@article{Straetling2019, author = {Str{\"a}tling, Susanne}, title = {The Author as Researcher}, series = {Russian Literature}, volume = {103}, journal = {Russian Literature}, publisher = {Elsevier}, address = {Amsterdam}, issn = {0304-3479}, doi = {10.1016/j.ruslit.2019.04.012}, pages = {283 -- 303}, year = {2019}, abstract = {This article proposes a new perspective on avant-garde travel writing through the lens of scientific field work, investigating these new writing techniques in Boris Pil'niak's expedition prose. In the 1920s, the researching writer represents a hidden, but influential counterpart to the widely propagated figure of the working writer. While the author as producer combines word and deed in an operative act, the author as researcher investigates the production of knowledge. This entails revising the centrality of facts. Literature as artistic research subverts factography by going beyond the horizons of veristic data registration to include uncharted realms and vague possibilities. This exploration leads to specific genres: the author as researcher tries his hand at a kind of laboratory text, a prolific genre at the intersection of testing equipment, recording media, and hypothetical thought. Not confined to a sterile lab, avant-garde writer-researchers, as members of research expeditions, oscillate between their home writing desks and the remote depths of the emerging USSR. At the same time, they explore writing practices situated between data acquisition, sampling, fact-finding, observation and recording.}, language = {en} } @article{Crane2019, author = {Crane, Kylie Ann}, title = {Anthropocene Presences and the Limits of Deferral}, series = {Open library of humanities}, volume = {5}, journal = {Open library of humanities}, number = {1}, publisher = {Open library of humanities}, address = {Cambridge}, issn = {2056-6700}, doi = {10.16995/olh.348}, pages = {24}, year = {2019}, abstract = {Literary criticism, particularly ecocriticism, occupies an uneasy position with regard to activism: reading books (or plays, or poems) seems like a rather leisurely activity to be undertaking if our environment—our planet—is in crisis. And yet, critiquing the narratives that structure worlds and discourses is key to the activities of the (literary) critic in this time of crisis. If this crisis manifests as a 'crisis of imagination' (e.g. Ghosh), I argue that this not so much a crisis of the absence of texts that address the environmental disaster, but rather a failure to comprehend the presences of the Anthropocene in the present. To interpret (literary) texts in this framework must entail acknowledging and scrutinising the extent of the incapacity of the privileged reader to comprehend the crisis as presence and present rather than spatially or temporally remote. The readings of the novels Carpentaria (2006) and The Swan Book (2013) by Waanyi writer Alexis Wright (Australia) trace the uneven presences of Anthropocenes in the present by way of bringing future worlds (The Swan Book) to the contemporary (Carpentaria). In both novels, protagonists must forge survival amongst ruins of the present and future: the depicted worlds, in particular the representations of the disenfranchisement of indigenous inhabitants of the far north of the Australian continent, emerge as a critique of the intersections of capitalist and colonial projects that define modernity and its impact on the global climate.}, language = {en} } @article{Hartung2018, author = {Hartung, Heike}, title = {Longevity narratives}, series = {Journal of aging studie}, volume = {47}, journal = {Journal of aging studie}, publisher = {Elsevier}, address = {New York}, issn = {0890-4065}, doi = {10.1016/j.jaging.2018.03.002}, pages = {84 -- 89}, year = {2018}, abstract = {The essay looks at longevity narratives as an important configuration of old age, which is closely related to evolutionary theories of ageing. In order to analyse two case studies of longevity published in the early twentieth century, the American psychologist G. Stanley Hall's book Senescence (1922) and the British dramatist Bernard Shaw's play cycle Back to Methuselah (1921), the essay draws on an outline of theories of longevity from the Enlightenment to the present. The analysis of the two case studies illustrates that evolutionary and cultural perspectives on ageing and longevity are ambivalent and problematic. In Hall's and Shaw's texts this is related to a crisis narrative of culture and civilization against which both writers place their specific solutions of individual and species longevity. Whereas Hall employs autobiographical accounts of artists as examples of longevity to strengthen his argument about wise old men as exclusive repositories of knowledge, Shaw in his vision of longevity as an extended form of midlife for both genders encounters the limits of age representation.}, language = {en} } @article{Weilandt2020, author = {Weilandt, Maria}, title = {Ways of Worldmaking}, series = {Materielle Miniaturen : zur {\"A}sthetik der Verkleinerung}, journal = {Materielle Miniaturen : zur {\"A}sthetik der Verkleinerung}, editor = {Lehnert, Gertrud and Weilandt, Maria and Textor, Ursula}, publisher = {K{\"o}nigshausen \& Neumann}, address = {W{\"u}rzburg}, isbn = {978-3-8260-6679-5}, pages = {185 -- 202}, year = {2020}, language = {en} } @misc{EbnervonEschenbach2016, author = {Ebner von Eschenbach, Malte}, title = {„Was ist Migration?"