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The relationship between the Late Middle Ages and the beginning of modern times is still a controversial topic discussed. Some view the 14^th and 15^th century as a period of decline, others emphasize this era’s formative and innovative role in modern times. Volume 31 of Miscellanea Mediaevalia takes an interdisciplinary look at this period while addressing critical, classic evaluations.

More than 30 contributions discuss the philosophy of the Late Middle Ages (with special attention to moral and natural philosophy), scientific institutions of the Late Middle Ages, the architecture, economic and legal history, and the spirituality in the Late Middle Ages, as well as prominent figures such as Jean Gerson and Nicholas of Cusa.

Die Geschichte der Ästhetik verzeichnet das Verhältnis von high und low, also von Hoch- und Populärkultur, als ein streng antagonistisches. Andererseits findet in der Gegenwartsliteratur kein Ende, was spätestens mit den historischen Avantgarden programmatisch wurde: Grenzüberschreitungen zu ‚illegitimen‘ Kunstformen, die Integration verschiedener Elemente von Nicht-Kunst sowie eine auffällige Aufwertung des ‚Beiwerks‘, des vermeintlich Sekundären. Der vorliegende Sammelband untersucht dieses Spannungsverhältnis an verschiedenen aktuellen Beispielen.

Did you hear the one about the newlywed who rushes off for legal advice before the honeymoon is over? Or the husbands who arrange for an enormous tub in which to cure their sugary wives with a pinch of salt? How about a participatory processional toward marriage so sacrilegious that it puts Chaucer's pilgrimage to shame? And who could have imagined a medieval series of plays devoted to spouse-swapping? Jody Enders has heard and seen all this and more, and shares it in her second volume of performance-friendly translations of medieval French farces. Carefully culled from more than two hundred extant farces, and crafted with a wit and contemporary sensibility that make them playable half a millennium later, these dozen bawdy plays take on the hilariously depressing and depressingly hilarious state of holy wedlock.

In fifteenth- and sixteenth-century comedy, love and marriage do not exactly go together like a horse and carriage. What with all the arranged matches of child brides to doddering geezers, the frustration, fear, anxiety, jealousy, disappointment, and despair are matched only by the eagerness with which everybody sings, dances, and cavorts in the pursuit of deception, trickery, and adultery. Easily recognizable stock characters come vividly to life, struggling to negotiate the limits of power, class, and gender, each embodying the distinctive blend of wit, social critique, and breathless boisterousness that is farce. Whether the antics play out on the fifteenth-century stage or the twenty-first-century screen, Enders notes, comedy revels in shining its brightest spotlight on the social and legal questions of what makes a family. Her volume defines and redefines love and marriage with a message that no passage of time can tear asunder: social change finds its start where comedy itself begins—at home.

Did you hear the one about the newlywed who rushes off for legal advice before the honeymoon is over? Or the husbands who arrange for an enormous tub in which to cure their sugary wives with a pinch of salt? How about a participatory processional toward marriage so sacrilegious that it puts Chaucer's pilgrimage to shame? And who could have imagined a medieval series of plays devoted to spouse-swapping? Jody Enders has heard and seen all this and more, and shares it in her second volume of performance-friendly translations of medieval French farces. Carefully culled from more than two hundred extant farces, and crafted with a wit and contemporary sensibility that make them playable half a millennium later, these dozen bawdy plays take on the hilariously depressing and depressingly hilarious state of holy wedlock.

In fifteenth- and sixteenth-century comedy, love and marriage do not exactly go together like a horse and carriage. What with all the arranged matches of child brides to doddering geezers, the frustration, fear, anxiety, jealousy, disappointment, and despair are matched only by the eagerness with which everybody sings, dances, and cavorts in the pursuit of deception, trickery, and adultery. Easily recognizable stock characters come vividly to life, struggling to negotiate the limits of power, class, and gender, each embodying the distinctive blend of wit, social critique, and breathless boisterousness that is farce. Whether the antics play out on the fifteenth-century stage or the twenty-first-century screen, Enders notes, comedy revels in shining its brightest spotlight on the social and legal questions of what makes a family. Her volume defines and redefines love and marriage with a message that no passage of time can tear asunder: social change finds its start where comedy itself begins—at home.

