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„Y te pago; te visto; te doy de comer.“: Disziplinarmechanismen in Roberto Marianis "Cuentos de la oficina" (1925) im Zeichen ökonomischer Umbrüche am Cono Sur
Full text linkDer vorliegende Beitrag widmet sich den Cuentos de la oficina des argentinischen Schriftstellers Roberto Mariani aus dem Jahr 1925. Ausgehend von Überlegungen Max Webers zur bürokratischen Effizienz und Michel Foucaults zur Disziplin, werden daraus ausgewählte Texte – Balada de la oficina, Rillo und Santana – auf die dort wirkenden Disziplinierungsmechanismen sowie deren literarische Darstellung untersucht. Die Erzählungen, die sich um die Figuren Rillo und Santana entfalten, greifen die in der Balada de la oficina episch vorausgedeuteten Versprechungen, Forderungen und Drohungen durch das personifizierte Büro auf und zeichnen ein prekäres Bild des bonaerensischen Büroangestellten im modernen Kapitalismus der 1920er Jahre. Mit Foucault und Weber soll der Frage nachgegangen werden, inwieweit die obigen im Hinblick auf die europäische Moderne entworfenen Konzepte zum Verständnis von Disziplinierungsmechanismen im Rahmen der Etablierung kapitalistischer Strukturen am Cono Sur beitragen können. Besonders geeignet erscheint hier die Wahl des Autors Roberto Mariani, der mit den Cuentos de la oficina erstens den Gründungstext für die argentinische Büroliteratur geschaffen hat und zweitens um 1920 selbst als Büroangestellter tätig war.This article is dedicated to the Cuentos de la oficina, published by Argentinian writer Roberto Mariani in 1925. Based on Max Weber᾽s reflections on bureaucratic efficacy and Michel Foucault᾽s considerations regarding disciplinary power, selected texts – Balada de la oficina, Rillo, and Santana – will be analyzed in order to identify the disciplinary mechanisms at work as well as their literary representation. The narratives unfolding around the characters of Rillo and Santana take up the promises, demands, and threats that the personified office epically foreshadows in the Balada de la oficina and paint a precarious picture of the Argentinean office worker during the modern capitalism of the 1920s. Based on the above-mentioned concepts developed by Weber and Foucault with a main focus on European Modernity, this article centers around the question in how far these can be applied to Argentinian office literature in order to gain a more thorough understanding of emerging capitalist structures and the disciplinary power enabling these structures. The literary text to be considered, Roberto Mariani’s Cuentos de la oficina, represents the founding text of Argentinian office literature; written by a former office clerk himself, it seems particularly suitable to approach the topic of workplace discipline in an early 20th century bureaucratic context
The Campaign of the Solomonic Monarch Yǝsḥaq (r. 1414–1429/30) as a Turning Point in Betä Ǝsraʾel History: Its Commemoration in Solomonic and Betä Ǝsraʾʾel Sources and Holy Sites
Full text linkFollowing the rise to power of the Christian Solomonic dynasty (1270–1974) in Ethiopia, Christian rule expanded to encompass the regions inhabited by the Betä Ǝsraʾʾel (Ethiopian Jews). This process was accompanied by military campaigns (fourteenth–seventeenth century), during which the Betä Ǝsraʾʾel gradually lost their political autonomy. The Betä Ǝsraʾʾel oral tradition remembers the campaign waged by the Solomonic monarch Yəsḥaq against them as the most decisive in their history—because of it, their political power was greatly reduced, and their continued existence was jeopardized. This campaign is also commemorated in Solomonic texts, and both Christian and Betä Ǝsraʾʾel holy sites are associated with it. This article will examine the ways in which this campaign and its aftermath are depicted by the two respective communities and reflected their religious sites and in landmarks in Wägära and the Sǝmen Mountains. Based on the sources at hand, it will attempt to trace the geographical aspects of the campaign
„Habent sua fata libelli“: Zur Entdeckung einer Hommage an August Dillmann vor hundert Jahren
Full text linkAn unsigned homage to August Dillmann on the occasion of his 100th birthday was recently found in a copy of Dillmann\u27s Lexicon linguae aethiopicae, after the 200th anniversary of his birthday. The text was presumably composed by Bruno Violet, who was Dillmann\u27s student and the previous owner of the copy of the Lexicon in question
