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  1. Dogeared hate : Yilmaz Arslan's Brudermord/Fratricide (2005), a new type of Heimatfilm
    Erschienen: 08.04.2016

    This paper focuses on the Heimat (home) metaphor of the Pit Bull bitch in Yilmaz Arslan's Brudermord/Fratricide (2005), a film about Turkish migrants in Germany. Updating the genre for a world of fluid boundaries, this is a Heimatfilm of the German... mehr

     

    This paper focuses on the Heimat (home) metaphor of the Pit Bull bitch in Yilmaz Arslan's Brudermord/Fratricide (2005), a film about Turkish migrants in Germany. Updating the genre for a world of fluid boundaries, this is a Heimatfilm of the German margin. Arslan's film self-reflexively posits transnational Heimat film as a possible bridge between "Others", as a means to facilitate conversations which might decrease the violence of the present dog eat dog world of the margin the film portrays. Diese Arbeit analysiert die Heimatmetapher der Pitbullhündin in Yilmaz Arslans Brudermord (2005), ein Film, der von türkischen Migranten in Deutschland handelt und der das Filmgenre "Heimatfilm" modernisiert, um die Welt der flüssigen Grenzen zu reflektieren. Brudermord ist ein Heimatfilm des deutschen Randbereichs und geht davon aus, dass der transnationale Heimatfilm als Mittel der Kluftüberbrückung zwischen Nichtgleichen wirken kann: Er könnte eine Annäherung durch Gespräche anregen, die vielleicht die Gewalt der gegenwärtigen Welt, in der jeder gegen jeden kämpft und in der viele wie Hunde leben und sterben, reduzieren könnte.

     

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  2. How Brazilian students conceptualize the experience of learning German for academic purposes
    Erschienen: 16.08.2016

    The present study aims to investigate how foreign language learners at the German for Academic Purposes (GAP) program at a Brazilian federal university interact in their mother tongue about their motivations to learn a foreign language as well as... mehr

     

    The present study aims to investigate how foreign language learners at the German for Academic Purposes (GAP) program at a Brazilian federal university interact in their mother tongue about their motivations to learn a foreign language as well as their motivations to participate in study abroad programs. Data were collected using focus group methodology with three focus groups of six students each (A1, A2 and B1 levels). We chose to analyze the A1 group. We conducted metaphor-led discourse analysis of the data in order to examine metaphors and metonymies, which emerged in the focus group interactions. We were able to identify the presence of systematic metaphors such as learning is hard work and learning is jumping hurdles, intertwined with conceptual metaphors such as education is a journey and difficulties are weights, which point at the motivation for learning verbalized by Brazilian foreign language learners who took part in the study. Este estudo tem como objetivo investigar como aprendizes de língua estrangeira no programa de Alemão para Fins Acadêmicos (AFA) em uma universidade federal brasileira interagem em sua língua materna sobre suas motivações para aprender uma língua estrangeira, bem como sua motivação para participar de programas de intercâmbio. Os dados foram coletados usando a metodologia de grupo focal com três grupos de seis estudantes cada (níveis A1, A2 e B1). Analisamos o grupo de A1. Conduzimos uma análise do discurso à luz da metáfora nos dados para examinar as metáforas e metonímias que surgiram nas interações dos grupos focais. Pudemos identificar a presença de metáforas sistemáticas como aprendizagem é trabalho duro e aprendizagem é pular barreiras, imbricadas com metáforas conceptuais como educação é uma viagem e dificuldades são peso, que apontam para a motivação de aprendizagem verbalizada pelos participantes desse estudo.

     

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  3. Mapping the aesthetic space of literature "from below"

    The present paper aims to elucidate the conceptual structure of the aesthetics of literature.Following Fechner's "aesthetics from below" (1876) and adopting a method introduced by Jacobsen, Buchta, Kohler, and Schroeger (2004), we asked 1544... mehr

     

    The present paper aims to elucidate the conceptual structure of the aesthetics of literature.Following Fechner's "aesthetics from below" (1876) and adopting a method introduced by Jacobsen, Buchta, Kohler, and Schroeger (2004), we asked 1544 German-speaking research participants to list adjectives that they use to label aesthetic dimensions of literature in general and of individual literary forms and genres in particular (novels, short stories, poems, plays, comedies). According to our analyses of frequency, mean list rank, and the Cognitive Salience Index, beautiful and suspenseful rank highest across all target categories. For plays/comedies, funny and sad turned out to be the most relevant terms; for novels and short stories, suspenseful, interesting and romantic; and for poetry romantic, along with the music-related terms harmonious, rhythmic, and melodious. A comparison of our results with analogous studies for visual aesthetics and music yielded a comprehensive map of the distribution of aesthetic appeal dimensions across sensory modalities and aesthetic domains, with poetry and music showing the greatest overlap.

