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The bringing together of the two realms, that of Tristan and Isolde and that of Arthur, thus has a mutually corrosive effect. However, in the further course of the action Tristan and Isolde’s love regains some of its absoluteness: for instance Heinrich refrains from taking over the quarrel of lovers from Eilhart. He plays a double game, on the one hand reducing the absoluteness and self-sufficiency of love, on the other hand building it up again and thus preventing the establishment of a firm doctrine in the course of the narrative (…), as neither the Arthurian court nor the love of Tristan and Isolde provides an absolute norm. Heinrich wrote his romance for the Bohemian noble Raimund von Lichtenburg, and the account of the foundation of the Round Table and the self-directed activities of the knights have belonged (…). The initial Arthurian ideal has become a confirmatory ritual for an exclusive body of noblemen – that matches the spirit of the knightly societies.
Science in Wonderland
(2008)
Lewis Carroll's Alice, who first explores Wonderland (1865) and later on the country behind the Looking-Glass (1872), belongs to the most well-known characters in world literature. [...] The scientific reception of Carroll's stories – concerning physics as well as the humanities – has taken place on different levels. On the one hand, […] various Carrollian ideas and episodes obviously correspond to topics, subjects and models that are treated in the contexts of scientific discourses. Therefore, they can be quoted or alluded to in order to represent theories and questions […] – as […] physical models of the world […]or theoretical models of language and communication. […] On a more abstract level of observation, Carroll's stories have been used in order to explain and to discuss the pre-conditions, the procedures, and the limits . of scientific modeling as such. Above all, they make it possible to narrate on the problem of defining and observing an 'object' of research. […] According to Deleuze, the paradox structures of the world that Alice experiences give an idea of all meaning being groundless and all logic being subverted by the illogical. Finally, besides all affinities of Alice's adventures to scientific attempts to explain the world, the absolutely incomprehensible is present in Carroll's books as well. Especially the self proves to be something profoundly incomprehensible […].
In the area of the Modern Greek verb, phenomena which consistently appear are headmarking, many potential slots before and/or after the verb root, noun and adverb incorporation, addition of adverbial elements by means of affixes, a large inventory of bound morphemes, verbal words as minimal sentences, etc. These features relate Modern Greek to polysynthesis. The main bulk of this paper is dedicated to the comparison of affixal and incorporation patterns between Modern Greek and the polysynthetic languages Abkhaz, Cayuga, Chukchi, Mohawk, and Nahuatl. Ultimately, a typological outlook for Modern Greek is proposed.
A wall-sized canvas by Twombly hanging in a purpose-built pavilion by Renzo Piano, commissioned by the Menil Collection in Houston, bears the scrawled inscription »Anatomy of Melancholy.« Untitled (Say Goodbye Catullus, to the Shores of Asia Minor) is the culminating statement of the artist’s maturity: begun in 1972, it was first exhibited in 1994. In this monumental cenotaph, Twombly’s painting displays phrases from Archilochos, Catullus, Keats and Rilke, as well as the title of Burton’s famous tome, worked into the fabric of the composition, integral to the iconic content. It is the aching heart of the select permanent exhibition of his oeuvre at the pavilion, known as the Twombly Gallery (www.menil.org/twombly.html). The austerity of Piano’s architectural setting, as well as the cunningly filtered Texas sunlight, makes this a site of cult, like the chapel containing the dark, final canvases of Mark Rothko, situated around the corner in the same urban grove of old oak. The setting is a modern Dodona, remote seat of the oaken oracle of Zeus, and it makes an evocative home for Twombly’s enigmatic constructions. These disarm conventional vocabularies of aesthetic response, drawing attention to words and snatches of verse as points of association and recognition. Looking at them involves siting a phrase such as »Anatomy of Melancholy« in other dimensions – in lines, patches, figures, colors.
