DEUTSCH) Der Beitrag Intermediale (In)Stabilitäten in zeitgenössischen Kunstwerken untersucht unterschiedliche Formen intermedialer Systemreferenzen in medientheatralen Konfigurationen. Dabei steht die Produktion the fault lines (2010) von Meg Stuart, Philipp Gemacher und Vladimir Miller im Zentrum, ein Hybrid zwischen Performance und VideoInstallation. Das Stück konfrontiert unterschiedliche mediale Formen, Technologien, Kontexte, Darstellungspraktiken, Inszenierungsund Kulturtechniken miteinander und macht diese über die Ausstellung der Formungsprozesse, denen das Publikum in actu beiwohnt, als Potentiale wie Konventionen erfahrbar. Reflexiv werden die ästhetischen Formen rezeptionsästhetisch vor allem über eine Differenzerfahrung, die sich im Rezeptionsakt ausbildet. Auch Ragnar Kjartansson spielt in seiner Produktion The visitors (2012) mit einer derartigen Differenzerfahrung, wenn diese auch nicht ebenso offensichtlich mitrezipiert wird wie im Falle von the fault lines. Kjartansson komponiert die Videobilder seiner (Musikvideo-)Installation als Tableau Vivants, die wiederum an Ölgemälde erinnern. Das Als ob des Malerischen kreiert der Künstler über verschiedene Mittel, die der Produktion eine metadiskursive Ebene verleihen. Die Spielstrategien, auf die zeitgenössische Künstler_Innen Kunstformen, Produktionsund Rezeptionspraktiken, institutionelle Rahmungen wie visuelle und auditive Wahrnehmungsdispositive befragen und mitunter aufs Spiel setzen, sind so vielseitig wie spannungsreich inszeniert. Um dieselben angemessen analysieren zu können, benötigt man vor allem einen genuin interdisziplinären Ansatz. Hierfür hält der Untersuchungsrahmen der Intermedialität als offenes System der Interdependenzen zwischen medialen Formen produktive Möglichkeiten bereit. Schlüsselwörter: zeitgenössische Kunst, Intermedialität, mediale Formen, Rahmung, Kulturtechniken ABSTRACT (ENGLISH) Intermedial (in)stabilities in contemporary artworks analyzes hybrid forms combining different media and sign systems by confronting them in their diverging materiality and mediality. These pieces are strongly self-reflective, and their (un)stable mode of production gives viewers access to different levels of meanings. What strategies and techniques do artists use to achieve such intermedial effects? How can the experience offered to an audience be described? How do different levels of meaning interact to produce a communicative effect? To answer these questions, we must focus on different layers of the complex configurations. Looking at each layer helps to precisely describe the relationship between the different parts and their effects on the audience. The audience of the fault line (2010), a collaboration between choreographers Meg Stuart and Philipp Gemacher, and the visual artist Vladimir Miller, is confronted with a performance transferred in different medial contexts, settings, and environments. Viewers and listeners reflect on the different contexts by making compariso
{"title":"Intermedial (In)Stabilites in Contemporary Artworks","authors":"Bettina Wodianka","doi":"10.26650/SDSL2018-0005","DOIUrl":"https://doi.org/10.26650/SDSL2018-0005","url":null,"abstract":"DEUTSCH) Der Beitrag Intermediale (In)Stabilitäten in zeitgenössischen Kunstwerken untersucht unterschiedliche Formen intermedialer Systemreferenzen in medientheatralen Konfigurationen. Dabei steht die Produktion the fault lines (2010) von Meg Stuart, Philipp Gemacher und Vladimir Miller im Zentrum, ein Hybrid zwischen Performance und VideoInstallation. Das Stück konfrontiert unterschiedliche mediale Formen, Technologien, Kontexte, Darstellungspraktiken, Inszenierungsund Kulturtechniken miteinander und macht diese über die Ausstellung der Formungsprozesse, denen das Publikum in actu beiwohnt, als Potentiale wie Konventionen erfahrbar. Reflexiv werden die ästhetischen Formen rezeptionsästhetisch vor allem über eine Differenzerfahrung, die sich im Rezeptionsakt ausbildet. Auch Ragnar Kjartansson spielt in seiner Produktion The visitors (2012) mit einer derartigen Differenzerfahrung, wenn diese auch nicht ebenso offensichtlich mitrezipiert wird wie im Falle von the fault lines. Kjartansson