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James Joyce's Ulysses is treated as one of the most influential, paradigmatic texts of high modernism. Novels like Thomas Pynchon’s 1973 Gravity’s Rainbow and David Foster Wallace’s 1996 Infinite Jest, which equally raise claims to being the paradigms of their respective time, are perpetually compared to and measured against Joyce’s epic novel. However, novels like Ulysses, Gravity’s Rainbow and Infinite Jest are usually either grouped together due to their length, complexity and importance, to examine direct allusions in the texts or analyse a rather general “style” or to conversely stress the novels’ singularity and autonomy. I argue that not only can Joyce’s Ulysses, Pynchon’s Gravity’s Rainbow and Wallace’s Infinite Jest be meaningfully put in relation to one another but that their singularity and paradigmatic status in 20th century literature should be understood through the relationality of a Ulyssean Tradition. Novels like Gravity’s Rainbow and Infinite Jest can be fruitfully read in a Ulyssean Tradition. Their singular, paradigmatic aesthetic projects emerge from a reciprocal dialogue with Ulysses in their self-inscription into a Ulyssean Tradition. The intertextual connection of this Ulyssean Tradition is integrally constitutive of the autonomy through which these novels claim the status of singular representations of their respective human condition and thus epic paradigms of a new way of writing the world. By positioning themselves in the literary field alongside Ulysses as the received paradigm of modernism, Wallace in Infinite Jest and Pynchon in Gravity’s Rainbow legitimize their own, independent project and their own claims to paradigmaticness. The Ulyssean Tradition thereby becomes not only a way of writing,a nd this study not merely a study of literary influence, but also a way of reading that can generate new, independent readings through the relationality of a Ulyssean Tradition
Tiere erlauben einen ertragreichen Zugriff auf Büchners literarisches Werk. Exemplarisch zeigt sich dies an der »Hühnerlaus« aus dem Woyzeck. Ein Animal Reading dieses Tieres entfaltet zunächst vor dem wissensgeschichtlichen Hintergrund der Parasitenforschung die Rätselhaftigkeit von Büchners literarischer Hühnerlaus und schlägt dann vier mögliche Perspektiven vor, wie diese Rätselhaftigkeit für eine Interpretation fruchtbar gemacht werden kann: einen editionsphilologischen Lesartenstreit, die Debatten um den Wissenshorizont des Autors und seiner Figuren, eine Verortung in der Geschichte der Biotheorie sowie die Frage nach einer Tier-Ästhetik der Groteske.
Die diskursanalytische Dissertation beschäftigt sich mit der Frage, wie das amerikanische Kino von seinen Anfängen bis in die Gegenewart das Thema des Scheiterns und Versagens dargestellt hat.
Ausgangspunkt der Arbeit ist dabei zunächst eine Einordnung und Differenzierung des Begriffspaares aus etymologischer Perspektive. Es wird bereits an dieser Stelle auf semantische Unterschiede verwiesen, denen sich divergierende Plotstrukturen anschließen: Die Geschichte des Versagens ist eine andere als die des Scheiterns. Außerdem werden anthropologische Erkenntnisse der Aufklärung benannt, die ein eigenständiges Scheitern und Versagen überhaupt erst ermöglichen.
Im Anschluss an diese sprachtheoretische Untersuchung widmet sich die Arbeit den Besonderheiten des amerikanischen Narrativs des Scheiterns und Versagens und damit einer historischen Perspektivierung, die von der Analyse ausgewählter literarischer Texte abgeschlossen wird.
Die Ergebnisse der sprachtheoretischen Untersuchung, der historischen Perspektivierung und der Literaturanalyse bilden schließlich das Fundament für die sich anschließende Filmanalyse, die die Frage stellt, wie tradierte Erzählformen des Scheiterns und Versagens ab dem 20. Jahrhundert in filmischer Form bestätigt, subvertiert oder gänzlich neu etabliert werden.
Im Vordergrund steht hier zunächst das klassische Hollywood-Kino. Dabei wird grundsätzlich zwischen zwei unterschiedlichen Narrativen unterschieden: Dem Versagen und dem Scheitern. Im ersten Teil stehen die Versager, bewusste Aussteiger, die auf der Suche nach alternativen Lebensentwürfen sind. Bespiele hierfür sind der tramp Chaplins, der singende Obdachlose Bumper in Halleluja, I'm a Bum oder der glückliche Tunichtgut Thadeus Winship Page in The Magnificent Dope. Demgegenüber stehen die Figuren, die an äußeren Umständen scheitern und meist an diesen zerbrechen, wie die lost woman in Blonde Venus oder der forgotten man in I Am a Fugitive from a Chain Gang. Ziel der Analyse ist es, iterative Semantiken und syntaktische Strukturen zu benennen, die die Grundlage eigener Erzählgenres bilden, wie das des „Glücklichen Versagers“ oder der lost woman.
