830 Literaturen germanischer Sprachen; Deutsche Literatur
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Editorial [2021, english]
(2021)
This article departs from the hypothesis that Alexander von Humboldt used ‘Big Data’ in order to bring new scientific evidence into the open. His method of measuring and combining temperature, humidity, altitude and magnetism in a geographical environment must be regarded as innovative, indeed, as the foundation of modern science. Although Humboldt lived in an analogue world and used the instruments of his time, his way of assembling information was not so different from what we are seeing in today's digitalised world. Information has no value unless it is shared. It does not say anything unless it is linked with other data. It cannot remain isolated but must be compared and interpreted. The generation of ʻBig Dataʼ was a pathway to Humboldt's concept of ʻKosmosʼ in much the same way as ʻBig Dataʼ today is the pathway to a virtual world. In this sense, Humboldt not only laid the foundation of modern science but anticipated the existence of a world where data and information are the source of everything when it comes to understanding the interconnectivity of the physical and the virtual world.
Editorial [2020, english]
(2020)
Editorial [2019, english]
(2019)
In German children’s literature around 1900, the representation of childhood in pseudo-colonial realms participates in a construction of racial identities based on transcultural play. Acts of reading and scenes of instruction intersect with material objects to convey a pedagogy of race dominated by learned whiteness. This article asks: How does German children’s fiction around 1900 reconfigure national identity as imperial experience? An analysis of a noncanonical though exemplary fictional text about a jungle adventure demonstrates strategies used to include the child in the colonial experience. Imagining this ›play world‹ replicates for the child reader a sense of agency and citizenship through encounters with an indigenous mediator, an impish primate and imaginary landscapes – each represented through the lens of European epistemologies. These tropes produce tension between historical fact and imaginative fiction, working together to map a colonial geography of German identity on to a model transatlantic German childhood. Framed by theories of material objects and toys, and supported by the work of literary scholars and cultural historians, I examine the brief story »Die kleine Urwälderin« [The Little Jungle Girl] from Auerbachs Deutscher Kinder-Kalender auf das Jahr 1902 [Auerbach’s Almanac for German Children, 1902]. In it, the Amazonian setting aspires to historically factual representation, which, however, cedes considerable territory to the realm of fantasy. The projection of a German forest adventure on to a Brazilian geography elides historical truths, such as centuries of the transatlantic slave trade, and instead inserts imperial signifiers into an established syntax of the European child at play. The resulting national ideology of childhood identity in this German language story imposes colonial order on a reimagined play world.
Berühmt sind Benjamins Überlegungen zum bürgerlichen Interieur vor allem im "Passagen-Werk". Weniger bekannt hingegen sind seine Reflexionen über eine eigenartige Form von Erzählraum, der sich in der Mitte seines Erzähler-Aufsatzes lokalisiert. 'Eigenartig' ist er, weil es dort weniger um mündliches oder schriftliches Erzählen geht, als vielmehr um filmische Projektionen. Was projiziert wird, sind nach Benjamin "Ansichten der eigenen Person, unter denen er ohne es inne zu werden, sich selber begegnet ist". Solche Begegnungen gehören weder zur Erfahrung dieser Person noch zu ihrer Selbsterzählung oder Autobiographie. Diese "Out-takes eines Lebens" werden unwissentlich aufgenommen, unbewusst aufbewahrt und am Sterbebett mechanisch projiziert. Benjamin modifiziert in seinem Erzähler-Aufsatz die geläufige, entscheidend filmische Vorstellung, dass einem kurz vor dem Tod noch einmal das ganze Leben vorgeführt werde: Die Vorführung, die hier stattfindet, projiziert nur die Momente, die nie wirklich zum eigenem Leben gehört haben. Um diese andere Erzählart und diesen anderen Erzählraum zu erkunden, muss die betreffende Stelle im Erzähler-Aufsatz zusammen mit Benjamins Schriften zum buckligen Männlein gelesen werden. Was sich durch diese Lektüre manifestiert, ist eine andere Theorie der erzählerischen Autorität und der Tradierbarkeit von "unvergesslichen" Erfahrungen.
This paper investigates the concept(s) of intercultural competence held by undergraduate students from teacher education courses in English and German languages. To this end, first and fourth year undergraduates of English and German from a federal university in Rio de Janeiro answered two versions of a questionnaire designed to lead students to inductively formulate what they understood as intercultural competence and how they would help their future students develop this competence. Responses were submitted to content analysis and the four groups were compared. Results show that students of English and German who participated in this study hold different perspectives on intercultural competence and one of the reasons for that may be attributed to their educational background
"Das Aussereinander", schreibt Gustav Teichmüller in seiner Abhandlung "Die wirkliche und scheinbare Welt", "bedeutet bloss, dass die Vorstellungen verschieden bleiben und nicht verschmelzen sollen." Wenn aber Räumlichkeit dergestalt relativiert wird, sind nicht nur die Bedingungen jedes objektiven Koordinatensystems und jeder subjektiven Orientierung a priori abgeräumt. Denn die Möglichkeit eines entscheidenden Kriteriums für die Trennung zwischen Innen- und Außenraum wird ebenso außer Kraft gesetzt, im wörtlichen wie im übertragenen Sinne. Ausgegangen wird in den folgenden Seiten von der Frage, wie nach dem Aussetzen oder Einstürzen jeglicher statthaften räumlichen Ordnung weiter erzählt wird. Durch eine Auseinandersetzung mit Friedrich Nietzsches "Also sprach Zarathustra" und Edgar Allan Poes "The Narrative of Arthur Gordon Pym" soll auszugsweise angedeutet werden, wie diesen desorientierenden Schriften anders charakterisierte Räume eingeschrieben sind.
This article, based on extensive source material from Denmark, Sweden and Norway, is about the changing norms for children’s media, childhood and art in Scandinavia in the late 1960s and early 1970s. The analysis demonstrates how changes within welfare state institutions converged with the youth rebellion’s wider criticism of children’s low status in traditional power hierarchies, and contributed to new definitions of the role of media in children’s lives. After establishing a wider historical contextualisation, the article moves on to show how the criticism of existing norms in the realm of children’s literature in the mid-1960s grew into a critique of the prevailing ideologies and existing narratives in all children’s media (including film, theatre and television) at the end of the decade. A key figure in the redefinition of norms for children’s media was the Swede, Gunilla Ambjörnsson. Her 1968 book, Trash Culture for Children, led to discussions about the role of media in children’s lives all over Scandinavia. Her core belief in the innate social and political interests of children had a great impact on the ways in which the possibilities for an explicit political agenda in children’s media were conceptualised in Scandinavia at large.
The years around May ’68 (c. 1965 – c. late-1970s) are widely understood to represent a watershed moment for children’s books in France. An important factor was the influence of a new fringe of avant-garde publishers that attracted attention across their trade in and beyond France. Using archives and interviews and accounts of some of the books produced and their reception, this article presents case studies of the most influential publishing houses as a series of three snapshots of the areas of movement in the field. At the same time, it evaluates the extent to which the social, cultural and political upheavals in France in the wake of May ’68 helped to alter the shape of book production for children and to bring about a ›radical revolution‹ in the children’s publishing trade.