komponiert die Videobilder seiner (Musikvideo-)Installation als Tableau Vivants, die wiederum an Ölgemälde erinnern. Das Als ob des Malerischen kreiert der Künstler über verschiedene Mittel, die der Produktion eine metadiskursive Ebene verleihen. Die Spielstrategien, auf die zeitgenössische Künstler_Innen Kunstformen, Produktionsund Rezeptionspraktiken, institutionelle Rahmungen wie visuelle und auditive Wahrnehmungsdispositive befragen und mitunter aufs Spiel setzen, sind so vielseitig wie spannungsreich inszeniert. Um dieselben angemessen analysieren zu können, benötigt man vor allem einen genuin interdisziplinären Ansatz. Hierfür hält der Untersuchungsrahmen der Intermedialität als offenes System der Interdependenzen zwischen medialen Formen produktive Möglichkeiten bereit. Schlüsselwörter: zeitgenössische Kunst, Intermedialität, mediale Formen, Rahmung, Kulturtechniken ABSTRACT (ENGLISH) Intermedial (in)stabilities in contemporary artworks analyzes hybrid forms combining different media and sign systems by confronting them in their diverging materiality and mediality. These pieces are strongly self-reflective, and their (un)stable mode of production gives viewers access to different levels of meanings. What strategies and techniques do artists use to achieve such intermedial effects? How can the experience offered to an audience be described? How do different levels of meaning interact to produce a communicative effect? To answer these questions, we must focus on different layers of the complex configurations. Looking at each layer helps to precisely describe the relationship between the different parts and their effects on the audience. The audience of the fault line (2010), a collaboration between choreographers Meg Stuart and Philipp Gemacher, and the visual artist Vladimir Miller, is confronted with a performance transferred in different medial contexts, settings, and environments. Viewers and listeners reflect on the different contexts by making compariso","PeriodicalId":53722,"journal":{"name":"Studien zur Deutschen Sprache und Literatur-Alman Dili ve Edebiyati Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47610211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-20DOI: 10.26650/sdsl.2018.39.1.0001
Saniye UYSAL ÜNALAN
Feridun Zaimoglu’s novel Isabel presents life and border situations from the 21st century life in Berlin. It further visualizes the theme of non-integrity as well as the crisis of the modern subject of the present, which results from social problems and social conventionality. The aim of this article is to focus on the conceptualization of the title character, and the protagonist as well, through the constitution of the subject from an intercultural perspective. By introducing and employing the theoretical approach of Stuart Hall and Judith Butler, specifically on the notion of “subject”, I will first analyze the ‘crisis of the subject’ which the title character is engaged with. I will further examine the critical positioning of the female protagonist, that reveals itself particularly in the conventional discourse and attitude she is subject to. In view of her exclusive disgust against the fundamental issues in life, the protagonist is primarily characterized by a new concept of self. Therefore, she takes a firmly distant attitude toward any kind of conventionality, and thus isolates herself from society. However, she rescues herself from the position of the subjected and non-“recognizable” (Butler, 2008, p. 15) individual as she reverses the dynamics of society through her critical attitude and linguistic statements. This means the title figure performs a “subversive resignification” (Butler, 2008, p. 246), and through this, creates a space for her self-defined subjectivity. This process of revaluation, which is directly linked to the title character, can also be observed from an intercultural perspective. In this sense, I will proceed to explain how the novel undermines and recodes the ethnicized and culturalized female subject through the subversive title character. In this context, moreover, the novel leads to the critical reconsidering of perception patterns related to Turkish culture.