Im letzten Kapitel werden die bisherigen Ergebnisse um Erkenntnisse erweitert, die sich dem modernen amerikanischen Kino entnehmen lassen. Ausgangspunkt ist das New Hollywood-Kino der 60er und 70er Jahre mit Filmen wie Easy Rider, The Graduate, oder The Swimmer.
Auf der Reflexion über die eigene Tätigkeit liegt vor allem im letzten Teil dieses Kapitels der Schwerpunkt. Hier sind es vorwiegend Künstler des 21. Jahrhunderts, wie Drehbuchschreiber, Theaterregisseure oder Comicautoren, die ihre eigenen Handlungen in Frage stellen. Neu ist, dass sich das künstlerische Versagen der Protagonisten nicht nur innerhalb der Diegese auf den Film auswirkt, bzw. dessen Form modifiziert, sondern diese geradezu dekonstruiert und aufbricht.
In this paper, we investigate the question of whether and how perspective taking at the linguistic level interacts with perspective taking at the level of co-speech gestures. In an experimental rating study, we compared test items clearly expressing the perspective of an individual participating in the event described by the sentence with test items which clearly express the speaker’s or narrator’s perspective. Each test item was videotaped in two different versions: In one version, the speaker performed a co-speech gesture in which she enacted the event described by the sentence from a participant’s point of view (i.e. with a character viewpoint gesture). In the other version, she performed a co-speech gesture depicting the event described by the sentence as if it was observed from a distance (i.e. with an observer viewpoint gesture). Both versions of each test item were shown to participants who then had to decide which of the two versions they find more natural. Based on the experimental results we argue that there is no general need for perspective taking on the linguistic level to be aligned with perspective taking on the gestural level. Rather, there is clear preference for the more informative gesture.
Modeling misretrieval and feature substitution in agreement attraction: a computational evaluation
(2021)
We present computational modeling results based on a self-paced reading study investigating number attraction effects in Eastern Armenian. We implement three novel computational models of agreement attraction in a Bayesian framework and compare their predictive fit to the data using k-fold cross-validation. We find that our data are better accounted for by an encoding-based model of agreement attraction, compared to a retrieval-based model. A novel methodological contribution of our study is the use of comprehension questions with open-ended responses, so that both misinterpretation of the number feature of the subject phrase and misassignment of the thematic subject role of the verb can be investigated at the same time. We find evidence for both types of misinterpretation in our study, sometimes in the same trial. However, the specific error patterns in our data are not fully consistent with any previously proposed model.
Warum ist ein Produkt auch über seinen reinen Gebrauchswert hinaus für uns von Bedeutung und welches Echo findet die alltägliche Warenwelt in verschiedenen Kunstformen und Medien? Diese Fragen stehen im Mittelpunkt des Verbundprojekts „Konsumästhetik – Formen des Umgangs mit käuflichen Dingen“, das ab Januar 2013 für drei Jahre von der Volkswagen-Stiftung gefördert wird. Zu den Kooperationspartnern gehört die Goethe-Universität, die gleich mit mehreren Themenstellungen beteiligt ist: Prof. Birgit Richard vom Institut für Kunstpädagogik untersucht mit Blick auf das Web 2.0 „Konsum-Objekte im bewegten Bild, Bildkonsum und Bildproduktion“. Unter der Federführung von Prof. Heinz Drügh, Institut für Deutsche Literatur und ihre Didaktik, geht es um „Künstlerische Verhandlungsformen des Konsums“. Drügh selbst analysiert dabei die „Darstellung des Supermarkts als Ort der Moderne in Film und Literatur“. Der Professor für Neuere Deutsche Literatur und Ästhetik ist Mitherausgeber des Sammelbandes „Warenästhetik – Neue Perspektiven auf Konsum, Kultur und Kunst“. An der Goethe-Universität (2008) und am Forschungskolleg Humanwissenschaften (2010) hat er einschlägige internationale Veranstaltungen konzipiert und durchgeführt.
Prof. Michael Lentz setzt im Wintersemester 2012/13 als Gastdozent für Poetik die renommierte Vorlesungsreihe an der Goethe-Universität fort. „Atmen Ordnung Abgrund“ – Unter diesem Titel wird Lentz vor dem Publikum der Frankfurter Poetikvorlesungen über Bedingungen und Grundlagen seiner literarischen Arbeit sprechen.
