukraine and else­where in Europe do what they can to keep mem­o­ry alive.“

Sie kön­nen die Sendung, die am 22.9.2023 in der Rei­he „Seri­ous­ly…“ lief, über die Seite der BBC nach­hören oder als Audio­datei herun­ter­laden.



Buntes aus Westfalen – „Geschichten zum Einschlafen, Wachwerden und für Zwischendurch“

In der Kat­e­gorie „Buntes aus West­falen“ bericht­en wir über (teils kuriose) Neuer­schei­n­un­gen, die wir als Lan­des­bib­lio­thek im Rah­men des Pflich­tex­em­plar­recht­es (das gibt es schon seit 1824!) als kosten­lose Belegex­em­plare aus west­fälis­chen Ver­la­gen und/oder Selb­stver­legern erhal­ten.

Aus dem Klap­pen­text:

Das Frachtschiff von Kapitän Ulf soll nach vie­len Jahren ver­schrot­tet, also abgewrackt wer­den. Deshalb möchte er jet­zt Rent­ner wer­den und in ein großes Kapitän­shaus an die Küste ziehen. Aber was passiert mit dem Schiff­sklabauter­mann, der eben­falls seit vie­len Jahren auf dem Schiff lebt?

Hil­fe, bei Johan­na und Nina im Hause lebt eine Maus im Kühlschrank! Das find­en die Eltern natür­lich über­haupt nicht gut. Wie ist dieses Prob­lem wohl zu lösen?

Endlich ist es soweit. Wieder ent­führen uns weit­ere 24 Geschicht­en in eine Welt, die zum Nach­denken und Träu­men anre­gen. Dabei spielt das Alter des Lesenden oder des Zuhör­ers keine Rolle.

Zum Buch im ULB-Kat­a­log-Plus
Zum Buch auf der Ver­lags-Web­site



WDR Zeitzeichen zu Nâzim Hikmet

Logo WDR bei Wikimedia Commons„Nâz­im Hik­met gilt als Begrün­der der mod­er­nen türkischen Lyrik. Der Dichter und Sozial­ist prägt im 20. Jahrhun­dert die Lit­er­atur in der Türkei – trotz Ver­fol­gung, Pub­lika­tionsver­bot und Exil.
Seinen Traum vom freien Leben in Sol­i­dar­ität fasst Nâz­im Hik­met 1947 in drei mit­tler­weile welt­berühmten Zeilen zusam­men: „Leben! Einzeln und frei wie ein Baum / Und brüder­lich wie ein Wald, / das ist unsere Sehn­sucht.“ (Auszug aus Nâz­im Hik­mets Gedicht „Dav­et“ („Die Ein­ladung“))
In seinen Schriften kämpft der türkische Schrift­steller und Lyrik­er für bedin­gungslose Liebe und soziale Gerechtigkeit. Er nimmt dabei den Blick von unten ein: In den 1920er-Jahren hat er in Ana­tolien die Armut der türkischen Land­bevölkerung ken­nen­gel­ernt. Diese Men­schen wer­den später in Werken wie „Sche­ich Bedred­din“ und „Men­schen­land­schaften“ verewigt. Seine Helden seien „wed­er Gen­eräle noch Sul­tane“, son­dern „Arbeit­er, Bauern und Handw­erk­er“, notiert Hik­met.

Fasziniert von der Okto­ber­rev­o­lu­tion
Hik­met selb­st stammt aus bil­dungs­bürg­er­lichen Ver­hält­nis­sen. Er wird am 15. Jan­u­ar 1902 in Thes­sa­loni­ki geboren, das damals noch zum Osman­is­chen Reich gehört. Die ersten Jahre ver­bringt er bei seinem Groß­vater in Istan­bul, einem ein­flussre­ichen Aris­tokrat­en. Der Vater ist Beamter des Außen­min­is­teri­ums, die Mut­ter ist eine in Paris aus­ge­bildete Malerin.
Als Nâz­im fünf Jahre alt ist, ziehen auch seine Eltern aus dem Osten der Türkei nach Istan­bul. Die poli­tis­chen und kul­turellen Kon­tak­te der Fam­i­lie sor­gen für reich­lich intellek­tuelle Anre­gun­gen, sodass Nâz­im bere­its mit elf Jahren erste Gedichte schreibt. 1917 besucht er auf Wun­sch des Vaters eine Marineakademie in Istan­bul. Er bricht die Offizier­slauf­bahn jedoch ab, weil die Okto­ber­rev­o­lu­tion in Rus­s­land ihn fasziniert.