{"title":"“I am only me.” The ‘Crisis of the Subject’ in Feridun Zaimoglu’s Novel Isabel","authors":"Saniye UYSAL ÜNALAN","doi":"10.26650/sdsl.2018.39.1.0001","DOIUrl":"https://doi.org/10.26650/sdsl.2018.39.1.0001","url":null,"abstract":"Feridun Zaimoglu’s novel Isabel presents life and border situations from the 21st century life in Berlin. It further visualizes the theme of non-integrity as well as the crisis of the modern subject of the present, which results from social problems and social conventionality. The aim of this article is to focus on the conceptualization of the title character, and the protagonist as well, through the constitution of the subject from an intercultural perspective. By introducing and employing the theoretical approach of Stuart Hall and Judith Butler, specifically on the notion of “subject”, I will first analyze the ‘crisis of the subject’ which the title character is engaged with. I will further examine the critical positioning of the female protagonist, that reveals itself particularly in the conventional discourse and attitude she is subject to. In view of her exclusive disgust against the fundamental issues in life, the protagonist is primarily characterized by a new concept of self. Therefore, she takes a firmly distant attitude toward any kind of conventionality, and thus isolates herself from society. However, she rescues herself from the position of the subjected and non-“recognizable” (Butler, 2008, p. 15) individual as she reverses the dynamics of society through her critical attitude and linguistic statements. This means the title figure performs a “subversive resignification” (Butler, 2008, p. 246), and through this, creates a space for her self-defined subjectivity. This process of revaluation, which is directly linked to the title character, can also be observed from an intercultural perspective. In this sense, I will proceed to explain how the novel undermines and recodes the ethnicized and culturalized female subject through the subversive title character. In this context, moreover, the novel leads to the critical reconsidering of perception patterns related to Turkish culture.","PeriodicalId":53722,"journal":{"name":"Studien zur Deutschen Sprache und Literatur-Alman Dili ve Edebiyati Dergisi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69060970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-27DOI: 10.26650/SDSL.2018.1.39.0004
Pınar Akkoç
The turn of the 20th century was affected by the process of modernization: new areas of production emerged which coincided with deepening financial crises. This especially affected the nature of the bourgeois life at the time, and caused unique social and cultural transformation. This profound changing process resulted in the questioning of the basic elements that had made up the bourgeois society. In effect, the period ended with the “burgher” trying to illuminate his own nature and to redefine himself. This situation has also been referred to as “the identity crisis of the individual citizen”, which can be seen as a major topic in the literary works published from 1870 to 1914. The early stories of Thomas Mann examine the issues arising from these identity crises, particularly regarding the new bourgeois man. In this context, importantly, Mann mostly concentrated on the lives and problems of artists. His novella Gladius Dei (1902) includes these important themes, such as confrontations of burghers, extraordinary artworks, and by that, it also reveals a tragic situation of an artist. The artist, who is part of bourgeois life himself, is trying to transcend his everyday life through art, and in so doing, aims to get rid of the banalities of social life. However, at the time, the artist as a member of the bourgeois society was also inevitably involved in the process of decadence, which society was going through. Against this background, this article analyzes Gladius Dei with the intention of showing the situation in Munich’s modernist movement in the fin-de-siecle. In the context described above – starting from the contradictory position of the artist – the major aim of this study is to show that Gladius Dei can be seen as an implicit criticism of the modernist circles of Munich.
{"title":"The artist at the turn of the century as a “burgher who’s gone astray“: Munich’s Modernist Movement in search of its identity in the early stories of Thomas Mann","authors":"Pınar Akkoç","doi":"10.26650/SDSL.2018.1.39.0004","DOIUrl":"https://doi.org/10.26650/SDSL.2018.1.39.0004","url":null,"abstract":"The turn of the 20th century was affected by the process of modernization: new areas of production emerged which coincided with deepening financial crises. This especially affected the nature of the bourgeois life at the time, and caused unique social and cultural transformation. This profound changing process resulted in the questioning of the basic elements that had made up the bourgeois society. In effect, the period ended with the “burgher” trying to illuminate his own nature and to redefine himself. This situation has