Sprach- und Sprechstörungen kommen bei zahlreichen Kindern vor und werden in der ICD-11 analog zur ICD-10 als Entwicklungsstörungen im Kapitel 6 (Psychische, Verhaltens- und Entwicklungsstörungen) klassifiziert. International sind bislang die ICD-10-Kriterien nicht von allen Professionen, die sich mit Sprach- und Sprechstörungen klinisch oder im Rahmen der Forschung beschäftigen, akzeptiert. Sie werden einerseits als zu wenig differenziert hinsichtlich der unterschiedlichen Sprachkomponenten vonseiten der Linguistik, Sprachtherapie oder Logopädie erlebt. Zum anderen wird die unklare Abgrenzung organisch bedingter Sprach- und Sprechprobleme von der Sprachentwicklungsstörung vonseiten der Medizin teilweise kritisch bewertet. In dem vorliegenden Artikel wird deshalb einerseits die Klassifikation von Sprach- und Sprechproblemen und -störungen in der ICD-11 im Vergleich zur ICD-10 vorgenommen. Wesentlich erscheint hier die in der ICD-11 neu eingeführte Differenzierung in „primäre“ und „sekundäre“ Neuroentwicklungsstörungen. Zum anderen erfolgt aber auch eine Auseinandersetzung mit dem DSM-5 sowie anderen Klassifikationsvorschlägen vonseiten der englischsprachigen Sprachtherapie (CATALISE-2) und der deutschsprachigen Pädaudiologie („phonologische Wahrnehmungsstörung“) sowie der Vorschlag einer Ergänzung der aktuellen ICD-11-Klassifikation hinsichtlich konkreter sprachlicher Einschränkungen bei einem Kind mit Sprachentwicklungsstörung, basierend auf einer ausführlichen Diagnostik. Wir hoffen, mit dem Artikel so den Weg für eine berufsübergreifende Klassifikation von Sprach- und Sprechstörungen nach ICD-11 zu bahnen, damit perspektivisch alle Berufsgruppen, die Diagnostik und Therapie der betroffenen Personen anbieten, eine vergleichbare Terminologie verwenden. Diese vergleichbare Terminologie soll sowohl die klinische Versorgung verbessern als auch die unterschiedlichen Forschungsansätze und -richtungen vergleichbarer machen.
Since Vietnamese is an isolating language, word order plays an important role in identifying the function of a particular word. Yet in some contexts word order may be flexible especially in the case of special information-structural settings. Discontinuous noun phrases constitute a specific case of non-canonical word order in Vietnamese.
I have conducted two read-speech experiments in order to find out whether there are prosodic or intonational effects in a comparison between continuous and discontinuous noun phrases in Vietnamese. In the first experiment, speakers from the Northern dialect were recorded and in the second experiment speakers from the Southern dialect. The results showed prosodic differences in the two word order conditions in both dialects. The duration of the classifier is significantly longer (p<0.001, ANOVA calculation) in the case of discontinuous noun phrases and the rising tone (sắc) is clearly articulated as rising. In the case of continuous noun phrases, the duration of the classifier is significantly shorter (p<0.001, ANOVA calculation) and a classifier with rising tone may lose its rising property. These prosodic effects are related to prosodic boundaries. In the case of discontinuous noun phrases, the classifier constitutes the prosodic boundary, whereas with continuous noun phrases, the (right) prosodic boundary occurs further to the right.
I assume that in Vietnamese there is generally a correspondence between syntactic and prosodic structure as in Selkirk (2011) and Féry (2017).
This means that for example the DP hai trái cam ‘two oranges’ (two CLF orange) is matched by a prosodic phrase, thus (hai trái cam)Φ. However, when the noun cam ‘orange’ is separated from the numeral-classifier complex, the noun and the classifier form a prosodic phrase on their own: (hai trái)Φ. It can thus be concluded that intonation effects in Vietnamese are not only present when expressing sentence modality and when changing the role of function words (Đỗ et al. 1998 and Hạ & Grice 2010), but they also play a role in word order change, as in discontinuous nominal phrases.
When it comes to syntactic aspects of discontinuous noun phrases, I discuss whether split constructions in Vietnamese involve movement as proposed by Trịnh (2011) or base-generation as put forward by Fanselow & Féry (2006). I argue for base-generation analysis since the second part of a discontinuous NP (remnant) may also occur outside of discontinuous noun phrases without its head noun and some discontinuous noun phrases do not have a continuous counterpart. My study confirms the connection between syntax and prosody.
The two parts of the discontinuous noun phrase form their own phrases syntactically as well as prosodically.
Während unsere Eltern sich noch mit dem Schneiden und Vertonen von Super-8-Filmstreifen abmühten, stellen Smartphones heute raffinierteste Technik für die Hosentasche zur Verfügung. Doch was macht es mit dem Film, wenn jeder Mensch Videos produzieren und ins Netz stellen kann? Und inwiefern finden mobile Geräte bereits Verwendung in der Filmproduktion?