In Moskau studiert
Im Ersten Weltkrieg kämpft das Osman­is­che Reich an der Seite Deutsch­lands und gehört zu den Ver­lier­ern. In Ana­tolien formiert sich Wider­stand gegen die siegre­ichen Alli­ierten. Hik­met schließt sich 1918 den Befreiungskampf an, der von den zukün­fti­gen Begrün­dern der Türkei geführt wird.
1922 reist er für drei Jahre nach Moskau, studiert Sozi­olo­gie und Kun­st­geschichte. Er erhält Kon­takt zu den sow­jetis­chen Futur­is­ten und wird beson­ders durch den Dichter Wladimir Majakows­ki und den The­ater­regis­seur Wse­wolod Emil­je­w­itsch Mey­er­hold bee­in­flusst.

Immer wieder inhaftiert
1924, ein Jahr nach Atatürks Repub­lik­grün­dung, kehrt Hik­met nach Istan­bul zurück. Er veröf­fentlicht drei Gedicht­bände und wird Mit­glied der – in sein­er Heimat ver­bote­nen – Kom­mu­nis­tis­chen Partei. Wegen der Mitar­beit an ein­er linksori­en­tierten Zeitschrift wer­den auch seine Werke ver­boten. Hik­met, der in seinen Schriften den auf­steigen­den Faschis­mus in Europa kri­tisiert, wird immer wieder inhaftiert.
1938 wird er in einem Schauprozess zu 28 Jahren Gefäng­nis verurteilt. Dort erteilt er Mit­ge­fan­genen Unter­richt in Ökonomie und Poli­tik. Hik­met über­set­zt unter Pseu­do­nym mehrere Klas­sik­er, darunter auch Leo Tol­stois „Krieg und Frieden“. Er ver­fasst aber auch eigene Werke und Gedichte.

Nach Hunger­streik beg­nadigt
Ende der 1940er-Jahre ver­schlechtert sich Hik­mets Gesund­heit­szu­s­tand drama­tisch. 1950 tritt der Schrift­steller in den Hunger­streik. Eine inter­na­tionale Kam­pagne fordert seine Freilas­sung. Die Peti­tion an den türkischen Staat­spräsi­den­ten wird unter anderem von Bertolt Brecht, Jean-Paul Sartre, Pablo Picas­so und Pablo Neru­da unterze­ich­net.
Noch im sel­ben Jahr wird Hik­met beg­nadigt. Als der 49-Jährige jedoch zum Mil­itär­di­enst ein­berufen wird, flieht er nach Moskau. Die Türkei bürg­ert ihn daraufhin aus. Seine anfängliche Begeis­terung für die Sow­je­tu­nion schwindet allerd­ings. Im satirischen The­ater­stück „Iwan Iwanow­itsch“ rech­net er mit dem Stal­in­is­mus ab.

Paris als geistiger Zuflucht­sort
In seinen let­zten Jahren reist Hik­met viel. Er ist unter anderem in Ital­ien, Deutsch­land, Chi­na und Afri­ka unter­wegs. Auf Kuba schreibt er seine berühmte Havan­na-Reportage. In Paris – sein geistiger Zuflucht­sort – trifft der Dichter neben Wis­senschaftlern und Kün­stlern auch Fre­unde wie den exilierten türkischen Maler Abidin Dino.
Am 3. Juni 1963 will Nâz­im Hik­met in seinem Moskauer Exil die Zeitun­gen aus dem Briefkas­ten holen. Dabei stirbt der 61-Jährige an einem Herz­in­farkt. Er wird auf dem Nowode­witschi Fried­hof in Moskau beerdigt. Seine Werke, die in 60 Sprachen über­set­zt wer­den, bleiben in der Türkei noch bis in die 1990er-Jahre ver­boten. 2009 erhält der Ver­stor­bene posthum auch die türkische Staats­bürg­er­schaft zurück.
(WDR, Mela­hat Sim­sek, Gesa Rünker)

Sie kön­nen die Sendung, die am 3.6.2023 in der Rei­he „ZeitZe­ichen“ lief, über die Seite des WDR nach­hören oder als Audio­datei herun­ter­laden.



Podcast „99% Invisible“: „Fraktur“

Peter Dör­fell lives in Dres­den Ger­many where he works in elder care, vis­it­ing clients at their homes, and to do that, he usu­al­ly takes the bus. But one morn­ing last Sep­tem­ber, he noticed some­thing unusu­al as he board­ed. “When I got on the bus, I see that the bus dri­ver had put up a sign inside of the bus that said in Ger­man, ‘Diesen Bus Steuert ein Deutsch­er Fahrer,’ which means ‘this bus is dri­ven by a Ger­man dri­ver.’” This was not the kind of mes­sage Peter was used to see­ing on his dai­ly com­mute, but to Peter… the mean­ing of the mes­sage was pret­ty clear.

