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As Bakhtin noted, chronotopes arise from the density and fusion of temporal and spatial indicators. In prose narrative, the density of temporal and spatial indicators arises as a natural consequence of setting scenes and explaining action, and those indicators are fused by the centripetal forces of plot, character and so on that encourage us to read the various elements of the text as aspects of a coherent story and world. In non-narrative poetry, however, there is no story to drive the setting of scene or generation of character; there may not even be scene or character. As a result, temporal and spatial indicators can be quite sparse, and there may be little centripetal force to encourage their fusion. In a textual environment bereft of character, plot, scene, in which even the centripetal forces of syntax are frayed by linebreaks and other poetic devices, how can chronotopes form and function? [...] In the centripetal environment afforded by most prose narratives, the stable chronotopes and the relationships among them define consciousness, world and values. In the centrifugal environment of non-narrative poetry, chronotopes flicker and flow in a series of hints, glimpses, dissolves, defining consciousness, world and values via evanescence rather than stability. However, as I hope to show below, the evanescence of chronotopes in non-narrative poetry can be as central to the vitality and meaning of those texts as the stability of chronotopes is to the vitality and meaning of prose narratives.
In this study, the student mistakes, in the collaborative writing project, will be discussed. The texts written in the computer lab are sent to the instructor through internet and the teacher underlines the mistakes made by learners and sends the texts back to the students. The students get feedback both from teachers and from peers when they are writing and correcting their mistakes. Since the learners are either in their preparatory or 1st year, the common mistakes made by the students are incorrect structure usage, inappropriate linguistic use, overgeneralizations or mother tongue transfers. These errors result from their limited foreign language knowledge.
Even if translation has a long tradition within the conveyance of foreign languages, there has been a vehement discussion on its role since the 1970s – at least with respect to some languages, such as English. In the context of German as a foreign language this topic has been discussed only to some extent. With this in mind, the following article aims to examine the role of translation in the field of the German as a foreign language with specific focus on the advantages and limitations associated with its conveyance and the resultant consequences.
In den letzten Jahren hat es sich durch die Globalisierung bemerkbar gemacht, dass heute die Grenzen zwischen verschiedenen Wissenschaftszweigen sowie Literatur, Kultur und Politik aufgehoben wurden. Die Globalisierung verursachte daher eine unaufhörliche Ausweitung der zwischenmenschlichen Beziehungen. Unter dem Lichte des oben angeführten verdichteten sozialen Beeinflussungsprozesses erreicht der Zeitmensch eine neue d.h. zeitgemäße Wahrnehmungswelt, die zur Globalisierung parallel lief. In diesem Zusammenhang habe ich die inhaltlichen Gemeinsamkeiten der problematischen Seelenzustände in Bezug auf Individualproblematik der betreffenden Texte „Ist Es Eine Komödie Ist Es Eine Tragödie?“ von Th. Bernhard (1931-1989) und „Die Oper Auf Der Strasse“ von S.K. Aksal (1920-1993) in die Hand genommen. Das Ziel des Beitrags ist es, die sinnlosen und problematischen Lebensabschnitte in den oben genannten Kurzgeschichten aus der Sicht des fähigen und talentierten Lesers zustande zu bringen und erst durch die interkulturellen Zusammenhänge die gemeinsamen Menschen- und Zeitfragen durch die kritische Lektüre der Texte dem Leser nahe zu bringen. Meine Arbeitsmethode ist eben deswegen Leserorientierte, psychoanalytische Annäherung und Komparatistik als Untersuchungsform.
This paper aims to determine and classify by syntactic criteria, the functions of reflexivity (reflexive pronoun kendi) in Turkish, in contrast to German.
Reflexivity in Turkish can be expressed by synthetic elements such as affixes, but also by an analytical element – the reflexive pronoun kendi. And in German it is formed by the reflexive pronoun sich. The reflexive pronoun sich in German used both in anaphorical and lexical functions, which can be distinguished from each other by certain criteria.
Speakers of Russian from the former Soviet Union and speakers of Turkish form the two biggest groups of immigrants in Germany. There is a number of surveys, that focus on early second language acquisition of kindergarten and primary school children in these ethnic groups. In this article, I will discuss differences and similarities of the second language acquisition process, that Russian and Turkish speaking children go through. I will compare not only the interlingual development (pronunciation, lexicon, syntax and morphology) but also the sociocultural context. For this purpose the data of my case studies will be contrasted with the other research results.
Ekphrasis is a tool used with the purpose opening different levels of meaning in a literary text, which can be seen in Patricia Görg’s tale “Glücksspagat”. In the tale, parallel to the representation of the daily life of the museums keeper Maat, the reader is faced with fragments of ekphrasises of paintings and TV-simulations. The richness of this tale is achieved particularly due to the alternations between the ekphrasises. This article discusses the various functions of the use of Ekphrasis and simulations in the tale and focuses on the way they contribute to the creation of meaning.
Im Mittelpunkt der Untersuchung steht die Rolle der Frau bei der Verbreitung, Förderung, öffentlichen Etablierung und Produktion von Kunst und Literatur des Expressionismus. Unter der Schirmherrschaft der engagierten Frauenrechtlerin und Schriftstellerin Ida Dehmel (1870–1940) sowie der ersten promovierten Kunsthistorikerin Deutschlands Rosa Schapire (1874–1954) gelang 1916 in Hamburg die Gründung des „Frauenbundes zur Förderung deutscher bildender Kunst“. Dieser leistete Pionierarbeit auf dem Gebiet der professionell geführten Kunstförderung durch Frauen – in diesem Fall bei der Kunst des Expressionismus. Er steht in der Tradition von Vereinen, die sich im Umfeld der Aktivitäten der deutschen Frauenbewegung herausbildeten, beerbt also letztlich ein politisches Engagement zugunsten eines gesellschaftlichen Status der Frau im Deutschen Kaiserreich und festigt ein neues weibliches Selbstverständnis. Die Bedeutung der Frau in Wirkungsbereichen des Expressionismus beweisen des Weiteren diverse Publikationen in der vielfältigen Zeitungslandschaft des Expressionismus. Es lassen sich zahlreiche literarische Texte von Schriftstellerinnen sowie politische Stellungnahmen von Frauenrechtlerinnen sichten, die eine individuelle, kritischreflexive Sichtweise der wirtschaftlichen und sozialen Stellung der Frau offenbaren.
The interest of this work devotes itself to the repeating linguistic actions of the students in the DaF conversation lessons. Repetitions in the lesson discourse are functionally different than repetitions in the daily discourse. The support of repetitions by the students in the class discourse is tried to be demonstrated here on the basis of examples. Recordings from the DaF conversation lessons were transcribed and reconstructed according to Hiat. The kinds of the repetitions and their functions in these DaF conversation lessons are limited with this study. The findings of the study should be concerned consciously in order to accomplish a better understanding and reacting to these repeating actions of the students like inquiry, correction, confirmation, precautionary self-control, verification and confirmation in the conversation lessons –most of which are accomplished by the students for a certain aim however unconsciously.