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This article outlines a production-oriented imagology and equips the imagological toolkit with concepts and terminology from cultural memory studies, reception aesthetics, narratology, rhetoric, and text linguistics. It thereby presents the theoretical framework which makes it possible to analyse generic elements without a national connotation with regard to their function in generating a national image. Using as examples genres from English Romanticism and how they evoke Englishness, the article highlights the aesthetic complexity of national images and their range of variation. Simultaneously it paves the way for a more nuanced deconstruction of these images.
This monograph contributes to research in content and language integrated learning (CLIL). Amidst the absence of any educational standards as well as other research deficits, Chapter II sketches a conceptual framework with a competence model for multilingual CLIL classes in the social sciences. It develops a line of argument for the promotion of global discourse competence for democratic participation within a transnational civil society. The subsequent four chapters, comprising one conceptual, one methodological and two empirical contributions, look at different aspects of the conceptual framework. Chapter III defends the developed competence model and further specifies its idea of thought in proposing the construction of multilingual 'cosmopolitan classroom glocalities' for the genesis of 21st century skills. The example of #climonomics, a multilingual EU parliamentary debate about climate change, illustrates its practical realization within school education and exemplifies the contribution to education for sustainable development (ESD) and the value of democratic and participatory learning arrangements. Chapter IV introduces design-based action research (DBAR), the method used in Chapters V & VI. DBAR is a hybrid of action and design-based research and is thereby ideally suited for bridging the gap of theory and practice in educational research. Chapter IV argues for closer cooperation between academics and practitioners, along with pragmatic stakeholder participation by involving students and teachers into research, in a quest for inductively making practical knowledge scientific. Chapter V, more language-biased, draws on the notion of translanguaging and presents the concept of 'trans-foreign-languaging' as a multilingual approach to CLIL with first language (L1) use. During six weeks DBAR, a comprehensive CLIL teaching model with judicious and principled L1 use was designed together with the study group. The model offers affordance-based and differentiated methods for different learner types. Its genesis is reconstructed by a thick description of the natural classroom dynamics. Chapter VI, rather subjectbased, asks about the influence of such bilingual language use on emotions, in particular on the formation of political judgments. It suggests different ways to measure emotions during various natural classroom settings. The chapter concludes that CLIL with L1 use has the potential to engender a perfect equilibrium of emotional and rational learning, integrating emotions into learning and valuing its positive contribution towards appropriate and multilayered political judgments. The concluding Chapter VII binds the previous chapters together and discusses the results. Criteria for the generalization of the results are assessed, and limits demarcated. It highlights the contribution to CLIL research and looks into the future, suggesting further direct classroom interventions, also with the goal to prepare the research field for larger undertakings.
Vestiges
(2013)
The poems in this collection are adequate, with great lines. The rhythm is stimulating to all the five senses thanks to the use of multiple images. A lot of imagery in Vestiges gives a picture of a war front after a ferocious battle. The objects, animals, and images in the poems disorient and lead the reader to focusing on putting flesh to the bones than just getting the juice of the poems... The rhythm more than anything else carries the reader through this chaotic tableau painted in Vestiges. In a way, this comes across as a substantiation of the poet's vision of our world and an explanation as to why he considers this collection as a skeleton; and precisely skeletons left by the ravages of war. Is the poet's world and ours a field of ruins and topsy-turvydom to which we are all blind? The answer is yours.
Rezension zu Rainer Maria Rilke's The Book of Hours. A New Translation with Commentary. Translated by Susan Ranson. Edited with and Introduction and Notes by Ben Hutchinson. Camden House. Rochester New York. 2009. XLIV + 240 S.
The flâneur has been depicted in several different ways in 19th as well as 20th and 21st century literature and criticism. The focus of this brief paper will be on the roles given him in English writings from or around the time of the 1848 revolutions in France and Germany, in which the flâneur comes to represent not only a street idler, but also a critical traveller to, and observer of, the continental city and its revolutionary activities.