Im Dezember 1998 luden der Südwestrundfunk und die Landeszentrale für politische Bildung Baden-Württemberg zu eienem Symposium zum Thema "Die Deutschlandpolitik der Sozialisten und Sozialdemokraten" ein. Das Symposium führte mit den Vorträgen und den sich anschließenden Diskussionen zu ebenso heftigen wie fruchtbaren Kontroversen. Im Mittelpunkt der Debatten stand die Frage, welche Schritte die KPD, später die SED auf der einen und die SPD auf der anderen Seite unternahmen, um die deutsche Einheit zu ermöglichen. Der Band dokumentiert die Beiträge und Diskussionen und bildet so einen Beitrag zur kritischen Auseinandersetzung mit der jüngsten deutschen Geschichte.

American comics reflect the distinct sensibilities and experiences of the Jewish American men who played an outsized role in creating them, but what about the contributions of Jewish women? Focusing on the visionary work of seven contemporary female Jewish cartoonists, Tahneer Oksman draws a remarkable connection between innovations in modes of graphic storytelling and the unstable, contradictory, and ambiguous figurations of the Jewish self in the postmodern era.

Oksman isolates the dynamic Jewishness that connects each frame in the autobiographical comics of Aline Kominsky Crumb, Vanessa Davis, Miss Lasko-Gross, Lauren Weinstein, Sarah Glidden, Miriam Libicki, and Liana Finck. Rooted in a conception of identity based as much on rebellion as identification and belonging, these artists' representations of Jewishness take shape in the spaces between how we see ourselves and how others see us. They experiment with different representations and affiliations without forgetting that identity ties the self to others. Stemming from Kominsky Crumb's iconic 1989 comic "Nose Job," in which her alter ego refuses to assimilate through cosmetic surgery, Oksman's study is an arresting exploration of invention in the face of the pressure to disappear.

American comics reflect the distinct sensibilities and experiences of the Jewish American men who played an outsized role in creating them, but what about the contributions of Jewish women? Focusing on the visionary work of seven contemporary female Jewish cartoonists, Tahneer Oksman draws a remarkable connection between innovations in modes of graphic storytelling and the unstable, contradictory, and ambiguous figurations of the Jewish self in the postmodern era.

Oksman isolates the dynamic Jewishness that connects each frame in the autobiographical comics of Aline Kominsky Crumb, Vanessa Davis, Miss Lasko-Gross, Lauren Weinstein, Sarah Glidden, Miriam Libicki, and Liana Finck. Rooted in a conception of identity based as much on rebellion as identification and belonging, these artists' representations of Jewishness take shape in the spaces between how we see ourselves and how others see us. They experiment with different representations and affiliations without forgetting that identity ties the self to others. Stemming from Kominsky Crumb's iconic 1989 comic "Nose Job," in which her alter ego refuses to assimilate through cosmetic surgery, Oksman's study is an arresting exploration of invention in the face of the pressure to disappear.

Judith hat als femme fatale spektakuläre Auftritte in der Kunst der Neuzeit; im Mittelalter ist sie unter anderen Vorzeichen bekannt. Hier geht es um exemplarische Keuschheit und triumphierendes Gottvertrauen. Der Judithstoff wird zum Ausgangspunkt für drei zentrale Epochen von Bibeldichtungen. So profilieren die „Ältere“ und die „Jüngere Judith“ die frühmittelhochdeutsche Literatur und die „Judith von 1254“ eröffnet die für den Deutschen Orden geschriebenen Dichtungen. Nach Luthers Empfehlung, das apokryphe Buch als beispielhafte Tragödie zu lesen, wird die biblische Judithüberlieferung schließlich zum beliebtesten Propagandastoff des Dramas von der Reformation bis zu Opitz. Das Textkorpus eröffnet damit Perspektiven auf die Bedingungen volkssprachigen Schreibens in gruppenspezifischen Literaturen vom 12. bis 16. Jahrhundert.

Kurt Frank Korf’s story is one of the most unusual to come out of World War II. Although German-Americans were America’s largest ethnic group, and German-Americans—including thousands of native-born Germans—fought bravely in all theaters, there are few full first-person accounts by German- Americans of their experiences during the 1930s and 1940s.

