@article{Klettke2015,
  author    = {Klettke, Cornelia},
  title     = {Esth{\´e}tique et {\´e}tat d'{\^a}me : Corinne ou l'Italie de Germaine de Sta{\"e}l comme roman sentimental},
  series = {M{\´e}tamorphoses du roman sentimental : XIXe-XXIe si{\`e}cle (Rencontres ; 26)},
  journal   = {M{\´e}tamorphoses du roman sentimental : XIXe-XXIe si{\`e}cle (Rencontres ; 26)},
  editor    = {Bercegol, Fabienne and Meter, Helmut},
  publisher = {Classiques Garnier},
  address   = {Paris},
  isbn      = {978-2-8124-3494-5},
  pages     = {61 -- 82},
  year      = {2015},
  language  = {fr}
}
@article{Klettke2015,
  author    = {Klettke, Cornelia},
  title     = {Le g{\´e}nie sublime et sa parodie : deux mises en sc{\`e}ne de Diderot},
  series = {Diderot Studies},
  volume    = {35},
  journal   = {Diderot Studies},
  number    = {21},
  issn      = {0070-4806},
  pages     = {235 -- 253},
  year      = {2015},
  language  = {fr}
}
@article{Klettke2015,
  author    = {Klettke, Cornelia},
  title     = {Der Biss der Schlange und die Ironie des langen Augenblicks in der klassischen Moderne : Paul Val{\´e}ry, La Jeune Parque},
  series = {Der lyrische Augenblick : eine Denkfigur der Romania (Mimesis ; 55)},
  journal   = {Der lyrische Augenblick : eine Denkfigur der Romania (Mimesis ; 55)},
  editor    = {Herold, Milan and Bernsen, Michael},
  publisher = {de Gruyter},
  address   = {Berlin},
  isbn      = {978-3-11-035444-7},
  pages     = {285 -- 299},
  year      = {2015},
  language  = {de}
}
@article{Hassler2015,
  author    = {Haßler, Gerda},
  title     = {Ram{\´o}n Campos P{\´e}rez: un te{\´o}rico del lenguaje dejado en el olvido},
  series = {Censuras, exclusiones y silencios en la historia de la ling{\"u}{\´i}stica hisp{\´a}nica},
  volume    = {36},
  journal   = {Censuras, exclusiones y silencios en la historia de la ling{\"u}{\´i}stica hisp{\´a}nica},
  editor    = {Calero Vaquero, Mar{\´i}a Luisa and Subirats R{\"u}ggeberg, Carlos},
  issn      = {1139-8736},
  pages     = {73 -- 94},
  year      = {2015},
  abstract  = {Ram{\´o}n Campos was very much influenced by the sensationist views current in French linguistic theory and developed these further, even to the point of drawing radical conclusions. In his opinion, abstraction is solely possible by using words. According to his ideas, articulated spoken language is the essential prerequisite for higher thought processes. Furthermore, the adjectives which name characteristics are derived from nouns. Memory and the formation of general ideas are the result of the "gift of the word" and by no means are actions of the human mind. Sign language, which was accepted in French linguistic theory as a precursor of spoken language, is not enough for carrying out abstractions. The tendency of thought to concretise contributes to the dissemination of abstractions. No dependent or referential word can be understood as the original word. He also developed these ideas in his treatise De la desigualdad personal en la sociedad civil ('On personal inequality in civil society'), where they became the basis of a new ethics of communication. This paper intends to explore the concept of the "gift of the word", which according to Campos is the only instrument of abstraction and analysis. Applying this concept, human thought can be divided into two capacities or powers: imagination and memory.},
  language  = {es}
}
@article{Hassler2015,
  author    = {Haßler, Gerda},
  title     = {'Communicating the past to the present'},
  series = {History and Philosophy of the Language Sciences},
  journal   = {History and Philosophy of the Language Sciences},
  editor    = {McElvenny, James},
  issn      = {2366-2409},
  year      = {2015},
  language  = {en}
}
@article{Ette2015,
  author    = {Ette, Ottmar},
  title     = {Excellence(s), velociferina(s). On the bestiary of deceptive elites of Bologna},
  series = {Literatura : teor{\´i}a, historia, cr{\´i}tica ; revista del Departamento de Literatura},
  volume    = {17},
  journal   = {Literatura : teor{\´i}a, historia, cr{\´i}tica ; revista del Departamento de Literatura},
  number    = {2},
  publisher = {Departamento de Literatura, Universidad Nacional de Colombia},
  address   = {Bogota},
  issn      = {0123-5931},
  pages     = {237 -- 242},
  year      = {2015},
  language  = {es}
}
@article{Erdmann2015,
  author    = {Erdmann, Julius},
  title     = {Semiotics of Pictorial Signs on Social Networking Sites},
  series = {Punctum : international journal of semiotics},
  volume    = {1},
  journal   = {Punctum : international journal of semiotics},
  number    = {1},
  publisher = {Hellenic Semiotic Society},
  address   = {Thessaloniki},
  issn      = {2459-2943},
  doi       = {10.18680/hss.2015.0003},
  pages     = {26 -- 42},
  year      = {2015},
  abstract  = {The paper aims at considering characteristics from one field of contemporary visual studies that has for a long time been neglected in academic research: Pictorial signs on Social Network Sites (SNS) are an outstanding class of semiotic resources that is greatly shaped by processes of technological and collective sign production and distribution. A brief examination of the scholarly research on the pragmatics and semiotics of pictorial signs on SNS shows that the heterogeneity of visual signs is often neglected and that it mostly concentrates on one aspect of these pictorial signs: their technological production or their purpose for individual self-disclosure. The paper therefore considers the semiosis of pictorial signs on SNS in a holistic perspective as one the one hand produced by individual and collective meaning making as well as on the other hand a product of technological framing. It therefore develops a techno-semiotic pragmatic account that takes into consideration both processes. Starting from a prominent class of pictorial signs on SNS during Tunisian Revolution, the Tunisian Flag graphics, the paper than shows that communicative and social interaction functions on the graphic interface of SNS ('like'-function, sharing and commenting option) are not only directly inscribed into the pictorial frame, but also greatly influence the reading of a pictorial sign. The location of images on the SNS' interface has an impact on its meaning and on the social functions of a pictorial sign, as profile pictures are directly linked to the online identity of the user. Through technological sign processing, the polysemy of the image is reduced. We therefore consider the images on the one hand as individual self-narratives and on the other as instances of SNS' visual culture that brings out dominant visual codes but also allows social and political movements to spread.},
  language  = {en}
}