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‘Crazy Man-Killing Monsters’
(2023)
The Amazons have a long legacy in literature and the visual arts, extending from antiquity to the present day. Prior scholarship tends to treat the Amazons as hostile ‘Other’ figures, embodying the antithesis of Greco-Roman cultural norms. Recently, scholars have begun to examine positive portrayals of Amazons in contemporary media, as role models and heroic figures. However, there is a dearth of scholarship examining the Amazons’ inherently multifaceted nature, and their subsequent polarised reception in popular media.
This article builds upon the large body of scholarship on contemporary Amazon narratives, in which the figures of Wonder Woman and Xena, Warrior Princess dominate scholarly discourse. These ‘modern Amazon’ figures epitomise the dominant contemporary trend of portraying Amazons as strong female role models and feminist icons. To highlight the complexity of the Amazon image in contemporary media, this article examines the representation of the Amazons in the Supernatural episode ‘Slice Girls’ (S7 E13, 2012), where their portrayal as hostile, monstrous figures diverges greatly from the positive characterisation of Wonder Woman and Xena. I also consider the show’s engagement with ancient written sources, to examine how the writers draw upon the motifs of ancient Amazon narratives when crafting their unique Amazon characters. By contrasting the Amazons of ‘Slice Girls’ to contemporary figures and ancient narratives, this article examines how factors such as feminist ideology, narrative story arcs, characters’/audience’s perspectives and male bias shape the representation of Amazons post-antiquity.
The modern conception of the werewolf is heavily influenced by Gothic reinterpretations of medieval European stories. This kind of werewolf is the one that has appeared on screen and written fiction for decades, but MTV’s Teen Wolf, a re-boot of the 1980s film which aired between 2011 – 17, is different. In this young adult supernatural drama, werewolves descend directly from Lycaon, and a substantial proportion of the show’s werewolf lore derives from Graeco-Roman stories about wolf-shifters and versipelles. This paper wants to explore the extent of the use in the show of the myth of Lycaon in particular, of Classical versipelles in general, the significance of these two references for the narrative, and the degree of innovation in modern supernatural fiction of this adaptation of Greek and Roman stories.
On the surface the television series Lucifer (2016 – 21) is a simple police procedural but, in actuality, the criminal cases in the show serve merely as window-dressing and structure for the deeper consideration of issues, such as guilt, shame, love, and even the meaning of life on both an individual and universal level. These topics are explored through the ever-developing character of Lucifer himself, who, like other recent anti-hero depictions, is initially presented in a manner that is very different from traditional portrayals of the Devil, and is, in fact, far closer to that of the Greek Olympian gods. Over the course of six seasons, the depiction of Lucifer alters, however, as he becomes a figure that is in many ways Christ-like, but with a 21st century twist that places the individual in an exalted position that is superior to that of divinity.
This paper applies Monster Theory to the use of Greek mythology in three creator-owned comic series by female writers: InSEXts (2016 – 2017) by American comic writer Marguerite Bennett and Indonesian artist working in America Ariela Kristantina as well as Eros/Psyche (2021) and Porcelain (2021) by Maria Llovet, a comic writer and artist from Barcelona. In the first volume of InSEXts, set in Victorian London, there are allusions to the Furies and Pandora, linked with the discourse of the repression of women. In the second volume, set in the late nineteenth century Paris art world, the representation of classical subjects in art becomes a means to repress women, and a goddess with a Gorgon-like appearance takes revenge on the male repressors. In Eros/Psyche the story of Eros and Psyche and broken statues forms the backdrop and context for a tale of love and deception at a girls’ school, and in Porcelain a girl is faced with a choice of paths towards Eros or Thanatos, like Herakles at the crossroads choosing between the paths of virtue and vice. With reference to Cohen’s seven theses of Monster Culture I examine how Bennett and Lovett subvert the idea of the monster and the hero.
This article proposes several conceptual frameworks for examining the widespread use of classical intertexts depicting the supernatural in popular media. Whether the supernatural is viewed as reality or simply a trope, it represents the human capacity and desire to explore worlds and meanings beyond the obvious and mundane. Representations of classical gods, heroes, and monsters evoke the power of mythic stories to probe and explain human psychology, social concerns, philosophical questions, and religious beliefs, including belief about the paranormal and supernatural. The entertainment value of popular media allows creators and audiences to engage with larger issues in non-dogmatic and playful ways that help them negotiate tensions among various beliefs and identities. This paper also gives an overview of the other articles in this journal issue, showing overlapping themes and patterns that connect with these tensions. By combining knowledge of classical myths in their original contexts with knowledge about contemporary culture, classical scholars contribute unique perspectives about why classical intertexts dominate in popular media today.