“The impli­ca­tion to me was […] I am one of the good ones and not, a ‘for­eign­er.’” But what real­ly drove the mes­sage of this sign home, was not just the words, but the type­face it was print­ed in. A type­face from a fam­i­ly of Ger­man type­faces once used through­out Ger­many which are known col­lec­tive­ly as Frak­tur which in Eng­lish goes by a dif­fer­ent name: black­let­ter. Black­let­ter is the type of old-timey Goth­ic type­face that you often see used for the bold front titles of news­pa­pers like the New York Times or Wash­ing­ton Post, or on the T‑shirts of Heavy Met­al bands. But for many peo­ple, espe­cial­ly in Europe, black­let­ter is most close­ly asso­ci­at­ed with one thing: it’s the “Nazi Font“.


If you have ever caught even one minute of the His­to­ry Chan­nel… or real­ly any doc­u­men­tary about World War II, you have seen this type. You’ve seen it on Nazi posters, on Nazi office build­ings, on Nazi road­work signs. Today in Ger­many, black­let­ter type­faces are fre­quent­ly used by Neo-Nazi groups and for many Ger­mans, they bring to mind the dark times of the country’s fas­cist past.

Flo­ri­an Hard­wig is a graph­ic design­er and the edi­tor of a web­site called Fonts in Use and he says that in Ger­many, any black­let­ter type­face is used to sig­nal Ger­man nation­al­ism. Using black­let­ter is a state­ment and sends a sig­nal of empha­siz­ing the “Ger­man­ness.” Today, depend­ing on one’s per­spec­tive, black­let­ter can either rep­re­sent Ger­man culture’s rich and proud her­itage or alter­na­tive­ly, sym­bol­ize every­thing that is wrong with it. But to under­stand how people’s feel­ings about a sim­ple type­face got to this point, we need to go back to the moment of its birth.

𝕺𝖓𝖊 𝕿𝖞𝖕𝖊𝖋𝖆𝖈𝖊 𝖙𝖔 𝕽𝖚𝖑𝖊 𝕿𝖍𝖊𝖒 𝕬𝖑𝖑

Once upon a time in that bygone era of knights and cas­tles and feath­er quills, black­let­ter was used all across Europe. Black­let­ter may seem incred­i­bly ornate and def­i­nite­ly does not seem like a con­ven­tion­al style of writ­ing, but back in the Mid­dle Ages, black­let­ter was actu­al­ly con­sid­ered prac­ti­cal. Dan Reynolds is an Amer­i­can type design­er and his­to­ri­an who has been liv­ing in Ger­many for the last two decades, and he says today we’re used to let­ter­forms with per­fect­ly round­ed curves: think of our O’s, U’s, P’s, and C’s. But while these shapes look easy enough to draw, if you’re using a quill to draw out thou­sands of them, page after page, it becomes dif­fi­cult.

Back then, just as now, read­ers val­ued stan­dard­iza­tion in a text. Every let­ter, even the round­ed ones, had to look exact­ly the same. It was hard for a monk copy­ing out a text to con­sis­tent­ly draw per­fect cir­cles over and over again, and if you were a scribe it was a lot eas­i­er to pro­duce all those Os and Us and Cs out of a series of short straight lines. The tech­nique of using straight lines instead of curves gave the let­ters a frag­ment­ed appear­ance. Which is actu­al­ly how Germany’s most com­mon form of black­let­ter would get its name: Frak­tur.

Black­let­ter was first devel­oped in France in the 12th Cen­tu­ry, but with­in a few hun­dred years it had become stan­dard through­out Europe. So much so that it wasn’t real­ly a type choice, it was just what words looked like. Susan Reed is head of Ger­man­ic Stud­ies at the British Library, and she says that black­let­ter became so ingrained in the cul­ture that even after it stopped being need­ed, peo­ple kept using it. As with so many big leaps in tech­nol­o­gy, the print­ing press start­ed off by bor­row­ing heav­i­ly on the design con­ven­tions that came before it, even though the new oper­at­ing prin­ci­ples made those con­ven­tions unnec­es­sary. 

weit­er­lesen auf der 99%-Website!

Sie kön­nen die Sendung, die 2020 veröf­fentlicht wurde, über die Seite des Pod­casts nach­hören oder als Audio­datei herun­ter­laden.



Podcast „Wagnis Wissen“: „Wer bestimmt, was gute Literatur ist?“

Logo des Podcasts "Wagnis Wissen" von De Gruyter ( (Stand 21.2.2024)

Im Jan­u­ar 2024 ist der Pod­cast „Wag­nis Wis­sen“ des Ver­lagshaus­es De Gruyter ges­tartet:

Wie gerecht ist unsere Sprache? Welche Ethik braucht kün­stliche Intel­li­genz? Wie gestal­ten wir lebenswerte Städte? Wir wollen es wis­sen – also fra­gen wir bei denen nach, die sich am besten damit ausken­nen. Bei WAGNIS WISSEN spricht Jour­nal­istin Nadine Kreuzahler mit Exper­tin­nen und Experten aus der Wis­senschaft über drän­gende Fra­gen der Gegen­wart.