Drawing on his correspondence and on oral histories and interviews with Korf, Patricia Kollander paints a fascinating portrait of a privileged young man forced to flee Nazi Germany in 1937 because the infamous Nuremburg Laws had relegated him to the status of “second-degree mixed breed” (Korf had one Jewish grandparent).

Settling in New York City, Korf became an FBI informant, watching pro-Nazi leaders like Fritz Kuhn and the German-American Bund as they moved among the city’s large German immigrant community. Soon after, he enlisted in the U.S. Army, serving in Germany as an intelligence officer during the Battle of the Bulge, and as a prisoner of war camp administrator. After the war, Korf stayed on as a U.S. government attorney in Berlin and Munich, working to hunt down war criminals, and lent his expertise in the effort to determine the authenticity of Joseph Goebbels’s diaries. Kurt Frank Korf died in 2000.

Kollander not only draws a detailed portrait of this unique figure; she also provides a rich context for exploring responses to Nazism in Germany, the German-American position before and during the war, the community’s later response to Nazism and its crimes, and the broader issues of ethnicity, religion, political ideology, and patriotism in 20th-century America.

Patricia Kollander is Associate Professor of History at Florida Atlantic University. She is the author of Frederick III: Germany’s Liberal Emperor. “I Must Be a Part of This War” is part of her ongoing research into the experiences of some fifteen thousand native-born Germans who served in the U.S. Army in World War II.

John O'Sullivan was Professor of History at Florida Atlantic University.

Durch das Internet erfahren nachschaffende Kunstformen zunehmenden Aufschwung. Fans gelten als Motor dieser kreativen Massenkultur. Sie benutzen urheberrechtlich geschützte Werke in eigenen Kreationen als Ausdruck ihrer Bewunderung und künstlerischen Entfaltungsfreiheit. Die Urheber stürzt dieses Verhalten in ein Dilemma. Theoretisch haben sie rechtliche Mittel, um sich gegen Urheberrechtsverletzungen zu wehren. Praktisch machen sie davon jedoch nur in Extremfällen Gebrauch, um ihre Fans nicht zu verlieren.
Das Phänomen der Fan Art ist damit Teil eines Problems, das in Rechtswissenschaft und Politik zunehmend diskutiert wird: Kann das geltende Urheberrecht im Zeitalter der Remixkultur die Interessen von Urhebern und kreativen Werknutzern noch zu einem gerechten Ausgleich führen?
Die Arbeit geht dieser Frage nach und entwickelt anhand anschaulicher Beispiele aus der Welt der Fan Art einen Vorschlag für einen Interessenausgleich, der bereits durch das geltende Recht erzielt werden kann.

Vom Hildegardis-Fest am 17. September 1997 bis zum September des darauffolgenden Jahres erstreckten sich im Gebiet zwischen Bermersheim und Eibingen und von Bingen bis Mainz die Feierlichkeiten zum 900-jährigen Geburtsjubiläum Hildegards von Bingen. Die Verehrung der Volksheiligen aus dem Raum zwischen Nahe und Rhein hat auch in unserer Zeit zu vielfältigen Veranstaltungen angeregt. Der Kongreß stand unter dem Thema, das jetzt auch den Titel dieses Bandes hergibt, und fand vom 16. bis 21. März 1998 im Erbacher Hof statt.

Die Festschrift für Helmut Koopmann vereinigt Beiträge namhafter Freunde und Kollegen, die die Vielzahl seiner Interessen und Forschungen widerspiegeln. Als eine Hommage im engeren Sinne eröffnen literarische Texte von Gegenwartsautorinnen und -autoren den Band. Es schließen sich Aufsätze zu sechs literaturwissenschaftlichen Themenschwerpunkten an: Edition und Editionswissenschaft, Klassik, Romantik, Heinrich und Thomas Mann, Exil und Innere Emigration sowie Poetik im 20. Jahrhundert. An der Pluralität der Epochen und Autoren, der Themen und Methoden lassen sich in nuce wesentliche Linien des gegenwärtigen literaturwissenschaftlichen Forschens ablesen. Ein Schriftenverzeichnis Helmut Koopmanns beschließt den Band.

"In the Days of Serfdom" and Other Stories, originally published in 1911, presents in miniature themes developed in Tolstoy's longer works War and Peace and Anna Karenina. The compelling stories in this collection have largely been ignored by contemporary scholars and teachers because of their general unavailability. Available once again, the stories reveal new thematic and stylisitic dimensions to Tolstoy's oeuvre.