Eins der signifikanten Probleme in der maschinellen Übersetzung japanische in deutsche Sprache ist die fehlende Information und Definitheit im japanischen Analyse-Output. Eine effiziente Lösung dieses Problems ist es, die Suche nach der relevanten Information in den Transfer zu integrieren. Transferregeln werden mit Präferenzregeln und Default-Regeln kombiniert. Dadurch wird Information über lexikalische Restriktionen der Zielsprache, über die Domäne und über den Diskurs zugänglich.
In this contribution I shall be interested, among other things, in finding a place for the European phenomenon of the ›Speculum humanae salvationis‹ within German literary history, which will inescapably involve revisiting the unfashionable discussion of date and origins. I also intend to ask about the place of this text in the ‘didactic’ literature of the Middle Ages. Is a religious text structured according to sacred history didactic? Much didactic poetry is in the vernacular: What does it mean that the ›Speculum‹ was composed in Latin? And what place should be accorded to its vernacular reception? The ›Speculum‹ is inscribed within a set of oppositions that would appear to be recurrent in the didactic literature of the later Middle Ages: Latin and vernacular, verse and prose, words and pictures, religious and profane, moral
teaching and devotion, clerical and lay. In view of its exceptionally broad transmission in the German lands, both in Latin and in vernacular reworkings, is it possible to describe this text so that it takes a place within a larger picture? In some respects it may stand at a threshold in the history of European didacticism.
The Kaiserchronik is generically puzzling. In essence it is a spiritual world chronicle, but it lacks the usual historiographical systematisations of its theological content. However it does have three disputations, an unusual feature in a chronicle which has to date not been adequately explained. This essay argues, on the basis of comparisons with works in other literary forms, that these passages function as key expressions of the controlling idea of the entire work, namely the progress of the Gospel from the heathen to the Christian Empire, and that they are strategically located within the chronicle at the turning points in the success of Christian mission.
MED (Media EDitor) is a program designed to facilitate the transcription of digitized soundfiles into textfiles. It was written by Hans Drexler and Daan Broeder, Max Planck Institute for Psycholinguistics, Nijmegen, The Netherlands. [...] The aim of MED is to facilitate the transcription of sound into text using a single program. It works on the principle of the coexistence and interaction of two basic elements, the waveform display window and the text window. [...] This means that you no longer need to use both a sound editor and a word processor at the same time in order to transcribe digitized speech files. Instead, you can directly type the sound you hear (and see) via MED into the text window. Furthermore, you can directly link sound portions of the waveform display window to text portions of the text window, so that you can easily locate and listen to the original source of your transcription once the links have been set. In this function the waveform display window and the text window virtually interact with each other.
Both Percy and Herder establish popular poetry within the horizon of modern literature, accentuating its strangeness compared to learned poetry or "Kunstdichtung". But there is a decisive difference between Percy's and Herder's handling of this strangeness. Percy tries to bridge the gap by way of historico-philological explanation and reconstruction. In the „Reliques“, he not only chooses, corrects and groups his poems. He also adds four historical essays to his edition […] and provides numerous introductory remarks, footnotes, bibliographical references, and glossaries of archaic words and idioms. Contrary to Percy, Herder preserves and even enforces the strangeness of the texts. On the other hand, he also wants his reader to bridge the gap […] through the modern reader's empathic grasping of the supposed archaic face-to-face-communication between poet-singer and audience. In order to reach this goal, the reader must try to supplement the fragmentary text through the intuition of the authentic situation in which the text originally was communicated. Such a supplement seems possible because popular poetry deals with stock situations common to all people. […] In order to reach this goal, by the way, Herder simulates in the „Auszug aus einem Briefwechsel“ and in the introduction to the „Volkslieder“ the same attitude which he wants to convey to his readers. Both essays display the rhetoric of an emphatic, fragmentary and consensual dialogue between friends.