Die Fol­gen der ersten Staffel beschäfti­gen sich mit dem The­ma Poplit­er­atur, und gle­ich in der ersten Folge war mit Moritz Baßler jemand von der Uni Mün­ster zu Gast:

Wer bes­timmt, was gute Lit­er­atur ist?

Lit­er­atur und Pop – Gegen­satz, oder ein und das­selbe? Poplit­er­atur wird oft als abw­er­tendes Etikett für weniger anspruchsvolle Lit­er­atur benutzt. Für andere bietet Pop einen besseren Zugang zur Welt als andere gegen­wär­tige Lit­er­atur. Doch wenn die Gren­zen zwis­chen high und low ver­schwim­men, was unter­schei­det aus Sicht der Lit­er­atur­wis­senschaft noch gute von schlechter Lit­er­atur? Oder ist das alles nur Geschmacks­frage? Nadine Kreuzahler und Moritz Baßler sprechen über Poplit­er­atur, pop­ulären Real­is­mus und Mid­cult.

Moritz Baßler ist Pro­fes­sor für Neuere deutsche Lit­er­atur an der Uni­ver­sität Mün­ster und hat bei De Gruyter das Hand­buch Lit­er­atur & Pop her­aus­gegeben. Mit seinen The­sen zu einem neuen Mid­cult und pop­ulären Real­is­mus hat er jüngst eine weitre­ichende Lit­er­atur­de­bat­te aus­gelöst.



WDR 3 Kulturfeature“: „Heimsuchungen – Die britische Schriftstellerin Hilary Mantel“

Logo WDR bei Wikimedia Commons„Hilary Man­tel galt seit dem Erscheinen der Romane «Wölfe» und «Falken» als Köni­gin des His­to­rien­ro­mans. Am 22. Sep­tem­ber [2022] ist sie im Alter von 70 Jahren gestor­ben.“
(WDR, Thomas David)

Sie kön­nen die Sendung aus dem Jahr 2018, die zulet­zt am 8.10.2022 in der Rei­he „WDR 3 Kul­tur­fea­ture“ lief, über die Seite des WDR nach­hören oder als Audio­datei herun­ter­laden.



france culture « Toute une vie » : « Natalia Ginzburg (1916–1991), tous les autres sont des hommes »

Tra­duc­trice, éditrice, roman­cière, nou­vel­liste et dra­maturge, Natalia Ginzburg a lais­sé un gigan­tesque sou­venir lit­téraire et poli­tique de l’I­tal­ie antifas­ciste, preuve intime et his­torique d’un monde dis­paru ren­du éter­nel.


  • Pao­la Agosti Pho­tographe, fille de Gior­gio Agosti qui dirigea le Par­ti­to d’Azione, groupe de résis­tance au nazisme à Turin
  • Mari­no Sini­bal­di Homme de radio à la Rai Tre (télévi­sion publique ital­i­enne)
  • Wal­ter Bar­beris Ancien salarié de la mai­son d’édition Ein­au­di à Turin
  • Isabel­la Chec­ca­lig­ni Éditrice, créa­trice des édi­tions Ypsilon à Paris
  • Geneviève Brisac Nor­mali­enne, agrégée de let­tres, éditrice et écrivaine
  • Mar­tin Rueff Pro­fesseur de lit­téra­ture française à l’Université de Genève, tra­duc­teur de l’i­tal­ien, poète, philosophe

Quel est le des­tin des jeunes filles en fleurs de l’I­tal­ie fas­ciste ?
Tra­duc­trice de Proust, Mau­pas­sant ou Ver­cors, Natalia Ginzburg com­mence par con­ter les pince­ments au cœur et au corps de ses sœurs d’âmes.
La guerre est cette pli­ure à par­tir de laque­lle elle embrasse les des­tins des hommes autour d’elle. Son père, ses frères, son mari, ses amis.
Se faisant, Natalia Ginzburg appa­raît, passeuse d’un monde éternisé grâce à elle, celui du quo­ti­di­en des intel­lectuels antifas­cistes turi­nois du début du siè­cle et dans la tour­mente du nazi-fas­cisme. Ils sont con­tés à tra­vers l’ex­péri­ence de sa présence au monde, à elle, fille, jeune femme, mère, amie, écrivaine, com­pagne de route de la mai­son d’édi­tion de Giulio Ein­au­di qu’ils ont créée ensem­ble et qu’ils ont fait grandir.