While not all of the stories deal with actual serfdom, they all address the legacy of serfdom, of choicelessness, in Tolstoy's Russia. These stories are also thoroughly modern, concerned as they are with the market economy, changing values, and women's roles in society. Artistically and historically significant, they constitute ethical and spiritual questionings that deal with lives out of control, with characters making sense of the experience of living.

"In the Days of Serfdom" and Other Stories, originally published in 1911, presents in miniature themes developed in Tolstoy's longer works War and Peace and Anna Karenina. The compelling stories in this collection have largely been ignored by contemporary scholars and teachers because of their general unavailability. Available once again, the stories reveal new thematic and stylisitic dimensions to Tolstoy's oeuvre.

While not all of the stories deal with actual serfdom, they all address the legacy of serfdom, of choicelessness, in Tolstoy's Russia. These stories are also thoroughly modern, concerned as they are with the market economy, changing values, and women's roles in society. Artistically and historically significant, they constitute ethical and spiritual questionings that deal with lives out of control, with characters making sense of the experience of living.

From the Introduction:

This book is . . . devoted to the first literature of North America, that of the American Indians, or Native Americans. The texts are from the North Pacific Coast, because that is where I am from, and those are the materials I know best. The purpose is general: All traditional American Indian verbal art requires attention of this kind if we are to comprehend what it is and says.

There is linguistics in this book, and that will put some people off. ''Too technical," they will say. Perhaps such people would be amused to know that many linguists will not regard the work as linguistics. "Not theoretical," they will say, meaning not part of a certain school of grammar. And many folklorists and anthropologists are likely to say, "too linguistic" and "too literary" both, whereas professors of literature are likely to say, "anthropological" or "folklore," not "literature" at all. But there is no help for it. As with Beowulf and The Tale of Genji, the material requires some understanding of a way of life. Within that way of life, it has in part a role that in English can only be called that of "literature." Within that way of life, and now, I hope, within others, it offers some of the rewards and joys of literature. And if linguistics is the study of language, not grammar alone, then the study of these materials adds to what is known about language.

Im frühen baltischen Schrifttum hat kein Text eine so große Verbreitung erfahren wie der "Kleine Katechismus" von Martin Luther. Tatsächlich markiert er den Beginn des Schrifttums aller drei baltischen Sprachen. Der vorliegende Vergleich der altpreußischen, der altlitauischen und der altlettischen Fassung verschafft einen Einblick in die Besonderheiten der altpreußischen Fassung und in die Tätigkeit des Übersetzers.

Der Sammelband vereint Beiträge, die das komplexe Zusammenspiel der Integrations- bzw. Desintegrationsbemühungen des griechisch-lateinisch-italienischen Kulturnetzwerks im 15. Jahrhundert unter verschiedenen Aspekten untersuchen. Im Zentrum dieser steht exemplarisch die Figur des Kardinals Bessarion: Thematisiert wird zum einen die Aufnahme Bessarions in okzidental-lateinische Kreise, zum anderen die Beziehungen des Kardinals zu seiner griechischen Heimat, zu anderen Exilgriechen sowie die sich daraus ergebenden Formen griechischer Desintegration und lateinischer Integration. Darüber hinaus beleuchten akzentuierende Beiträge Bessarions Vertrautenkreis, das Kardinalskollegium und sein Wirken als Legat. Weitere Schwerpunktbereiche beschäftigen sich mit dem Einfluss des Kardinals auf die Rezeption griechischer Wissenschaften sowie mit der Frage, wie das Bild antiker Philosophie durch Bessarion und dessen Entourage konstruiert wird und sich diese (Re-)Konstruktionen von anderen zeitgenössischen Versuchen, die Philosophie neu zu fassen, unterscheiden. .

While White parents raising Black children has become increasingly salient in the last 20-30 years, the experience of those who grow up in these cross-racial families is much more complicated. Indeed, much of the adoption studies literature has privileged White parent voices, further silencing crossracially raised Black-identified children. “Is That Your Mom?” challenges the dominant narrative that love trumps race (and racism) in family dynamics, and reasserts the need for critical voices of those most impacted by being cross-racially raised: the very people who face extreme racism that is both similar to, and uniquely different from, that faced by people of color more broadly.

