Epochenumbruch 1800
1., Aufklärung, Sturm und Drang, Weimarer Klassik
Prosanova
DVD., Filmdokumentation / Paula Reissig
BetonZeit
1., Soziale Bindung : Erzählungen, Kurzgeschichten, Kurzprosa
Oxforder Oktavhefte
7/8, Zürauer Zettel., CD-ROM.
Cyberspace der Phantasie
1., Texte mit Nebenwirkungen / Realisierung: Sam's Software-Schmiede
Altösterreich im Blut
Teil 2., (Mütterlich) Schmidt-Marschall
BetonZeit
2., Identität : lyrische Werke
Dämonische Verführer
Die Adaption des Vampirmotivs bei Byron, Polidori, Le Fanu und Stoker
Dämonische Verführer in der Literatur
Die Adaption des Vampirmotivs bei Byron, Polidori, Le Fanu und Stoker
Das Rostocker Tierepos "Reynke Vosz de olde" (Ludwig Dietz, 1539) im Kontext der niederdeutschen "Reynke de vos"-Überlieferung des 15. und 16. Jahrhunderts und der Rostocker Drucktradition der Mitte des 16. Jahrhunderts
philologische Untersuchung und diplomatische Teiledition : mit CD-Beilage
Der Kindergarten als Bildungs-Ort
subjekt- und machtanalytische Einsätze zur Pädagogik der frühen Kindheit
Abstract: Long description: Die Studie nimmt die Selbstverständlichkeit der Rede von Kindertageseinrichtungen als Bildungs-Orte in den Blick. Damit steht die Übersetzung von Bildung, d.h. deren Lokalisierung vor Ort in Frage. Dieses...
mehr
Abstract: Long description: Die Studie nimmt die Selbstverständlichkeit der Rede von Kindertageseinrichtungen als Bildungs-Orte in den Blick. Damit steht die Übersetzung von Bildung, d.h. deren Lokalisierung vor Ort in Frage. Dieses Transformationsgeschehen wird einerseits bezogen auf ein sich veränderndes Aufgabenprofil für pädagogische Fachkräfte und anderseits auf das Verhältnis von Kindern und pädagogischen Fachkräften an zwei ausgewählten und bedeutsamen Themenfeldern für die Institutionen der Kindertagesbetreuung - Beobachtung und Gesundheit - subjekt- und machtanalytisch untersucht.
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Weaving patterns – the function of form in creative German-English poetry translation
Abstract: Poetry is very challenging to translators and often even regarded to be untranslatable because the unity of form and content is after Robert Frost’s famous saying considered to be “lost in translation.” This problem has resulted in a highly...
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Abstract: Poetry is very challenging to translators and often even regarded to be untranslatable because the unity of form and content is after Robert Frost’s famous saying considered to be “lost in translation.” This problem has resulted in a highly controversial debate whether to give priority to form or content if both cannot be preserved. In the age of free verse, that often results in a neglect of poetic form. Whether preference is given to form or content, however, it is striking that the general assumption underlying the debate seems to be that form and content are two separable entities and that one can be preserved without the other. My dissertation, on the other hand, builds on the assumption that both form and content are part of the dynamic meaning construal of the translator. Rather than supporting untranslatability claims with this notion, I aim to show that the constraint of poetic form can foster the finding of innovative solutions. I analyse my own and other poetry translations together with their source texts on the basis of categories that were developed from a cross-fertilisation of (cognitive) linguistics, literary and translation studies in order to investigate the inherent potentials of sound, rhythmical and grammatical structures and their realisation in creative reading and translating. My approach is therefore a transdisciplinary combination of theory from different fields and practise. The analysis reveals a multitude of functions of form and formal patterning in the creative meaning construction of the translator and the transFORMations resulting in a translation that is not necessarily inferior to the source text
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Heiner Müller's democratic theater
the politics of making the audience work
Zusammenfassung: The East German playwright Heiner Müller (1929-1995) is one of the most influential European dramatists and theater directors since Brecht. While critical literature on Müller often discusses the politics of his works, analysis tends...
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Zusammenfassung: The East German playwright Heiner Müller (1929-1995) is one of the most influential European dramatists and theater directors since Brecht. While critical literature on Müller often discusses the politics of his works, analysis tends to stop at the level of the text, neglecting the theatrical events that emerge from it and the audiences for which it was written and performed. Situating his study within Müller's interests in democracy and audience activity, Michael Wood addresses these gaps in scholarship, making an original contribution to the understanding of Müller's work as playwright and director. In 1985, Müller spoke of the importance of a "democratic" theater: one that confronts theatergoers with densely contradictory material that they must interpret for themselves, reflecting the complexity of material reality and encouraging them to question their participation in political life. Wood's study shows that Müller sought to do this in his combined 1988 production of Der Lohndrücker, Der Horatier, and Wolokolamsker Chaussee IV: Kentauren, staged at a time when questions of democracy were at the forefront of East German consciousness. It also demonstrates that from the beginning of his career Müller tried to make theater that would create a form of democracy both within and outside the theater.--Publisher's description
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Erzählte Entgrenzungen
Narrationen von Arbeit zu Beginn des 21. Jahrhunderts
Innere Bilder
Theorien, Perspektiven, Analysen