A Hitherto Unattested Ethio-Sabaean King in a Woman\u27s Altar Dedication from Ṣ́ǝrḥan (Tǝgray/Ethiopia)—Discovery and Context
Full text linkAn inscription stone was found by peasants in a site at Ṣ́ǝrḥan in the Aḥfärom wäräda of the Tǝgray region. The author examined the site and carried out an archaeological outline of it for the Tǝgray Culture and Tourism Bureau. The original condition of the inscription, however, had been affected by the peasants’ handling of the stone, which in the same time offers an instructive insight into local traditions. Furthermore, the high resolution photography taken of the inscription has been lost due to looting during the recent war. However, lower resolution photography has survived
Conjecturing is not all: Theorizing in design research by refining and connecting categorial, descriptive, and explanatory theory element
Full text linkAlthough generating empirically grounded theoretical contributions has been an essential aim of design research from the beginning, the underlying methodology has been described as in need for further elaboration with respect to rigor. Existing methodological elaborations on theorizing in design research often focus on argumentative grammar of strengthening prescriptive conjectures. Beyond these, this paper argues that prescriptive theory elements require generating categorial, descriptive, and explanatory theory elements before the suggested argumentative grammars can be treated. With an example from a design research study for professional development, the immense work of elaborating categorial and explanatory theory elements is illustrated that is needed before concise prescriptive conjectures can be made and tested
Theory genesis in the design-based research process – a subject didactic view on theory application, verification and development by using design principles
Full text linkDer Artikel zielt darauf ab, die Entwicklung von Theorien zu untersuchen, die im Rahmen von Design-based Forschungsprozessen (DBR) in konkrete Designprinzipien umgesetzt werden. Dafür werden aus drei abgeschlossenen Doktorarbeiten der Autor*innen Theorien und Theorieelemente ausgewählt, die sich in Bezug auf Reichweite, Tiefe und empirische Sättigung unterscheiden. Es werden verschiedene Wege der Theoriengenese im Forschungsprozess aufgezeigt (in verschiedenen Phasen des DBR-Zykluses) und es wird ihr Beitrag als theoretischer Output des Forschungsprozesses für den schulischen Kontext und die fachdidaktische Community diskutiert. Die Ergebnisse dieser Analysen münden in der Einführung eines Modells für die Theorieentwicklung in DBR-Projekten.This article intends to provide answers to the overarching question of how theories, which are transferred into concrete design principles, develop in a DBR process. Theories from three completed DBR projects in geography didactics will be examined regarding their genesis in the research process and their function in individual phases of a DBR cycle. The chosen theories differ in scope, depth and empirical saturation. The aim is to analyse the role that these theories take in the DBR research process and to discuss them in terms of their contribution to the output of DBR projects and a possible generalisability of the findings. Finally, the results of the analyses are synthesised into a model for theory genesis in DBR projects
French House, French Hype, French Touch: Ausprägungen und Auswirkungen der französischen elektronischen Musik der 1990er Jahre
Full text linkIm Verlauf der 1990er Jahre findet in Frankreich im Bereich der elektronischen Musik eine Entwicklung statt, mit der das Land zu einem bedeutenden Standort auf der popmusikalischen Weltkarte wird. Das Etikett „French“ wird schnell zu einer Art Qualitätssiegel in der internationalen Wahrnehmung, die dazu geprägten Begriffe wie „French House“ werden fast umgehend auch im negativen Sinne eines „French Hype“ gedeutet und als Ausverkauf einer ursprünglich im „Underground“ angesiedelten Musik kritisiert. Zugleich aber wird dieser sehr heterogenen und vielseitigen Musik in ihrer Rezeption eine „französische Note“ zugeschrieben, die schwer greifbar bleibt, aber kontinuierlich präsent ist. In diesem Sinne wirkt die Bezeichnung „French Touch“ im Rückblick sogar wie die Chiffre eines modernen Mythos im Sinne von Roland Barthes.
