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Nachlassgeschichten
(2015)
Der Artikel schildert die Geschichte verschiedener Teile des Manuskriptnachlasses Alexander von Humboldts, die sich heute in der Staatsbibliothek zu Berlin – Preußischer Kulturbesitz (SBB) und in der Biblioteka Jagiellońska in Krakau (BJ) befinden. Dabei wird insbesondere auf den unterschiedlichen ‚Quellenwert‘ der drei großen Nachlassabteilungen – der amerikanischen Reisetagebücher, der Kollektaneen zum Kosmos (beide SBB) und dem sogenannten Nachlass Alexander von Humboldt (BJ) – eingegangen.
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.
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.
In this paper we discuss how Alexander von Humboldt conceived a past to New Spain in his Political Essay on New Spain (1811) and how this text was, in turn, appropriated by the Mexican historiography during the 19th century.
In order to do so, we analyze how the Prussian drew from American sources, particularly from the text of the Jesuit Francisco Javier Clavijero, written shortly before. We also study Humboldt’s conceptions of text and of history, highlighting the place of the indigenous in the composition of his reasoning. Finally, we give examples of how the Mexican nationalist historiography read and reinterpreted the Political Essay.
En las pinturas que retratan al erúdito Alexander von Humboldt encontramos densos signos visuales las cuales simbolizan su vida científica. La imagen del Chimborazo, cuya cima Humboldt no había alcanzado, recuerda la función epistémica de lo inacabado en su obra, mientras que la carta, el globo y su postura típica remiten al central significado del movimiento y al “escribir de cara a las cosas”. La presencia de sus objetos de escritura en las imagenes llama la atención, ya que se puede entender como referencia al significado de los diarios del viaje americano escritos durante toda la vida. En aquellos se ponen de manifiesto los momentos centrales del Humboldtian Science. El carácter del work in progress y la relacionalidad consecuente de la representación muestran las constantes epistemológicas de esta ciencia así como la dimensión de lo corporal en los manuscritos.
Tras la huella de la vida
(2015)
El proyecto de larga duración “Centro Alejandro de Humboldt – Ciencia en movimiento” (iniciado en 2015) de la Academia de las Ciencias y Humanidades Berlín-Brandemburgo tiene como objetivo la edición de los manuscritos de viaje del famoso autor, naturalista, cosmopólito y viajero. La edición incluirá los manuscritos de sus dos viajes hemisféricos (América, Asia) como también los de su legado literario. La pregunta esencial que acompaña las investigaciones en torno al proyecto de la Academia es la importancia que Humboldt le da a la vida y a la convivencia. Los tres pilares en los que descansa la reflexión son: la relacionalidad, la concomitancia entre ciencia y estética y el movimiento.
Esta obra es un debate y una invitación. Las colaboraciones que lo conforman aspiran a pensar, dentro de la nueva configuración de los saberes, los fundamentos actuales de los estudios literarios y humanísticos.
Se reúnen aquí la versión en español del incitante y provocador manifiesto de Ottmar Ette “La filología como ciencia de la vida”, y los textos que esa propuesta ha generado en México.
Cada uno de los participantes, desde perspectivas y tradiciones distintas, reflexiona sobre la situación y la proyección de las humanidades y de la filología en nuestro medio. El resultado es un caleidoscopio de preocupaciones contemporáneas.
Un texto que incita, a la vez que propone, sobre temas completamente actuales.
Für Margot Faak (1926–2015)
Am 14. Juni 2015 starb unsere Kollegin Margot Faak im 89. Lebensjahr. Wir erinnern an sie mit Worten des Abschieds von Eberhard Knobloch und dem Wiederabdruck eines Aufsatzes aus ihrer Feder von 1999.
Die Neuveröffentlichung erfolgt mit freundlicher Genehmigung der Alexander von Humboldt-Stiftung.
Der Text wurde in den Fußnoten durch einige aktuelle bibliographische und sachliche Angaben ergänzt.
HiN VII, 13 (2006) war Margot Faak zu ihrem 80. Geburtstag gewidmet. Das Heft enthält einen Lebenslauf und ein Verzeichnis ihrer Schriften.
Berlin, Oktober 2015
Regina Mikosch und Ingo Schwarz