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To examine their luminescence behavior, two air-stable BN addition compounds were synthesized by the reaction of 5-fluoro-2-(2′-pyridyl)indole with 1,4- and 1,3-bis(bromo(methyl)boryl)benzene, respectively. Both BN adducts are luminescent. Their emission maxima (1,3-substituted BN adduct: 495 nm; 1,4-substituted BN adduct: 497 nm) are comparable with the value (490 nm) of the related mono-borylated benzene species, which is composed of a BPh2 fragment and a 5-fluoro-2-(2′-pyridyl) indole unit. The starting materials 1,4- and 1,3-bis(bromo(methyl)boryl)benzene were accessible by treatment of 1,4- or 1,3-bis(dibromoboryl)benzene with two equivalents of SnMe4. In addition, the results of the X-ray structure analyses of the B,B′-bis-5-fluoro-2-(2′-pyridyl)indolyl-complexed meta-bismethylborylbenzene fragment (9, triclinic, P1̅) as well as of 5-chloro-2-(2′-pyridyl)indole (2, monoclinic, P21/c) and 5-fluoro-2-(2′-pyridyl)indole (1, orthorhombic, Pca21) are reported. The pyridylindole derivatives of this approach were synthesized by an optimized two-step procedure from 2-acetylpyridine and 4-fluoro- or 4-chlorophenylhydrazine hydrochloride.
Single crystals suitable for X-ray diffraction of (tBu2P)3Ga (monoclinic, space group Cc) were obtained from GaCl3 and two equivalents of Li[PtBu2] at room temperature in benzene. The phosphanylgallane (tBu2P)3Ga was also produced via a one-pot approach by reaction of GaCl3 with three or more than three equivalents of Li[PtBu2]. However, treatment of one equivalent of GaCl3 with one equivalent of Li[PtBu2] and subsequent protolysis yielded [tBu2PH2][tBu2P(GaCl3)2 - Li(Cl3Ga)2PtBu2]. Single crystals of this phosphonium salt (monoclinic, space group Cc) were obtained from benzene at room temperature.
Wilhelm Raabe gehört zu den literarischen Experten, die dem durch beschleunigte Temporalisierungsprozesse bedingten neuen Stellenwert von Kuriositäten schreibend ihre Aufmerksamkeit widmen und dem Plunder bzw. Abfall eine bislang wenig bekannte poetische Seite abgewinnen. Raabe ist ein historistisch geschulter Virtuose in der Adaption und Transformation vorgegebener literarischer Dingdarstellungen. Er weiß die im Rokoko geschulte Koketterie mit dem Minutiösen und Seltenen, mit der Enthüllung und Verhüllung der Dinge zu nutzen, er greift auf die in der Empfindsamkeit betriebene emotionale Aufladung der Dinge zurück, er bedient sich der Traditionen exotischer Amulette und Fetische und er reizt das Erinnerungspotential der Dinge aus. Rezeptionspsychologisch kennt er die poetischen Möglichkeiten des Spiels und Widerspiels von Projektion auf die Dinge und Resonanz der Dinge, das heißt er weiß den Appell- und Signalcharakter der Dinge einzusetzen. Insbesondere vermag er die Dinge als narrative Kerne zu inszenieren, das
heißt sie so erzählerisch zu arrangieren, dass das noch nicht Erzählte oder nicht Erzählbare vom Leser substituiert wird. Zusammenfassend kann man sagen, Wilhelm Raabe ist ein virtuoser erzählerischer Choreograph, der die gesamte Breite an poetischen Dingsuggestionen vom Gebrauchsding zum Fetisch und von der Kuriosität bis zum Abfall, von der traditionellen Locke und dem empfindsamen Taschentuch bis zur modischen Vase aufzurufen weiß.
After the events of 1989 pupils exit German language schools with a degree of German language proficiency which is much lower than research suggests it should be, given the amount of exposure to the language they had throughout their years of schooling. Generally, the only reason put forward for this relative lack of success in acquiring the language is the loss of the ethnic German population, which would have, on the one hand, provided the bulk of learners, and on the other hand, offered a rich linguistic environment to the few pupils of other ethnicities who are not native German speakers. In the present work I intend to challenge this mono-causal explanation by presenting the complexity of variables discussed in SLA research.
Über Treue und Untreue in der Übersetzung : von den Belles Infidèles zum feministischen Paradigma
(2011)
The following paper tries to offer a short outlook on certain aspects of the feminist paradigm in translation theory such as it has emerged from the gender studies and to point out some of the limitations of this paradigm. After outlining the anti-feminist characteristics of the general discourse in translation studies in western culture, the paper discusses the contribution of the so called belles infidèles in the 18th century to the consolidation of a gender discriminating attitude towards translation. The feminist paradigm has been trying to offer an alternative approach, viewing the translation not as a mere copy of the original, but as a creation in itself and the translator as a creator equally important to the author of the source text. It leaves open the question wether it would be acceptable from an ethical point of view to replace the male dominated theoretical discourse in translation studies with an equally ideologically framed one.
Starting from the generally acknowledged fact that exact translation is not possible, this article presents the difficulties of translation between legal systems in general, which appear on different levels and are of such extent, that it has often been spoken about the untranslatability of law. The idea of untranslatability is a controversed one in the specialized literature, as some authors show that it is no case of absolute untranslatability, but one of relative untranslatability, since the translator – who has to bridge the gap between the source and the target legal system – must find a surrogate solution for the missing legal term.
The German film Offset (2005) is one of an increasing number of films which for various reasons can be called intercultural films or intercultural cinema. This contribution, while pleading for a more extended use of the term “intercultural cinema”, aims to focus on some of those features present in movies of this “genre”. The chosen example Offset serves as a starting point : Especially the notions of different languages used in such films (“multilingual” film) and the different purposes they can serve will be highlighted; secondly, such aspects of interculturalism that become visible in the production of the film itself, and for the purpose of audience building, which also make use of intercultural aspects in the present example will be analyzed. The transcultural film analysis of this movie will also deal with and reveal stereotypes and clichés that are part of the German-Romanian culture clash which is depicted in Offset.
This essay examines the emancipatory possibilities of interculturalism. The aim is to evaluate whether the philosophical discourse of interculturalism, which is still parasitic on a vocabulary of modernism, can achieve its emancipatory role in a postmodern world by trying to empower difference through consensus. Further, this essay aims to propose a way out of modernist dialecticism and towards a truly postmodern theory of interculturalism.
Starting from the peculiar presentation of the geographic spreading of the surname Lutsch in Germany (see the map), based on telephone books from 1995, the aim of the present paper is to reconstruct the history of this last name. Lutsch has its origin in the hypocoristic Lu(t)z(erm. Lud [wig]), it is a German surname specific to Transylvania, being spread especially in its south-western area. The fact that this surname is so rare today (Sibiu, Cindy, Apoldu de Sus, Slimnic, Sebeș, Gârbova, Pianu de Jos, Hunedoara, isolatedly and Brașov, Târgu Secuiesc, Bistrița) is due first of all to the settling of the German ethnics in The Federal Republic of Germany between 1970-1990. It is a coincidence that the name Lutsch can be found today especially in the south of Germany, overlapping with the spreading area of the surname Lutz, for the persons who have this surname do not represent the native population of Southern Germany, but the German emigrants from Transylvania.
The present paper focuses upon a translatological perspective of the cultureme theory, as initially presented by Els Oksaar and developed later by other linguists. By examining a few expressions from a novel of the Romanian-German writer Aglaja Veteranyi and their translations into Romanian, the paper illustrates the categories micro- and macro-cultureme.