}, series = {Postprints der Universit{\"a}t Potsdam : Humanwissenschaftliche Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Humanwissenschaftliche Reihe}, number = {605}, issn = {1866-8364}, doi = {10.25932/publishup-42820}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-428207}, pages = {19}, year = {2016}, abstract = {Auch wenn die Appelle, die Bedeutung von Migration f{\"u}r Erwachsenenbildung deutlicher wahrzunehmen, un{\"u}berh{\"o}rbar sind, bleiben sie bez{\"u}glich kategorialer Arbeit bemerkenswert wenig beachtet. Grundlagentheoretisch motivierte Arbeit am Begriff „Migration" ist in der Erwachsenenbildung noch lange nicht hinreichend ausgesch{\"o}pft. Auch wenn sich einzelne Studien mit ihm auseinandersetzen, besteht dennoch der Eindruck, dass kategoriale Kl{\"a}rungsversuche singul{\"a}r bleiben. Die nicht einfache Aufgabe, den Begriff Migration vor seiner kategorialen Stilllegung zu bewahren, bleibt eine ernsthafte Herausforderung f{\"u}r erwachsenenp{\"a}dagogische Migrationsforschung, sofern sie daran interessiert ist, die Risiken eines bisher essentialistischen Kurses ernsthaft ins Visier zu nehmen.}, language = {de} } @phdthesis{Mueller2017, author = {M{\"u}ller, Eduard Rudolf}, title = {Architektur und Kunst im lyrischen Werk Johannes Bobrowskis}, publisher = {Universit{\"a}tsverlag Potsdam}, address = {Potsdam}, isbn = {978-3-86956-461-6}, doi = {10.25932/publishup-42711}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-427113}, school = {Universit{\"a}t Potsdam}, pages = {538}, year = {2017}, abstract = {Bobrowski had expressed the intention to study art history after graduation, but war and captivity thwarted his plans: As a member of the German Armed Forces, he was only released from military service for a semester in winter 1941/1942. Bobrowski was particularly impressed by the lectures on German Art in the Age of Goethe by the departmental chair Wilhelm Pinder. However, despite this fundamental influence Pinder's ideological background never become manifest in Bobrowski's poems. After returning from Soviet captivity during Christmas 1949, university studies were out of the question for the thirty-two-year-old. However, his lifelong intermedial engagement with fine art in his work can be interpreted as an expression of his diverse cultural and historical interests and inclinations. The poet's life phases correlate with the thematic development of his poems on visual art: The inviolable aesthetics of significant works of art helped him to overcome the horror of the last years of the war and the privations of Soviet captivity. Didactic moral aims initially shaped the poems Bobrowski created in the years after his return home before he was able to distance himself in terms of content and form from this type of poetry and began to write poems that take up cultural-historical aspects and juxtapose historical, mythological, biblical and religious-philosophical themes spanning epochs. His poems about the artists Jawlensky and Calder also touch simultaneously on aspects of the cultural landscape. In the last decade of his life, Bobrowski became increasingly interested in twentieth-century art, while modern architecture was absent from his work. Bobrowski devoted himself in an entire series of poems to Classicist and Romanticist painting and thus to works that were written during the Age of Goethe and about which Wilhelm Pinder may have given lectures during his "German Art in the Age of Goethe" course attended by Bobrowski. Architecture is a leitmotif in Bobrowski's lyrical works. The significance conveyed of the particular sacred and profane buildings referred to in the poems as well as the urban and village ensembles and individual parts of buildings changes several times over the years. Starting from traditional, juxtaposed juvenile poems in iambic versification, in which architectural elements form part of an awareness that fades out everything outside of the aesthetic, the significance of the sacred and secular buildings in Bobrowski's lyrical works changes for the first time during the years he spent in Russia during the war as part of the German military. In the odes Bobrowski wrote at the time, the architectural relics testify to suffering, death and destruction. What is still absent, however, is the central idea of guilt, which later becomes the focus of poems he writes after his return from captivity until his early death. Towards the end of the war and during his years of captivity, Bobrowski reflects on the theme of his homeland again, and the architecture in his poems becomes an aesthetically charged projection for his yearning for East Prussia and the Memel area. The aspect of the sublime first appears in his poems, both in relation to painting and architecture, during his captivity. This idea is developed on the one hand after his return to Berlin in his poems on the architecture of Gothic cathedrals and the architectural heritage of Classicism, but the cultural heritage of Europe also represents historical injustice and a heavy, far-reaching guilt in the poems written during this period. Bobrowski turns away from his criticism of the entire continent of Europe in later years and in his "Sarmatic Divan" concentrates on the guilt Germans have towards the peoples of Eastern Europe. This also lends the architecture in his poems a new meaning. The relics of the castles of the Teutonic Order testify to the rule of medieval conquerors and merge with nature: The symbolism of the architecture becomes part of the landscape. In the last