Lors de la remise du prix Stre­ga en 1963, le monde lit­téraire ital­ien fête un livre unique, mod­erne, sur­prenant tant il bifurque et vire­volte à tra­vers le des­tin de la famille de son autrice. Son titre : Lessi­co famigliare / Les mots de la tribu. On le dit poly­tech­nique, on par­le d’intelligence phys­i­ologique, sont con­vo­qués non seule­ment les tech­niques d’écritures mais les sujets traités, au plus près des sen­sa­tions, qui s’élèvent immé­di­ate­ment à des con­clu­sions par­fois absur­des, par­fois géniales des per­son­nages : Lidia, protes­tante et Giuseppe, juif tri­estin pro­fesseur d’anatomie, les par­ents de la jeune Natalia, Gino, Alber­to et Pao­la ses frères et sa sœur, Cesare Pavese, Ita­lo Calvi­no, et tous les autres… Et au milieu d’eux, à une place invis­i­ble et dans son regard prég­nant, il y a Natalia, appelée du nom de l’héroïne de Guerre et Paix de Tol­stoï. Un des­tin déjà à la fois lit­téraire et cer­taine­ment à con­quérir, en s’affranchissant dans la lit­téra­ture de toutes les places assignées. Natalia garde le nom de son mari mort assas­s­iné par les nazis pen­dant la guerre, Leone Ginzburg, juif d’Odessa, Ital­ien, puis apa­tride. Elle fait de ce patronyme un nom défini­tive­ment ital­ien, et entremêle les des­tins dans une œuvre où l’ab­sence de ceux que l’on aime est défiée par l’autre vie : Le sou­venir.

Lec­tures des textes de Natalia Ginzburg issus des recueils : La route qui mène à la ville (1942 sous le nom d’A­lessan­dra Torn­im­parte, 1945 sous son nom), Les mots de la tribu (1963), Les petites ver­tus (écrit entre 1943 et 1962) par Daniela de Felice et Angelique Cav­al­lari

Bib­li­ogra­phie sélec­tive

Natalia Ginzburg :

  • L’œu­vre de Natalia Ginzburg, en français, est pub­liée aux édi­tions Liana LeviYpsilon et Gras­set
  • Ne me demande jamais est prévu à la pub­li­ca­tion aux édi­tions Ypsilon dans la tra­duc­tion de Muriel Morel­li, courant 2024

Autres auteurs :

Sie kön­nen die Sendung, die am 3.6.2023 veröf­fentlicht wurde, über die Seite des Pod­casts nach­hören oder als Audio­datei herun­ter­laden.



Aus unseren Neuerwerbungen – Sprachen und Kulturen Asiens, Afrikas und Ozeaniens 2024.3

Intro­duc­ing Chi­nese lin­guis­tics: A hand­book for Chi­nese lan­guage teach­ers and learn­ers
BuchcoverThis book pro­vides a com­pre­hen­sive intro­duc­tion to the fun­da­men­tals of Chi­nese lin­guis­tics, includ­ing the core com­po­nents of pho­net­ics and phonol­o­gy, mor­phol­o­gy, syn­tax, writ­ing sys­tem, and social cul­tur­al aspects of the lan­guage. It also dis­cuss­es key fea­tures of Chi­nese lan­guage acqui­si­tion in each of these areas, high­light­ing com­mon dif­fi­cul­ties and obsta­cles adult learn­ers encounter as revealed in lan­guage acqui­si­tion research. The inte­gra­tion of basic lin­guis­tic knowl­edge with lan­guage acqui­si­tion find­ings pro­vides valu­able resources for both cur­rent and aspir­ing Chi­nese lan­guage teach­ers, and seri­ous learn­ers of Chi­nese as a sec­ond lan­guage. Exer­cise ques­tions includ­ed in each chap­ter serve to rein­force the con­cepts of Chi­nese lin­guis­tics. The book is designed to not only enhance Chi­nese learn­ers’ lin­guis­tic aware­ness but also pro­vide lan­guage teach­ers with ped­a­gog­i­cal prepa­ra­tion and assis­tance. While this book can be used as a text­book for an intro­duc­to­ry Chi­nese lin­guis­tics course, it is also ben­e­fi­cial to the broad­er range of read­ers who are inter­est­ed in Chi­nese lin­guis­tics.
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Tran­scul­tur­al poet­ics: Chi­nese lit­er­a­ture in Eng­lish trans­la­tion
BuchcoverTrans­lat­ing Chi­nese lit­er­a­ture into Eng­lish is a spe­cial chal­lenge. There is a press­ing need to over­come a slew of obsta­cles to the under­stand­ing and appre­ci­a­tion of Chi­nese lit­er­ary works by read­ers in the Eng­lish-speak­ing world. Hith­er­to only inter­mit­tent attempts have been made to the­o­rize and explore the exact role of the trans­la­tor as a cul­tur­al and aes­thet­ic medi­a­tor informed by cross-cul­tur­al knowl­edge, aware­ness, and sen­si­tiv­i­ty. Giv­en the com­plex­i­ty of lit­er­ary trans­la­tion, sophis­ti­cat­ed poet­ics of trans­la­tion in terms of lit­er­ary val­ue and aes­thet­ic taste needs to be devel­oped and elab­o­rat­ed more ful­ly from a cross-cul­tur­al per­spec­tive. It is, there­fore, nec­es­sary to exam­ine attempts to rec­on­cile the desire for authen­tic trans­mis­sion of Chi­nese cul­ture with the need for cul­tur­al medi­a­tion and appro­pri­a­tion in terms of the pro­duc­tion and recep­tion of texts, sub­ject to the mul­ti­plic­i­ty of con­straints, in order to shed new light on the long­stand­ing conun­drum of Chi­nese-Eng­lish lit­er­ary trans­la­tion by address­ing Chi­nese lit­er­a­ture in the mul­ti­ple con­texts of nation­al­ism, cross-cul­tur­al hybrid­i­ty, lit­er­ary untrans­lata­bil­i­ty, the recep­tion of trans­la­tion, and also world lit­er­a­ture.
The book will be of great inter­est to stu­dents and schol­ars of trans­la­tion stud­ies, Chi­nese lit­er­a­ture, and East Asian stud­ies.
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Open-Access-Bücher zur Nordistik