also been referred to as “the identity crisis of the individual citizen”, which can be seen as a major topic in the literary works published from 1870 to 1914. The early stories of Thomas Mann examine the issues arising from these identity crises, particularly regarding the new bourgeois man. In this context, importantly, Mann mostly concentrated on the lives and problems of artists. His novella Gladius Dei (1902) includes these important themes, such as confrontations of burghers, extraordinary artworks, and by that, it also reveals a tragic situation of an artist. The artist, who is part of bourgeois life himself, is trying to transcend his everyday life through art, and in so doing, aims to get rid of the banalities of social life. However, at the time, the artist as a member of the bourgeois society was also inevitably involved in the process of decadence, which society was going through. Against this background, this article analyzes Gladius Dei with the intention of showing the situation in Munich’s modernist movement in the fin-de-siecle. In the context described above – starting from the contradictory position of the artist – the major aim of this study is to show that Gladius Dei can be seen as an implicit criticism of the modernist circles of Munich.","PeriodicalId":53722,"journal":{"name":"Studien zur Deutschen Sprache und Literatur-Alman Dili ve Edebiyati Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48965843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-27DOI: 10.26650/SDSL.2018.1.39.0005
Sevinç Hatipoğlu
The fact that the perceptions of the teaching profession determine the attitudes of teachers and their behavior within the classroom is mentioned often in different scientific discourses. In this regard, it is important to explore prospective teachers’ perceptions of teachers and the teaching profession in order to make conclusions about their own learning and teaching behavior. The use of metaphors to identify the realms of thinking of prospective German language teachers regarding their future role as teachers is vital if one assumes that teachers have a fundamental role in the teaching process. This study, therefore, aims to investigate the metaphors that German language teacher trainees employ to describe their role as future teachers. Since the material is analyzed qualitatively, the method of metaphor analysis used: the data were gathered from Turkish and German students in the German language teacher training programs. This study evaluates the likelihood of emerging cultural differences that can be seen in the thinking of these prospective teachers. The results of the study show that both groups see the teacher as a guide, mentoring and helping their students. It is suggested that the obtained results should be included in the process of German language teacher training, and as such, made part of the discussion of the role of the teacher in the future.
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Pub Date : 2018-06-27DOI: 10.26650/sdsl.2018.1.39.0009
Khrystyna Dyakiv
The article analyzestelevision interviews in Ukrainian and German from the perspective of the personality of the interviewer and the difficulties that arise before and during thatinterview. Communicative deviations as differences in the expectations of the interviewer vis-a-visthe expectations of the respondent and the addressee are revealed andcriticallyanalyzed.Particular attention is paid to the triangle of relationships between the interviewer, the respondent,and the addressee (the viewer).Elements such as age, sex, status, knowledge, interests, andexpectations play an important role in thebuilding of relationships between the interviewer, the respondent, and the addressee. Therefore, theyareimportant for the overall success of the interview. Accordingly, the journalist assumes three roles: a representative of the audience (the addressee), apromoter of the invited (the respondent),or a representative of himself/herself.Here, by the term “communicative deviations”we understand the differences in the expectations of the communicators in an interview. In this article, we only draw on and reflectthe deviations in the television interviews in both languages when the interviewer has other expectations about the interview than the respondent or the addressee (the viewer), which is a failurefromthe side of the first one, that is, the interviewer. Communicative deviations as violations of the interviewer’s expectations in all their forms can be avoided, or at least reduced, if all the elements of communication at the informative and emotional level—and very often at the communicative-situational level—are taken into account, and greater attention is also paid to technical characteristics. Political television interviews, communicative failures, Ukrainian language, German language