'Dante and Ireland', or 'Dante and Irish Writers', is an extremely vast topic, and to cover it a book rather than an essay would be necessary. If the relationship between the poet and Ireland did not begin in the fourteenth century - when Dante himself may have had some knowledge of, and been inspired by, the "Vision of Adamnán", the "Vision of Tungdal", and the "Tractatus de purgatorio Sancti Patricii" - the story certainly had started by the eighteenth, when the Irish man of letters Henry Boyd was the first to produce a complete English translation of the "Comedy", published in 1802. Even if one restricts the field to twentieth-century literature alone, which is the aim in the present piece, the list of authors who are influenced by Dante includes Yeats, Joyce, Beckett, and Heaney - that is to say, four of the major writers not only of Ireland, but of Europe and the entire West. To these should then be added other Irish poets of the first magnitude, such as Louis MacNeice, Ciaran Carson, Eiléan Ní Cuilleanáin, and Thomas Kinsella. Therefore Piero Boitani treats this theme in a somewhat cursory manner, privileging the episodes he considers most relevant and the themes which he thinks form a coherent and intricate pattern of literary history, where every author is not only metamorphosing Dante but also rewriting his predecessor, or predecessors, who had rewritten Dante. Distinct from the English and American Dante of Pound and Eliot, an 'Irish Dante', whom Joyce was to call 'ersed irredent', slowly grows out of this pattern.
The interpretation of traces
(2004)
This paper argues that parts of the lexical content of an A-bar moved phrase must be interpreted in the base position of movement. The argument is based on a study of deletion of a phrase that contains the base position of movement. I show that deletion licensing is sensitive to the content of the moved phrase. In this way, I corroborate and extend conclusions based on Condition C reconstruction by N. Chomsky and D. Fox. My result provides semantic evidence for the existence of traces and gives semantic content to the A/A-bar distinction.
A contrast to a trace
(2001)
For movement, such as quantifier raising, the three different structures illustrated in (1) are discussed in the recent literature.
(1) A girl danced with every boy
a. [every boy]x a girl danced with x (copy + replace)
b. [every boy]x a girl danced with [every boy] (copy)
c. [every boy]x a girl danced with [thex boy] (copy + modify)
In this paper, I'll call the proposal illustrated by (1a) the copy+replace theory since the movement is analyzed as first copying the moving phrase followed by replacing the moving phrase with a trace in the base position of movement. Chomsky (1993) and Fox (1999) argue against the copy+replace theory (1a) on the basis of Condition C data that show that moved material can behave as if it occupied the base position of movement. This behavior would, for example, be expected on the copy theory of movement illustrated by (1b), which also seems conceptually simpler than the copy+replace theory since it involves only copying without replacement. This conceptual advantage, however, is probably only apparent since a theory of the interpretation of structures like (1b) would probably be more complicated than for (1a). Standard assumptions about interpretation, at least, don't predict the right meaning when applied to (1b). For this reason, Chomsky and Fox propose what I'll call the copy+modify-theory illustrated in (1c). This proposes that copying is followed by a trace modification operation that replaces the determiner of the moved DP with something else. I assume that this is an indexed definite determiner, the interpretation of which is to be clarified below.
Why variables?
(1999)
This paper addresses the question of how sentence-internal semantic dependencies are computed? The kind of semantic dependency I am looking at is that between a so called "bound (variable) pronoun" and its binder illustrated in (1), where the dependency is indicated by a connecting line. With all the literature on the topic (see for example Partee 1973, Percus 1998), I assume that this case is the prototype of all semantic dependencies, and therefore any result for this case generalizes to all types of sentence-internal semantic dependencies.
This paper addresses the syntax and semantics plurals, and then applies it to reciprocal expressions. In the course of this investigation, I address two problems for the conventional view that a reciprocal makes essentially the same semantic contribution to the sentence as other noun phrases, but has an interesting internal structure. I will show that both problems are properties of plurality in general, and can be successfully explained along these lines. As a result, the paper is more about plurality in general than reciprocals though the goal of the paper is to account for the two problems relating to reciprocals.