Infolge dieses Beitrags war Marcel Vejmelka Gast der Sendung „Corso – Kunst und Pop“ (Deutschlandfunk) und sprach über Electro-Party beim Paralympics-Abschluss: Wie Frankreich das Musikgenre prägt.During the 1990s, France witnesses an evolution in the realm of electronic music, appearing as an important player on the world map of pop music. The label “French” soon becomes a sort of hallmark in the international perception; concepts coined in this context, like “French House”, almost immediately are also seen in a negative sense of a “French Hype” and criticised as a sell-out of the genre’s origins in the “underground”. However, simultaneously, the public identifies this quite heterogeneous and diverse music with a certain “Frenchness”, of difficult definition, but continuous presence. In this sense, the concept “French Touch”, in retrospect also works as the key for a modern myth as proposed by Roland Barthes
« Désenchantée », le charme pop d’un hit transgénérationnel
Full text link‘Désenchantée’ (1991) is undoubtedly the most emblematic song in the career of Mylène Farmer, the least well known star in Franch pop music. A true popular success, ‘Désenchantée’ is a cross-generational "earworm", covered many times over the past decades and which has recently become very popular with young artists and audiences in France. This article precisely endeavours to explore the aesthetic and cultural reasons that may have contributed ‘Désenchantée’’s success. For that purpose, I will first present the figure of Mylène Farmer, an undisputed diva for her fans but a great unknown to so-called ‘serious’ critics, one who is marked marked by ambivalence in both her reception and her aesthetics. Secondly, I will analyse the expressive mechanisms of the song, in particular its aphoristic and paradoxical style, where referential nihilism contrasts with festive uses over the years in the context of recent French cultural history. Finally, \u27Désenchantée\u27 will be examined in relation to Farmer\u27s pop aesthetic, characterized by accessibility, imprecision and immediacy, resulting in a mysterious alchemy capable of rallying a popular audience around a simplistic but emotionally irresistible object.« Désenchantée » (1991) est le titre emblématique, la signature sonore de la carrière de Mylène Farmer, peut-être la star la plus méconnue de la musique pop en France. Succès commercial et véritable tube, « vers d’oreille » transgénérationnel, « Désenchantée » a fait l’objet de nombreuses reprises et connaît un engouement récent chez les artistes et les publics jeunes en France. Ce travail se propose précisément d’explorer les raisons d’ordre esthétique et culturel qui ont pu contribuer au succès commercial et populaire de « Désenchantée ». Pour ce faire, nous présenterons en premier la figure de Mylène Farmer, diva incontestable pour ses fans mais grande inconnue de la critique dite « sérieuse », marquée par l’ambivalence dans sa réception mais aussi dans son esthétique. Deuxièmement, nous explorerons les mécanismes expressifs du morceau, notamment sa facture aphoristique et paradoxale où le nihilisme référentiel contraste avec les usages festifs au fil des années dans le contexte de l’histoire culturelle française récente. Enfin, « Désenchantée » sera analysé par rapport à l’esthétique pop de Farmer, une esthétique marquée par l’accessibilité, l’imprécision, l’immédiateté, relevant d’une alchimie mystérieuse, capable de rassembler un public majoritaire autour d’un objet simplissime mais émotionnellement irrésistible
Tindering in the Field: Dating Apps, Ethnography, and Discomfort
Full text linkThis article explores the ethical and safety implications of using dating apps as a method in ethnographic research. Drawing on my experience with this approach whilst conducting fieldwork across social and physical boundaries in the Occupied Palestinian West Bank, I explore the discomforts that arise in the process of using platforms associated with sex and romance. Attending to my own discomforts as well as those of my professional peers and my interlocutors, I make recommendations for an ethical approach to the use of dating apps as a networking tool. In the process I critique the nature of professionalism in anthropology, locating it in patriarchal and orientalist western values. I then unpack the unique affordances of and discourses around safety and dating app use, outlining where anthropologists can benefit from including these in their ethnographic practice