In der let­zten Zeit sind u.a. diese frei ver­füg­baren Titel erschienen:

Ecocriticism and Old Norse Studies: Nature and the Environment in Old Norse Literature and Culture

Rein­hard Hen­nig / Emi­ly Leth­bridge / Michael Schulte (Hrsg.)

Eco­crit­i­cism and Old Norse Stud­ies is the first anthol­o­gy to com­bine envi­ron­men­tal human­i­ties approach­es and the study of pre­mod­ern Nordic lit­er­a­ture and cul­ture. The chap­ters gath­ered here present inno­v­a­tive research based on the most recent devel­op­ments with­in eco­log­i­cal­ly informed lit­er­ary and cul­tur­al stud­ies. Cov­er­ing a wide vari­ety of sources, the vol­ume pro­vides new insights into the Old Norse envi­ron­men­tal imag­i­na­tion, show­ing how pre­mod­ern texts relate to nature and the envi­ron­ment – both the real-world envi­ron­ments of the Viking Age and Mid­dle Ages, and the fan­tas­tic envi­ron­ments of some parts of saga lit­er­a­ture.

Col­lec­tive­ly, the con­tri­bu­tions shed new light on the role of cul­tur­al con­tacts, tex­tu­al tra­di­tions, and inter­tex­tu­al­i­ty in the shap­ing of Old Norse per­cep­tions and rep­re­sen­ta­tions of nature and the envi­ron­ment, as well as on the mod­ern recep­tion and (mis-)use of these ideas.

The vol­ume more­over has a con­tem­po­rary rel­e­vance, invit­ing read­ers to con­sid­er the lessons that can be learned from how peo­ple per­ceived their envi­ron­ments and inter­act­ed with them in the past as we face envi­ron­men­tal crises in our own times.

Ibsen at the Theatrical Crossroads of Europe: A Performance History of Henrik Ibsen’s Plays on the Romanian Stages, 1894–1947

Gian­i­na Dru­ta–3‑8376–7018‑9/ibsen-at-the-theatrical-crossroads-of-europe/
die DOI ist noch nicht reg­istri­ert

While Ibsen’s plays were sel­dom per­formed in Roma­nia in the first half of the 20th cen­tu­ry, his­tor­i­cal sources high­light his strong impact on the nation­al the­atre prac­tice. To address this con­tra­dic­tion, Gian­i­na Dru­ta approach­es the recep­tion of Ibsen in the Roman­ian the­atre in the peri­od 1894–1947, com­bin­ing Dig­i­tal Human­i­ties and the­atre his­to­ri­og­ra­phy. This inves­ti­ga­tion of the Euro­pean the­atre cul­ture and the way in which the for­eign act­ing and stag­ing tra­di­tions influ­enced the Roman­ian Ibsen­ites pro­vides new insights into mech­a­nisms of aes­thet­ic trans­mis­sion. Thus, this study presents a Euro­pean the­atre land­scape whose unpre­dictabil­i­ty and unique­ness can­not be con­fined to essen­tial­ist inter­pre­ta­tions.



