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Diese Arbeit sucht Antworten auf zwei Fragen: Welche Prozesse steuern die Interaktion zwischen Autor und seinen Lesern, und wie haben sich diese Prozesse im Laufe des 20. Jahrhunderts möglicherweise verändert? Wir wollen zur Beantwortung dieser Fragen beispielhaft zwei Aspekte der Interaktion zwischen Autor und Leser betrachten, die wir, ausgehend von der vorliegenden Sekundärliteratur, für besonders vielschichtig und relevant halten: Intertextualität und Performativität. Diese Aspekte sollen dann an drei literarischen Beispielen: Henry Jamesens The Turn of the Screw (1898), Samuel Becketts Film (1963) und John Banvilles The Untouchable (1997) durchgearbeitet werden. Sie sollen drei Stationen der literarischen Entwicklung des 20. Jahrhunderts repräsentieren: den Beginn der Moderne, den Beginn der Postmoderne und die heutige Zeit. Im Vergleich der Texte wollen wir die Entwicklung der Beziehung zwischen Autor und Leser über diesen Zeitabschnitt hinweg offen legen. Film bildet sozusagen ein Scharnier zwischen Henry Jamesens und John Banvilles Texten. Im Sinne von Linda Hutcheons (2002 (1989)) Überlegungen zur Charakteristik postmoderner Texte und John Kenny (2006:57), der eine Verwandtschaft von John Banvilles Texten zu denen von Henry James nachweist, kann man The Turn of the Screw durchaus auch als postmodernen, mit The Untouchable sehr verwandten Text lesen.
Abrupt switches between different tenses (past-to-present, present-to-past) are known from oral narratives and medieval literature in Romance languages, but there is little consensus about their function and interpretation. In this study, we combine corpus-linguistic tools with experimental methods and quantitative analysis to shed light on the use of tense switches in a medieval Icelandic prose text (Hrafnkels saga freysgoða). Specifically, we part-of-speech tagged all words in Hrafnkels saga freysgoða and then determined where verbs exhibit tense switches. In a second step, we had 19 subjects mark all parts in the saga they consider climactic so as to study the overall as well as subject-specific correlations between climaxness and tense switches. In the vast majority of subjects, we observe the expected correlation, and for most of these it is significant. We discuss the findings with regard to their implications for tense switching as a performative device and the position of sagas on an orality-literacy continuum.
The following paper is about artists doing experimental and performative art who expect the spectators to become participants in the process of artwork production. The artwork is thus produced through a process of participation. As a researcher, I was similarly expected to participate in the artwork process. As I observed, the artists worked at having their agency in the artwork process recognized by the participating spectators. At the same time, the artists create a certain proximity to the spectators-participants through performing art, which I call "performing proximity." By involving the participants in their art-in-process, they make use of their agency to redefine the artworld and enlarge it into other social worlds. I also discuss how artists' ability to enact redefined social worlds can be compared to agency in performative social science and in biographical research.
In the aftermath of an increasing integration of property and financial markets, the real estate industry is subject to soaring internationalization processes. Since international institutional investors appeared, transnational real estate investments have increased tremendously. In recent years, Central and Eastern European countries have been becoming more attractive to institutional investors and are therefore being integrated into international market structures. Within these countries, Warsaw emerged as the most dynamic and important real estate market. But what are the mechanisms and practices through which the real estate market of Warsaw becomes international? Which networks, intermediaries and frames are necessary to constitute a mature real estate market? The article argues that international real estate consultants are playing a crucial role in the underlying internationalization process. They are acting at the interface between investors, developers, construction companies and tenants and are therefore becoming a crucial hinge between real estate actors. With the example of the Warsaw real estate market we argue that international real estate consultancies are key drivers of the transformation process from a local to a global market. They transfer global knowledge, competence and practices and implement transparent and professional structures in the emerging Warsaw real estate market.