In a charter issued on 5 May 1513, the mayor and city council of the city of Freiburg/Breisgau reported that several citizens wanted to be allowed to establish a bruderschaft der sengerye, a confraternity of singing. “God, the almighty, would be praised thereby, the souls would be consoled, and all men listening to the concerts would be kept from blasphemy, gaming and other secular vices” (“gott der allmechtig [würde] dardurch gelopt, die selen getröst und die menschen zu zyten, so sy dem gesang zuhorten, von gotslesterung, ouch vom spyl vnd anderer weltlicher uppigkeyt gezogen”). Considering not least the “positive effects on the pour souls” (“guettaeten, so den armen selen dardurch nachgeschechen mocht”), the request was allowed. But the petitioners had to establish their bruderschaft in exactly the form that is described in detail in the regulations (ordnung) added to the request and cited “word for word” (“von wort zu wort”) in 17 articles in the foundation charter of the confraternity.
German dialects vary in which of the possible orders of the verbs in a 3-verb cluster they allow. In a still ongoing empirical investigation that I am undertaking together with Tanja Schmid, University of Stuttgart (Schmid and Vogel (2004)) we already found that each of the six logically possible permutations of the 3-verb cluster in (1) can be found in German dialects.
This paper reports the results of a corpus investigation on case conflicts in German argument free relative constructions. We investigate how corpus frequencies reflect the relative markedness of free relative and correlative constructions, the relative markedness of different case conflict configurations, and the relative markedness of different conflict resolution strategies. Section 1 introduces the conception of markedness as used in Optimality Theory. Section 2 introduces the facts about German free relative clauses, and section 3 presents the results of the corpus study. By and large, markedness and frequency go hand in hand. However, configurations at the highest end of the markedness scale rarely show up in corpus data, and for the configuration at the lowest end we found an unexpected outcome: the more marked structure is preferred.
Trubetzkoy's recognition of a delimitative function of phonology, serving to signal boundaries between morphological units, is expressed in terms of alignment constraints in Optimality Theory, where the relevant constraints require specific morphological boundaries to coincide with phonological structure (Trubetzkoy 1936, 1939, McCarthy & Prince 1993). The approach pursued in the present article is to investigate the distribution of phonological boundary signals to gain insight into the criteria underlying morphological analysis. The evidence from English and Swedish suggests that necessary and sufficient conditions for word-internal morphological analysis concern the recognizability of head constituents, which include the rightmost members of compounds and head affixes. The claim is that the stability of word-internal boundary effects in historical perspective cannot in general be sufficiently explained in terms of memorization and imitation of phonological word form. Rather, these effects indicate a morphological parsing mechanism based on the recognition of word-internal head constituents. Head affixes can be shown to contrast systematically with modifying affixes with respect to syntactic function, semantic content, and prosodic properties. That is, head affixes, which cannot be omitted, often lack inherent meaning and have relatively unmarked boundaries, which can be obscured entirely under specific phonological conditions. By contrast, modifying affixes, which can be omitted, consistently have inherent meaning and have stronger boundaries, which resist prosodic fusion in all phonological contexts. While these correlations are hardly specific to English and Swedish it remains to be investigated to which extent they hold cross-linguistically. The observation that some of the constituents identified on the basis of prosodic evidence lack inherent meaning raises the issue of compositionality. I will argue that certain systematic aspects of word meaning cannot be captured with reference to the syntagmatic level, but require reference to the paradigmatic level instead. The assumption is then that there are two dimensions of morphological analysis: syntagmatic analysis, which centers on the criteria for decomposing words in terms of labelled constituents, and paradigmatic analysis, which centers on the criteria for establishing relations among (whole) words in the mental lexicon. While meaning is intrinsically connected with paradigmatic analysis (e.g. base relations, oppositeness) it is not essential to syntagmatic analysis.
Popular culture is always in process; its meanings can never be identified in a text, for texts are activated, or made meaningful, only in social relations and in intertextual relations. This activation of the meaning potential of a text can occur only in the social and cultural relationship into which it enters. (Fiske, 1991a: 3)