{"title":"Political television interviews and communicative failures for journalists","authors":"Khrystyna Dyakiv","doi":"10.26650/sdsl.2018.1.39.0009","DOIUrl":"https://doi.org/10.26650/sdsl.2018.1.39.0009","url":null,"abstract":"The article analyzestelevision interviews in Ukrainian and German from the perspective of the personality of the interviewer and the difficulties that arise before and during thatinterview. Communicative deviations as differences in the expectations of the interviewer vis-a-visthe expectations of the respondent and the addressee are revealed andcriticallyanalyzed.Particular attention is paid to the triangle of relationships between the interviewer, the respondent,and the addressee (the viewer).Elements such as age, sex, status, knowledge, interests, andexpectations play an important role in thebuilding of relationships between the interviewer, the respondent, and the addressee. Therefore, theyareimportant for the overall success of the interview. Accordingly, the journalist assumes three roles: a representative of the audience (the addressee), apromoter of the invited (the respondent),or a representative of himself/herself.Here, by the term “communicative deviations”we understand the differences in the expectations of the communicators in an interview. In this article, we only draw on and reflectthe deviations in the television interviews in both languages when the interviewer has other expectations about the interview than the respondent or the addressee (the viewer), which is a failurefromthe side of the first one, that is, the interviewer. Communicative deviations as violations of the interviewer’s expectations in all their forms can be avoided, or at least reduced, if all the elements of communication at the informative and emotional level—and very often at the communicative-situational level—are taken into account, and greater attention is also paid to technical characteristics. Political television interviews, communicative failures, Ukrainian language, German language","PeriodicalId":53722,"journal":{"name":"Studien zur Deutschen Sprache und Literatur-Alman Dili ve Edebiyati Dergisi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69060968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-27DOI: 10.26650/SDSL.2018.1.39.0002
A. Öztürk
Else Gunther is a children’s author who began writing after the World War II, but was almost completely forgotten by the end of the 1970s. In her books, which contain pre-intercultural characteristics, she made efforts to introduce some foreign continents, such as Africa and Asia (Turkey) as well as Scandinavian countries like Sweden, Norway, and Finland to the children of post-war Germany. Through such a familiarization, in my opinion, she aims to develop the intercultural skills in children of post-war children Germany. In Sonjas lustige Turkenreise , it appears that the author does not imply the destruction and consequences of the Nazi regime, even though she wrote in the beginning of the 1950s. On the contrary, she seems to bring an exemplary family life at the forefront of the new welfare society. Even the title Sonjas lustige Turkenreise is striking, for it includes the words “Turkish Trip” instead of “Turkey Trip.” Therefore, it can probably be interpreted as a mental trip into the culture of the Turks, i.e., Asians. The novel is about “middle-class heroes” coming from good family backgrounds. In the novel, imagination and psychology become important elements for children to get away with the obligations of honesty (as a duty) and strict adherence to norms set by adults (see Steinlein, 2008, p. 327). In my opinion, this requires the involvement of Gunther’s young girl novel into the texts of “child autonomy literature” (Ewers, 1995), i.e., into the field of the pacemaker texts, as the novel includes a free-spirited and rebellious protagonist. Not only is the relationship between parents and children important but also the way in which Gunther reflects foreign worlds, in terms of pedagogy, is interesting, especially regarding the intercultural education of children of the new generation.
埃尔斯·冈瑟是一位儿童作家，他在第二次世界大战后开始写作，但在20世纪70年代末几乎被完全遗忘。在她的书中，包含了前跨文化特征，她努力向战后德国的孩子们介绍一些外国大陆，如非洲和亚洲(土耳其)以及斯堪的纳维亚国家，如瑞典、挪威和芬兰。通过这样的熟悉，我认为她的目的是培养战后德国儿童的跨文化技能。在《Sonjas lustige Turkenreise》中，作者似乎并没有暗示纳粹政权的破坏和后果，尽管她写于20世纪50年代初。相反，她似乎在新福利社会的最前沿带来了一个模范的家庭生活。就连标题Sonjas lustige Turkenreise也很引人注目，因为它包含了“土耳其之旅”而不是“土耳其之旅”。因此，它可能被解释为一次进入土耳其文化的精神之旅，也就是亚洲人。这部小说讲的是来自良好家庭背景的“中产阶级英雄”。在小说中，想象力和心理成为儿童逃避诚实义务(作为一种责任)和严格遵守成人设定的规范的重要因素(见Steinlein, 2008, p. 327)。在我看来，这需要冈瑟的少女小说进入“儿童自主文学”(Ewers, 1995)的文本，即进入起搏器文本的领域，因为小说中包含了一个自由奔放和叛逆的主人公。不仅父母和孩子之间的关系很重要，而且冈瑟在教育学方面反映外国世界的方式也很有趣，特别是关于新一代儿童的跨文化教育。
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Pub Date : 2018-06-20DOI: 10.26650/SDSL.2018.1.39.0008
Withold Bonner
{"title":"Trains as Stages in Emine Sevgi Özdamar’s Novels","authors":"Withold Bonner","doi":"10.26650/SDSL.2018.1.39.0008","DOIUrl":"https://doi.org/10.26650/SDSL.2018.1.39.0008","url":null,"abstract":"","PeriodicalId":53722,"journal":{"name":"Studien zur Deutschen Sprache und Literatur-Alman Dili ve Edebiyati Dergisi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69060927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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