decade of his life, he increasingly writes poems related to parks and urban green spaces. The city, "filled with meaning", moves to the centre of his poetry. However he does not deal with the technical achievements and social phenomena of urban life in these poems but with urban structures and especially the green and open spaces as symbols of history. The poet relies not only on personal experiences, but sometimes also on image sources without ever having seen the original. The poems about Chagall and Gauguin are hardly accessible without the knowledge that they refer to image reproductions in narrow, popular books that Bobrowski acquired shortly before writing the respective poems. The situation is different with the Russian churches that find their way into his lyrical works. Bobrowski had seen them all during the war, and most of them still appear to exist today and can be identified with some certainty with the help in part of the poet's letters from that period.}, language = {de} } @article{Navratil2020, author = {Navratil, Michael}, title = {Sprach‑ und Weltalternativen}, series = {Interlitteraria : Tartu {\"U}likooli Maailmakirjanduse {\~O}ppetooli ja Eesti V{\~o}rdleva Kirjandusteaduse Assotsiatsiooni aastakiri}, volume = {25}, journal = {Interlitteraria : Tartu {\"U}likooli Maailmakirjanduse {\~O}ppetooli ja Eesti V{\~o}rdleva Kirjandusteaduse Assotsiatsiooni aastakiri}, number = {2}, publisher = {Tartu {\"U}likooli Kirjastus}, address = {Tartu}, issn = {1406-0701}, doi = {10.12697/IL.2020.25.2.20}, pages = {522 -- 539}, year = {2020}, abstract = {Multilingualism and the alternate history genre have something in common: both phenomena are based on the construction of alternatives, in the case of multilingualism on the alternatives between different languages and communication systems, and in the case of the alternate history genre on the alternatives between real-world facts and the variation thereof within fictional worlds. This article investigates the interconnections between these two forms of thinking in alternatives by looking specifically at Quentin Tarantino's counterfactual war film Inglourious Basterds (2009) and Christian Kracht's alternate history novel Ich werde hier sein im Sonnenschein und im Schatten (2008). I argue that the consideration of language alternatives forms part of the meta-reflection of the alternate history genre in these works while at the same time opening up a political perspective: in Tarantino's film and Kracht's novel, multilingualism serves as a means for the critique of ideology by rendering palpable the political threats of a worldview based on clear-cut alternatives. In the article's final section, I plead for the establishment of stronger links between the research on literary multilingualism and the theory of fiction.}, language = {de} } @article{Eckstein2019, author = {Eckstein, Lars}, title = {Lyrics als Paradigma einer anderen Moderne: M.I.A.s 'Galang'}, series = {Lyrik/lyrics : Songtexte als Gegenstand der Literaturwissenschaft}, journal = {Lyrik/lyrics : Songtexte als Gegenstand der Literaturwissenschaft}, publisher = {Wallenstein}, address = {G{\"o}ttingen}, isbn = {978-3-8353-3381-9}, pages = {173 -- 192}, year = {2019}, language = {de} } @article{Eckstein2020, author = {Eckstein, Lars}, title = {Reflections of Lus{\´a}ni Ciss{\´e}}, series = {Ideology in postcolonial texts and contexts}, journal = {Ideology in postcolonial texts and contexts}, publisher = {Rodopi}, address = {Leiden}, isbn = {978-90-04-42805-8}, doi = {10.1163/9789004437456_010}, pages = {147 -- 161}, year = {2020}, language = {en} } @book{Hoffmann2007, author = {Hoffmann, Michael}, title = {Funktionale Variet{\"a}ten des Deutschen - kurz gefasst}, publisher = {Universit{\"a}tsverlag Potsdam}, address = {Potsdam}, isbn = {978-3-939469-74-2}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-13450}, publisher = {Universit{\"a}t Potsdam}, pages = {48}, year = {2007}, abstract = {Bei dieser Publikation handelt es sich um ein Kompendium, gedacht als Selbststudienliteratur f{\"u}r linguistische Grundkurse und Einf{\"u}hrungsveranstaltungen zur deutschen Sprache der Gegenwart. Im Mittelpunkt der Darstellung stehen jene Sprachformen des Deutschen, die sich in verschiedenen Kommunikationsbereichen (privater Alltag, Kunst, Wissenschaft, B{\"u}rokratie, Journalismus, Werbung) herausgebildet haben. In jedem dieser Bereiche hat die Sprache eine spezifische Funktion, d. h. einen anderen gesellschaftlichen Zweck. Funktionale Variet{\"a}ten sind dementsprechend zweckbestimmte, kommunikationsbereichsbezogene Teilsprachen einer Einzelsprache. Traditionell werden sie auch Funktionalstile genannt. Das Kompendium umfasst zwei Hauptteile. An die Vermittlung theoretischer Grundlagen schließen sich Beschreibungsprotokolle an, die zu jeder funktionalen Variet{\"a}t (Alltags-, Dichter-, Wissenschafts-, Beh{\"o}rden-, Presse- und Werbesprache) Auskunft geben {\"u}ber • die kommunikative Hauptleistung der Variet{\"a}t, • die kommunikativen Rahmenbedingungen ihrer Verwendung, • ihre Bindung an kommunikative Gattungen (Text- und Gespr{\"a}chssorten) und • ihr sprachliches Erscheinungsbild. Eingegangen wird auch auf Abgrenzungsfragen, so z. B. auf das Verh{\"a}ltnis von Alltagssprache und Umgangssprache, von Dichtersprache und Literatursprache, von Pressesprache und Mediensprache. Die Protokolle verzeichnen dar{\"u}ber hinaus Zusatzliteratur, die f{\"u}r ein vertiefendes Studium zu empfehlen ist}, language = {de} }