Aus unseren Neuerwerbungen – Germanistik 2024.3

Coro­na-Pan­demie im Text und Diskurs
BuchcoverDie Rel­e­vanz der Coro­na-Pan­demie für Gesellschaften ist in Sprache und Kom­mu­nika­tion in unter­schiedlich­er Form doku­men­tiert wor­den. Die in diesem Band ver­sam­melten Beiträge sollen ein dif­feren­ziertes Bild der Real­isierung des Coro­na-Diskurs­es ver­mit­teln. Dementsprechend konzen­tri­eren sich die Stu­di­en auf lexikalis­che Ein­heit­en, mit denen der pan­demis­chen Real­ität Rech­nung getra­gen wird. Eine natür­liche Man­i­fes­ta­tion der Diskurse sind Texte, denen auch hierin beson­dere Aufmerk­samkeit gewid­met wird. Beach­tung find­en eben­falls Humor in Krisen­zeit­en und seine Erschei­n­ungs­for­men wie Witze oder Coro­na-Memes. Daher gibt der Band einen fundierten Ein­blick in den Coro­na-Diskurs mit beson­derem Fokus auf die Sprache Deutsch, wobei er auch Unter­suchun­gen zu anderen Sprachen berück­sichtigt.
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The freest coun­try in the world: East Germany’s final year in cul­ture and mem­o­ry
BuchcoverStephen Brockmann’s new book explores the year 1989/1990 in East Ger­many, argu­ing that while the GDR is gen­er­al­ly seen as – and was for most of its forty years – an oppres­sive and unfree coun­try, from autumn 1989 until the autumn of 1990 it was the „freest coun­try in the world,“ since the dic­ta­tor­ship had dis­ap­peared while the wel­fare sys­tem remained. That such free­dom exist­ed in the last months of the GDR and was a result of the actions of East Ger­mans them­selves has been obscured, Brock­mann shows, by the now-stan­dard descrip­tion of the col­lapse of the GDR and the reuni­fi­ca­tion of Ger­many as a tri­umph of West­ern democ­ra­cy and cap­i­tal­ism.
Brock­mann first address­es the cul­ture of 1989/1990 by look­ing at var­i­ous media from that final year, par­tic­u­lar­ly film doc­u­men­taries. He empha­sizes punk cul­ture and the growth of neo-Nazism and the Antifa move­ment – fac­tors often ignored in accounts of the peri­od. He then ana­lyzes three lat­er semi­au­to­bi­o­graph­i­cal nov­els about the peri­od. He devotes chap­ters to dra­mat­ic films deal­ing with Ger­man reuni­fi­ca­tion made rel­a­tive­ly soon after the event and to more recent film and tele­vi­sion depic­tions of the peri­od, respec­tive­ly. The final chap­ter looks at mon­u­ments and memo­ri­als of the 1989/1990 peri­od, and a con­clu­sion con­sid­ers the impli­ca­tions of the book’s find­ings for the present day.
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Aus unseren Neuerwerbungen – Sprachen und Literaturen allgemein 2024.3

