Studia Germanica Posnaniensia
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Syntaktische Exponenten und Zahlmarker der unregelmässigen Verben im Präsens Indikativ
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Grammatik in fremdwortbezogenen Wörterbüchern des Deutschen
Get PDFGrammatik in fremdwortbezogenen Wörterbüchern des Deutsche
Kontinuität im Wandel der Zeit. Deutsches Kalenderschrifttum um die Wende zum 20. Jahrhundert in der Provinz Posen
Get PDFoai:ojs.pressto.amu.edu.pl:article/770Continuity in changing times. The German calendar literature by the turn of the 20th century in the Province of Poznań Calendars were originally developed for the purpose of temporal orientation and coordination of activities of a group of people. Over time, they have been used as an important means of forming opinions. In regards to that, one cannot underestimate the role of narrative text forms which have been present in calendars since the 16th century and gradually grew in size and importance. The composition of a wide variety of text types and the combination of text and illustration were responsible for the mass distribution of such publications in the 19th century. In the Province of Poznań calendars also enjoyed great popularity. Of special interest is the Evangelical People’s Calendar, which was published in Poznań for around 80 years (1861–1941). It accompanied the German population in this area through the major transition points from the end of the 19th to the beginning of the 20th century. In relation to the German calendar literature of the Poznań area, the following questions will be investigated in this article: which turning points of the 20th century were included in the calendar? Which events were considered epochal by the calendar makers? In which form were they presented in the calendars? What was the role of the historical-political and socio-mental context? How was the potential of calendars used to give the readers the sense of continuity and stability by the turn of the century?In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture.Continuity in changing times. The German calendar literature by the turn of the 20th century in the Province of Poznań Calendars were originally developed for the purpose of temporal orientation and coordination of activities of a group of people. Over time, they have been used as an important means of forming opinions. In regards to that, one cannot underestimate the role of narrative text forms which have been present in calendars since the 16th century and gradually grew in size and importance. The composition of a wide variety of text types and the combination of text and illustration were responsible for the mass distribution of such publications in the 19th century. In the Province of Poznań calendars also enjoyed great popularity. Of special interest is the Evangelical People’s Calendar, which was published in Poznań for around 80 years (1861–1941). It accompanied the German population in this area through the major transition points from the end of the 19th to the beginning of the 20th century. In relation to the German calendar literature of the Poznań area, the following questions will be investigated in this article: which turning points of the 20th century were included in the calendar? Which events were considered epochal by the calendar makers? In which form were they presented in the calendars? What was the role of the historical-political and socio-mental context? How was the potential of calendars used to give the readers the sense of continuity and stability by the turn of the century
„Ich habe […] keine Sonate schreiben wollen, sondern einen Roman“ – zu autoreferenziellen Aspekten von Thomas Manns Doktor Faustus
Get PDFIn the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture.In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture.In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture
Wissenspopularisierung und -transfer in populärwissenschaftlichen Texten. Eine textlinguistische Analyse deutschsprachiger Texte im Bereich der Biologie – eine Skizze des Forschungsvorhabens
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Crashes with reality – A narrative phenomenon in literary fiction of the early modern and the postmodern period
Get PDFThe article concentrates on the collision between plural concepts of reality in narrative fiction. For that purpose it focuses on theoretical aspects of world construction as well as on issues concerning the notions of character and narrative instances from a narratological point of view. Narrative collisions depend on heterogeneous, pluriregional or instable worlds, characters’ deficits in knowledge and problematic perception, metalepses and the exposure and handling of the borderline between two or more concepts of reality. To illustrate these theoretical preliminaries the article attempts to show how texts functionalise such structures to create narrations of transition. Arnold Höllriegel’s The Films by Princess Fantoche (1913) was written in the context of the early modern period. It correlates the collision of ‘realities’ to general questions of the modern crisis about whether to follow traditional ways or to find new ones. In Benjamin Stein’s Replay (2012) subjectivity is raised as a problem insofar as the narrating character loses himself in entangled time-circles and delivers an unreliable narration. Stein discusses the postmodern game of intertextuality, technologism, eroticism, and self-reflection as well as the loss of the narrative and the wish for its renewal. The article concentrates on the collision between plural concepts of reality in narrative fiction. For that purpose it focuses on theoretical aspects of world construction as well as on issues concerning the notions of character and narrative instances from a narratological point of view. Narrative collisions depend on heterogeneous, pluriregional or instable worlds, characters’ deficits in knowledge and problematic perception, metalepses and the exposure and handling of the borderline between two or more concepts of reality. To illustrate these theoretical preliminaries the article attempts to show how texts functionalise such structures to create narrations of transition. Arnold Höllriegel’s The Films by Princess Fantoche (1913) was written in the context of the early modern period. It correlates the collision of ‘realities’ to general questions of the modern crisis about whether to follow traditional ways or to find new ones. In Benjamin Stein’s Replay (2012) subjectivity is raised as a problem insofar as the narrating character loses himself in entangled time-circles and delivers an unreliable narration. Stein discusses the postmodern game of intertextuality, technologism, eroticism, and self-reflection as well as the loss of the narrative and the wish for its renewal
Zur Segmentierung und Taxonomie der Geschichte der Fachsprachen und ihrer Untersuchung
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Beate Sommerfeld: Zwischen Augenblicksnotat und Lebensbilanz. Die Tagebuchaufzeichnungen Hugo von Hofmannsthals, Robert Musils und Franz Kafkas
Get PDFKognitiv-semantische Spezifik von Verkaufsgesprächen: phraseolo-gische Fügungen und Funktionsverbgefüge
Get PDFKognitiv-semantische Spezifik von Verkaufsgesprächen: phraseolo-gische Fügungen und Funktionsverbgefüg
Transfer im Fremdsprachenunterricht aus didaktischer Sicht
Get PDFTransfer im Fremdsprachenunterricht aus didaktischer Sich