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dorset, Norse settlement, and European colonization). Adopting a fragmentary and episodic approach to historical narrativization, the texts frame the modern European presence in Greenland as one of multiple migrations to and settlements in the Artic, rather than its central axis. We argue that, in consequence, the Oqaluttuaq narratives not only “provincialize” the tradition of hyperborean colonial memories, but also provide a postcolonial mnemonic construction of Greenland as a place of multiple histories, plural peoples, and heterogenous temporalities. As such, the books also narrativize loss and disappearance—of people, cultures, and environments—as a distinctive melancholic strand in Greenlandic history. Informed by approaches in the field of cultural memory and in the study memorial objects, Marks’ haptic visuality and Keenan and Weizman’s forensic aesthetics, we analyze the graphic narratives of Oqaluttuaq in regard to their aesthetic dimensions, as well as investigate the role of material objects and artifacts, which work as narrative “props” for multiple stories of encounter and survival in the Arctic.
Attributive participle constructions in German behave like adjectives in terms of inflection and position, but keep their verbal arguments. They can be extended by adjuncts or arguments and these extended attributive present participles mainly occur in written language (Weber, 1994). As the same content can also be expressed in a relative clause (RC), I compare both constructions in order to find out under which conditions a participle construction could lead to processing difficulties and how this relates to RC processing.
Based on previous assumptions for production (e.g. Weber, 1971; Fabricius-Hansen, 2016), three potential factors on the comprehension of prenominal modifiers and RCs are investigated: modifier length, the internal structure and multiple levels of embedding. The hypotheses for an effect on modifier length are mainly based on two processing accounts that make opposite predictions under specific circumstances: memory-based accounts such as the dependency locality theory (DLT) (e.g. Gibson, 2000) and expectation-based accounts such as surprisal (e.g. Levy, 2008). An increase in modifier length results in more intervening material between determiner and noun for the participle construction, contrary to RCs where these elements are adjacent. This separation of the DP could increase memory load. Therefore, longer participles would slow down processing of the noun, while there should be no difference for RCs. Two acceptability judgment experiments showed a tendency for longer participle phrases to receive lower ratings. The modifier length was further investigated in online processing. Contrary to the predicted locality effect, self-paced reading data reveals an anti-locality effect for participle phrases, with lower RTs on the noun when additional material was present inside the modifier. This experiment was followed up by an eye-tracking experiment which replicated the anti-locality effect, but at the participle instead at the noun.
The second factor that was investigated is the argument structure of the participle (or RC verb). My hypothesis is that more “prototypical” adjectives in terms of syntactic structure and semantics are more acceptable and easier to process. Attributive participles are considered hybrids between verbs and adjectives (e.g. Fuhrhop & Teuber, 2000; L¨ubbe & Rapp, 2011) due to their modifier internal verbal function, but adjectival position and agreement with the noun. This double role could lead to difficulties, in particular with a more complex verbal structure. Therefore, the prediction was that the presence of an accusative object inside a participle phrase would lead to lower acceptability ratings and higher reading times in online processing. In the first two acceptability experiments, this prediction was borne out. In addition, an SPR experiment was conducted which manipulated the presence of either an accusative object or adjunct for participles (of verbs that could be used intransitively and transitively) and the corresponding RCs. The experiment showed an effect of the presence of an accusative object on the participle, with higher reading times if an object was present, compared to an adjunct. No such difference was found for the RC verb, which indicates that only participles are processed more slowly when there is an accusative object. An alternative explanation for this finding is the inherent imperfective aspect of the present participle: a direct object could change the event structure in such a way that the aspect no longer matches.
The third factor I investigate is an effect of double embedding on the acceptability of participle phrases and RCs. While double embedded participles are rated lower than double embedded RCs, there is a smaller decrease from single to double embedding for participles than for RCs, contrary to the predictions calculated by the metric of the DLT.
Overall, the results provide evidence for experience-based processing, but they cannot be explained by either memory- or experience-based accounts alone. The effect concerning the presence of an accusative object suggest that properties of the participle distinguish the construction from RCs and affect its processing. The thesis suggests that the latter effect needs to be investigated further in future research. Furthermore, the findings have implications for the role of attributive present participles in German and for hypotheses about similar constructions in other languages.
The medium of videogames has not been sufficiently explored by narratologists yet. However, this medium has unique challenges to offer to any narratologists. In this paper, I will explain what challenges narratology has to face when analyzing an avatar: how can a story be told if the person who the story is told to controls the protagonist? To answer this question, it is important to be able to analyze this avatar first. To this end, I will point out unique characteristics of videogame characters. After establishing those, I will suggest ways to analyze the avatar on a narratological basis as a ground work towards answering the previous, big question of narratology in the medium of videogames.