Cor­pus approach­es to lan­guage in social media
BuchcoverThis book show­cas­es the unique pos­si­bil­i­ties of cor­pus lin­guis­tic method­olo­gies in engag­ing with and analysing lan­guage data from social media, sur­vey­ing cur­rent approach­es, and offer­ing guide­lines and best prac­tices for doing lan­guage analy­sis.
The book pro­vides an overview of how lan­guage in social media has been approached by lin­guists and non-lin­guists, before delv­ing into the iden­ti­fi­ca­tion of the datasets require­ments need­ed to pur­sue inves­ti­ga­tions in social media, and of the tech­ni­cal aspects of par­tic­u­lar plat­forms that may influ­ence the analy­sis, such as emoti­cons, retweets, and meta­da­ta. Sam­ple Python code, along with gen­er­al guide­lines for using it, is pro­vid­ed to empow­er researchers to apply these tech­niques in their own work, sup­port­ed by actu­al exam­ples from three real-life case stud­ies. Di Cristo­faro high­lights the full poten­tial of using these method­olo­gies in analysing social media lan­guage data and the ways in which they might pave the way for future appli­ca­tions of data analy­sis and pro­cess­ing for cor­pus lin­guis­tics.
The book will be key read­ing for researchers in cor­pus lin­guis­tics and lin­guists and social sci­en­tists inter­est­ed in data-dri­ven analy­sis of social media.
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Nature prose: writ­ing in eco­log­i­cal cri­sis
BuchcoverThis book seeks to explain the pop­u­lar­i­ty and appeal of con­tem­po­rary writ­ing about nature. The argu­ment is that nature writ­ing, in its var­i­ous for­mats, con­tains for­mal effects of a com­plex­i­ty that is not suf­fi­cient­ly rec­og­nized, and that these para­dox­i­cal or anti­thet­i­cal effects encap­su­late our cur­rent eco­log­i­cal dilem­ma, and offer a fresh resource for crit­i­cal think­ing. Such lit­er­ary effects become more eas­i­ly dis­cernible when the dis­tinc­tions between fic­tion­al and non­fic­tion­al writ­ing are (part­ly) set aside, so that ‘nature writ­ing’ is set with­in the broad­er con­cep­tion of ‘nature prose’. The book’s range is inter­na­tion­al, with par­tic­u­lar empha­sis on writ­ers from Britain and the US. The treat­ment and con­struc­tion of ‘nature’ in con­tem­po­rary imag­i­na­tive prose reveals some sig­nif­i­cant para­dox­es beneath its dom­i­nant moods—moods which are usu­al­ly earnest, some­times cel­e­bra­to­ry, some­times prophet­ic or cau­tion­ary. It is in these para­dox­i­cal or anti­thet­i­cal moments that the con­tem­po­rary eco­log­i­cal predica­ment is for­mal­ly encod­ed, in a pro­gres­sive devel­op­ment of eco­log­i­cal con­scious­ness from the late 1950s (or even ear­li­er), but which is pri­mar­i­ly illus­trat­ed in this work from texts pub­lished from the 1990s onwards. The ambi­gu­i­ty in the sub­ti­tle of this book—‘Writing in Eco­log­i­cal Crisis’—is intend­ed to cap­ture a mode of writ­ing that is both con­tem­po­ra­ne­ous with a defin­ing time of cri­sis for human­i­ty and for­mal­ly fash­ioned by that con­text: this is writ­ing that emerges in a time of cri­sis but which is also, in some ways, in cri­sis itself.
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Aus unseren Neuerwerbungen – Anglistik 2024.3

Law, lit­er­a­ture, and social reg­u­la­tion in ear­ly medieval Eng­land
BuchcoverPre-Con­quest Eng­lish law was among the most sophis­ti­cat­ed in ear­ly medieval Europe. Com­posed large­ly in the ver­nac­u­lar, it played a cru­cial role in the evo­lu­tion of ear­ly Eng­lish iden­ti­ty and exer­cised a for­ma­tive influ­ence on the devel­op­ment of the Com­mon Law. How­ev­er, recent schol­ar­ship has also revealed the sig­nif­i­cant influ­ence of these legal doc­u­ments and ideas on oth­er cul­tur­al domains, both mod­ern and pre-mod­ern.
This col­lec­tion explores the rich­ness of pre-Con­quest legal writ­ing by look­ing beyond its tra­di­tion­al cod­i­fied form. Draw­ing on method­olo­gies rang­ing from tra­di­tion­al philol­o­gy to legal and lit­er­ary the­o­ry, and from a diverse selec­tion of con­trib­u­tors offer­ing a broad spec­trum of dis­ci­plines, spe­cial­i­ties and per­spec­tives, the essays exam­ine the inter­sec­tion between tra­di­tion­al juridi­cal texts – from law codes and char­ters to trea­tis­es and reli­gious reg­u­la­tion – and a wide range of lit­er­ary gen­res, includ­ing hagiog­ra­phy and hero­ic poet­ry. In doing so, they demon­strate that the bound­ary that has tra­di­tion­al­ly sep­a­rat­ed „law“ from oth­er modes of thought and writ­ing is far more porous than hith­er­to real­ized. Over­all, the vol­ume yields valu­able new insights into the mul­ti-lay­ered and mul­ti-direc­tion­al rela­tion­ship of law, lit­er­a­ture, and social reg­u­la­tion in pre-Con­quest Eng­lish soci­ety.
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Men­tal health symp­toms in lit­er­a­ture since mod­ernism
BuchcoverMen­tal Health Symp­toms in Lit­er­a­ture since Mod­ernism looks at var­i­ous ways of treat­ing symp­toms of psy­cho­log­i­cal dis­or­ders in the lit­er­a­ture of the long twen­ti­eth cen­tu­ry. This book shows that lit­er­a­ture can, in its ques­tion­ing of com­mon­ly accept­ed views of this lived expe­ri­ence of psy­chic symp­toms, help engen­der new the­o­ries about the func­tion­ing of sub­jec­tive cas­es. Mod­ernism emerged at about the same time as Freudi­an psy­cho­analy­sis did and the aim of this book is to also show that to a cer­tain extent, Woolf pre­ced­ed Freud in her explo­ration of the symp­tom and con­tributed to fash­ion­ing anoth­er approach that is now more com­mon, espe­cial­ly in writ­ers from the 1990s-onwards.

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