Megan Whalen Turner’s series The Queen’s Thief (1996 – 2020) centres on the political intrigues in a group of countries which are at once very like – but also very unlike – Bronze Age and archaic Greece threatened by a powerful Persian Empire. The first book in the series, The Thief (1996), begins as a political adventure haunted by stories of the gods. When those gods directly influence the action, the narrative changes from present political intrigue to a fantasy from the distant past. The mythology in The Thief reflects, imitates and distorts archaic Greek creation myths – stories about how the earth and sky were formed, the divine pantheon and heroes. I examine the presentation of this divine pantheon against the narratives about the gods in Hesiod, the Homeric hymns and Homer’s epics. I evaluate how the supernatural element interacts with the largely political narrative of The Thief. In so doing, I explore how the text blends a ‘classical supernatural’ with a world that is like – but in many ways very unlike – Bronze Age and archaic Greece.
Resurrecting the Argo
(2023)
This paper analyses the relationship between the figure of the Argo (ship and character) and the supernatural in the mythic fantasy of Robert Holdstock’s Merlin Codex. It shows how Holdstock’s re-writing of the Argonautica draws on various versions from the Argonautic tradition, including Euripides’ Medea, Apollonius, Valerius Flaccus, Nathaniel Hawthorne, Henry Treece and the 1963 film Jason and the Argonauts. It sets Holdstock’s Argo alongside other representations, as divine herself, possessed by divinity, and a channel of communication with the divine, and in the context of Holdstock’s previous work, particularly Mythago Wood, Lavondyss and Merlin’s Wood. The paper argues that Holdstock uses the Argo as a reflection of myth itself, a version of the forest in Mythago Wood, as well as a metapoetic image for the challenges and complexities of adapting a well-known story, bringing multiple mythological traditions (Arthurian, Finnish and Argonautic) together. It reflects on Holdstock’s relationship to the ancient genres of epic and tragedy, as well as Argo as plot facilitator and mechanism of transformation and transition. Holdstock’s relationship with ancient literature is richer and deeper than previously acknowledged; his self-conscious plays reveal a deep understanding of the polymorphous nature of mythical traditions.
The Persistence of Memory
(2023)
The 2017 Pixar film Coco and the 2021 Disney film Encanto form a small part of an increasing modern wave of media focused on parent-child conflicts caused by intergenerational trauma and rejection. Other recent works in this genre include the video game Hades, the films Turning Red and Everything Everywhere All At Once, and the television series Ms. Marvel. The traumas in all these films, some directed explicitly at a younger audience and some pitched more broadly, serve as a distinct set of meditations on the immigrant experience, even while not necessarily focusing on literal immigration. They also all invoke imagery of ghosts and death, both echoing specific classical Mediterranean motifs and tropes and incorporating a wide variety of other cultures’ supernatural traditions. These works’ concern with familial traumas of separation, culture shock, and loss of ancestral memories and connections contrasts sharply with the individual-focused myth of the American Dream common to earlier generations of American media, in which a lone individual typically emigrates, assimilates, and succeeds in a new culture, forming a new family and set of myths. However, themes of assimilation and questions of cultural imperialism also form a bridge between ancient Roman and modern North American anxieties and traditions.
‚Maise Jeschurun‘
(2023)
The birth of the Yishuv’s national shipping company, ZIM was preceded by private enterprise; the sea had not traditionally been a focus of the Zionist movement. In the 1930s, a five-year span of private commercial shipping saw three companies in the Jewish community in Palestine – Palestine Shipping Company, Palestine Maritime Lloyd, and Atid – before shipping was cut short by the outbreak of the Second World War. Despite their brief lifespans and their negligible contribution to general shipping, these companies constituted an important milestone. Their existence helped shift the Yishuv leadership’s attitudes about shipping’s importance for the community and the need for it to be supported by national institutions.
Mothers of Seafaring
(2023)
The article aims to trace the contribution of Jewish women in the Yishuv’s maritime history. Taking the example of Henrietta Diamond, a founding member and chairperson of the Zebulun Seafaring Society, the article seeks to explore the representation and role of women in a growing Jewish maritime domain from the 1930s to the 1950s. It examines Zionist narratives on the ‘New Jew’ and the Jewish body and studies their relevance for the emerging field of maritime activities in the Yishuv. By contextualizing the work and depiction of Henrietta Diamond, the article sheds new light on the gendered notions that underlay the emergence of the Jewish maritime domain and illustrates the patterns of inclusion and exclusion in it.
Interest rates are central determinants of saving and investment decisions. Costly financial intermediation distorts these price signals by creating a spread between deposit and loan rates. This study investigates how bank spreads affect climate policy in its ambition to redirect capital. We identify various channels through which interest spreads affect carbon emissions in a dynamic general equilibrium model. Interest rate spreads increase abatement costs due to the higher relative price for capital-intensive carbon-free energy, but they also tend to reduce emissions due to lower overall economic growth. For the global average interest rate spread of 5.1 percentage points, global warming increases by 0.2°C compared to the frictionless economy. For a given temperature target to be achieved, interest rate spreads necessitate substantially higher carbon taxes. When spreads arise from imperfect competition in the intermediation sector, the associated welfare costs can be reduced by clean energy subsidies or even eliminated by economy-wide investment subsidies.
