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Der Leitfaden "Kein Asylantenheim in meiner Nachbarschaft" als Argumentationsmuster der Neonazis
(2019)
Bei dem im November 2015 online veröffentlichten Leitfaden "Kein Asylantenheim in meiner Nachbarschaft", handelt es sich um eine offizielle Publikation der politischen Partei "Der III. Weg". "Der III. Weg" ist eine Neonazi-Partei, die 2013 durch ehemalige Anhänger der rechtsextremistischen Organisation "Freies Netz Süd" gegründet wurde. Die Partei vertritt eine rechtsextremistische, fremdenfeindliche Einstellung, die sich im auf der offiziellen Webseite der Partei veröffentlichten Zehn-Punkte-Programm ausdrücklich zeigt. Der Leitfaden gehört zum öffentlich-politischen Diskurs der Partei und erfüllt eine appellative Textfunktion, für die die argumentative Themenentfaltung charakteristisch ist. Im vorliegenden Beitrag wird der Leitfaden als ein Argumentationsmuster der Neonazis angesehen, in dem sich vor allem die argumentative Themenentfaltung erkennen lässt.
Some errors are simply annoying, others are productive. Errors are productive when they function as triggers for processes that let the mistake appear as a chance to discover new perspectives or approaches to a solution. Productive errors suggest that the criteria for judging what seems right or wrong themselves should and have to be understood as mutable, since cultural processes of development cannot be thought in any other way. The article investigates what the productivity of errors can imply in the field of literature. Both literary examples discussed (Benjamin, Guggenmos) make recourse to the idea of a childhood of language: What might appear as an error to adults can indicate the beginning of a productive, linguistically sensitive engagement with the world for children (or for adults who can carry their minds back to that condition).
Etymology plays a central role for Charles Olson's poetics. Based on the assumption that language precedes individual speakers and thereby always carries its long history and the traces of those who spoke it before with it, Olson's approach to it is archeological. At the same time, his work as a poet is directed towards to the future: he writes at the avant-gardist Black Mountain College and demands a new American poetry, designated as "projective verse". Conjoining these two temporal directions, Olson claims "I am an archeologist of morning". One way of paving the way for a 'poetry of morning' is uncovering the origins of words and going back to their etymological roots. Thereby, it is important to note that Olson's etymologies are mostly faulty or simplified. Often, they turn out to be quotes he found in other works. By integrating the fishy etymologies in his own writing and handling them creatively, Olson endows the words' supposed history with something new and readers who trace the wrong etymological tracks are encouraged to capture an immediate impetus of language in action. Thus, Olson's 'etymons' go hand in hand with the poetological implications of projective verse.
Le présent article est consacré à la controverse sur la composition des pantoufles dans le conte Cendrillon ou la petite pantoufle de verre de Charles Perrault. A l'origine de cette controverse, Balzac fait parler un de ses personnages (un pelletier) qui propose de remplacer "verre" par "vair " (petit-gris, écureuil) et qui pense ainsi corriger ce qui lui semble être une erreur. La présente contribution propose une lecture qui permet de déceler une logique de substitution dans le texte de Perrault, logique qui suit le long des deux chaînes sémantiques "mère (morte) – cendre – vair" et "verre – grâce – marraine".
The notion of world literature is often understood as a global distribution of literary forms and structures from Europe to the rest of the globe. Under the premise that non- European literatures don't just reproduce European forms, but reinterpret and change them in the process of adaptation, world literature can be defined as a "productive misunderstanding". This article attempts to show that Orhan Pamuk's novel "Masumiyet Müzesi" ("Museum of Innocence") is in this sense a productive appropriation of European forms of the novel. Pamuk's novel is a narration about the modernization of Turkey in the 20th century, which is depicted as a chain of faulty imitation that nevertheless creates something new. Similarly, the "Museum of Innocence" is characterized by an abundance of intertextual relations to the tradition of European novel (e. g., to Proust's texts), which, however creates a "productive misunderstanding".