     

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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Max-Planck-Institut für empirische Ästhetik
    Schlagworte: Ästhetik; Poetik; Literaturgattung
    Lizenz:

    creativecommons.org/licenses/by/4.0/

    ;

    info:eu-repo/semantics/openAccess

  4. Serialization in Goethe's morphology
    Autor*in: Geulen, Eva
    Erschienen: 05.10.2016

    Before turning to the essay on the experiment from 1793, which is unavoidable when discussing series, but does not exhaust the varied functions of seriality in Goethe’s morphology, a few words about the purpose of reconstructing Goethe’s practice of... mehr

     

    Before turning to the essay on the experiment from 1793, which is unavoidable when discussing series, but does not exhaust the varied functions of seriality in Goethe’s morphology, a few words about the purpose of reconstructing Goethe’s practice of seriality are necessary. I want to argue that Goethe’s morphology is the site of a massive transformation of the notion of form, the scope and implications of which resurface after long latency at the beginning of the 20th century, for example, with Georg Simmel’s sociological notion of form-processes and the related idea of "reciprocity" ('Wechselwirkung') (cf. 265). My interest lies in interpreting what looks like a theory of organisms and nature as a more general theory of formation and transformation.

     

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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    DDC Klassifikation: Literatur und Rhetorik (800)
    Schlagworte: Serie; Morphologie; Goethe, Johann Wolfgang von
    Lizenz:

    publikationen.ub.uni-frankfurt.de/home/index/help

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    info:eu-repo/semantics/openAccess

  5. Benjamin's "-abilities" : mediality and concept formation in Benjamin’s early writings
    Autor*in: Weber, Samuel
    Erschienen: 11.11.2016

    Although Walter Benjamin was never timid when it came to writing, one practice he consistently avoided was that of creating neologisms. It is therefore with all the more reluctance that I find myself compelled to resort to something similar, in order... mehr

     

    Although Walter Benjamin was never timid when it came to writing, one practice he consistently avoided was that of creating neologisms. It is therefore with all the more reluctance that I find myself compelled to resort to something similar, in order to sum up a motif that has imposed itself over the years in my reading of Benjamin. What is involved is, to be sure, not exactly a neologism, since it does not involve the creation of a new word, but rather the highlighting of a word-part, a suffix (eine Nachsilbe). In English, to be sure, this suffix, when spoken, is indistinguishable from a word: what distinguishes it from a word is not audible, but only legible: a hyphen, marking a separation that is also a joining, a 'Bindestrich' that does not bind it to anything in particular and yet that requires it to be bound to something else. The suffix in question thus sounds deceptively familiar, since it coincides, audibly, with the word "abilities". However, unlike that word, its first letter - which purely by accident happens to be the first letter of the alphabet--is preceded by a dash. When written in isolation, this gives it a somewhat bizarre appearance, to be sure, since suffixes are not usually encountered separately from the words they modify. But this bizarre appearance pales when compared to its German 'original'. If the book of essays to be published in English under the title, "Benjamin’s -abilities," is ever translated into German - "back" into German I was tempted to write, since German here is of course the language in which Benjamin wrote and in which I generally read him - then its title, were it to be entirely faithful to the English, would indeed have to involve the creation of a neologism. For translated back into German, the German title would require its readers to "read, what was never written", namely: "Benjamins -barkeiten" (written, "Bindestrich- b--kleingeschrieben").

     

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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    ISBN: 978-3-7705-4637-4
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Leibniz-Zentrum für Literatur- und Kulturforschung (ZfL)
    Schlagworte: Benjamin, Walter; Terminologie
    Lizenz:

    publikationen.ub.uni-frankfurt.de/home/index/help

    ;

    info:eu-repo/semantics/openAccess