Eine reflexive Haltung gegenüber der eigenen Lehrtätigkeit gilt als Schlüsselqualifikation in Bezug auf die Professionalisierung von Lehrer:innen in allen Didaktiken (GFD, 2004, S. 4). Das universitäre Seminarformat Lehr-Lern-Labor (LLLS) kann diese Haltung fördern (Rehfeldt et al., 2018). Das Lehrformat eignet sich außerdem zur Steigerung des Professionswissens und der unterrichtlichen Handlungsfähigkeit angehender Lehrer:innen (Rehfeldt et al., 2020; Brämer & Köster, 2021). Dieser Beitrag stellt, neben der grundsätzlichen Konzeption des Seminarformats, dessen Implementierung in vier verschiedenen Fachdidaktiken (Didaktiken des Englischen, der Geschichte, der Physik und Sachunterricht und seine Didaktik) vor. Ein Fokus liegt dabei auf der unterschiedlichen Umsetzung der Reflexionsphasen.
In diesem Beitrag wird ein geplantes digitales Lehrkonzept für die universitäre Begleitung des Praxissemesters in den Fächern Biologie und Mathematik vorgestellt. Darin setzen sich Studierende im Praxissemester selbstständig fachspezifische Schwerpunkte für die Planung, Durchführung und Reflexion von Unterrichtsprojekten in der Schule. Optimalerweise ergibt sich aus den Unterrichtsprojekten auch eine fachbezogene Fragestellung, die von den Studierenden im Zuge Forschenden Lernens ergründet werden kann. Begleitet wird der gesamte Prozess durch systematisch angeleitete E-Peer-Assessments (E-PA). Dabei treten Studierende in Peers in den digitalen, schriftlichen Dialog über Unterricht und durchlaufen gemeinsam Reflexions- und Feedbackschleifen, welche durch die universitäre Seminarleitung instruiert werden.
Reflexion wird in diesem Artikel als Rückmeldung (Feedback) zu einem Sprachlernstand begriffen. Es soll anhand eines Fallbeispiels (IRF-Sequenz) aus dem Unterricht Deutsch als Zweitsprache (DaZ) der Frage nachgegangen werden, wie sich die Feedback-Interaktion gestaltet und inwiefern sich ihr Gelingen oder Misslingen erklären lässt. Dazu wird die evidenzbasierte Forschung zum effektiven Feedback nach Hattie (u. a. Hattie 2020; Hattie & Zierer 2020; Wisniewski & Zierer 2018) in die Analyse einbezogen. Zu wissen, welche Wirkung Feedbacks erzielen, hilft (angehenden) Lehrer:innen, das eigene Handeln zu reflektieren.
Die Professionalisierung angehender Lehrer:innen für Fragen rund um sprachliche Bildung, Deutsch als Zweitsprache und Mehrsprachigkeit ist in den letzten Jahren verstärkt in den Blick der Praxis und Forschung der Lehrer:innenbildung gerückt. Während der Fachdiskurs im Hinblick auf die Konstrukte (Handlungs-)Kompetenz und Einstellungen bereits vorgeschritten ist, stellen die Modellierung und Erforschung des Konstrukts Reflexion im Fach Deutsch als Fremd- und Zweitsprache (DaF*Z) noch ein Desiderat dar. Im Beitrag wird die Fachspezifik der Reflexion als eines der Qualifizierungsziele der Ausbildung von Lehrer:innen für die sprachlich und kulturell heterogene Schülerschaft diskutiert und eine Modellierung vorgestellt.
Reflexion im Dialog
(2023)
Fast 40 Jahre nach dem Erscheinen von Donald Schöns Buch „The Reflective Practitioner: How Professionals Think In Action“ (1984) ist das Konzept der „reflexiven Kompetenz“ immer noch hochaktuell und wird daher in akademischen Kreisen weiterhin intensiv diskutiert. Der Artikel greift die Diskussionen zu diesem Thema im Bereich der Fremdsprachenlehrkräftebildung auf und unterstreicht sie mit Beispielen aus der universitären Aus- und Fortbildungspraxis für Deutsch als Fremd- und Zweitsprache in Brasilien und Deutschland. Auffällig ist dabei, dass es sowohl bei den Fragestellungen als auch bei den Maßnahmen und Instrumenten zahlreiche Überschneidungen gibt. Reflexion als Ziel in der Lehrkräftebildung kann somit als übergreifendes Thema wahrgenommen und weiterentwickelt werden.