“Is That Your Mom?” centers the voices of Cross Racially Raised individuals of the African Diaspora to illustrate that racial socialization is a process in which individuals have agency in their racial development. In this book, Cross Racially Raised adults, both those who were adopted and those who were raised in cross-racial birth families, share their stories regarding experiences with racism in the following three ways: (1) encounters with racism within and beyond educational settings, (2) perceptions of parents or guardians’ efforts toward racial socialization, and (3) strategies used to navigate racially hostile environments (which sometimes are the families themselves). The voices of the individuals in this book illuminate a deeper conceptual understanding of how racial socialization practices are linked with one’s ability to cope with racism and ways of addressing racism, particularly among those families that contradict monoracial assumptions of racial socialization processes. The book concludes with a discussion of how schools, educators, and parents can help Cross Racially Raised children and youth develop skills necessary to cope and remain resilient in the face of racism, particularly if the immediate family is not offering those supports.

While White parents raising Black children has become increasingly salient in the last 20-30 years, the experience of those who grow up in these cross-racial families is much more complicated. Indeed, much of the adoption studies literature has privileged White parent voices, further silencing crossracially raised Black-identified children. “Is That Your Mom?” challenges the dominant narrative that love trumps race (and racism) in family dynamics, and reasserts the need for critical voices of those most impacted by being cross-racially raised: the very people who face extreme racism that is both similar to, and uniquely different from, that faced by people of color more broadly.

“Is That Your Mom?” centers the voices of Cross Racially Raised individuals of the African Diaspora to illustrate that racial socialization is a process in which individuals have agency in their racial development. In this book, Cross Racially Raised adults, both those who were adopted and those who were raised in cross-racial birth families, share their stories regarding experiences with racism in the following three ways: (1) encounters with racism within and beyond educational settings, (2) perceptions of parents or guardians’ efforts toward racial socialization, and (3) strategies used to navigate racially hostile environments (which sometimes are the families themselves). The voices of the individuals in this book illuminate a deeper conceptual understanding of how racial socialization practices are linked with one’s ability to cope with racism and ways of addressing racism, particularly among those families that contradict monoracial assumptions of racial socialization processes. The book concludes with a discussion of how schools, educators, and parents can help Cross Racially Raised children and youth develop skills necessary to cope and remain resilient in the face of racism, particularly if the immediate family is not offering those supports.

The influence of Isaiah on John's narrative and theology has long been recognized, but it has yet to receive monograph-length attention. This study is a beginning attempt to fill that void through an examination of the use of Isaiah in the crucial hinge of John's gospel - John 12:1-43. Beginning with a reading of Isaiah 40-55 illustrating a way in which early Christians may have read this important section of Scripture, the bulk of the study examines the pericopes in John 12:1-43, seeking to identify and interpret John's use of Isaiah 52-53. It is concluded that a reading of this well-known Isaianic text rooted within its broader context in Isaiah, together with the mediating influence of other texts - notably Isa 6:9-10 and Zech 9:9-10 - has fueled much Johannine theology, Christology, and ecclesiology. Moreover, mirroring the progression of Isa 52:7-53:1 in John 12 is the author's way of underlining Jesus' identity as the Servant of God and announcing that the second exodus prophesied by Isaiah is secured by the rejection (and death) of Jesus.

Since Origen and Chrysostom, John’s Gospel has been valued as the most spiritual among the New Testament writings. Although Origen recognizes the Stoic character of John’s statement that “God is pneuma” (4:24), an examination of the gospel in light of Stoic physics has not yet been carried out. Combining her insight into Stoic physics and ancient physiology, the author situates her thesis in the major discussions of modern Johannine scholarship – e.g. the role of the Baptist and the function of the Johannine signs – and demonstrates new solutions to well-known problems.
The Stoic study of the Fourth Gospel reveals a coherent narrative tied together by the spirit. The problem with which John’s Gospel wrestles is not the identity of Jesus, but the transition from the Son of God to the next generation of divinely begotten children: how did it come about? A reading carried out from a Stoic perspective points to the translation of the risen body of Jesus into spirit as the decisive event. The provision of the spirit is a precondition of the divine generation of believers. Both events are explained by Stoic theory which allows of a transformation of fleshly elements into pneuma and of multiple fatherhood. In fact, in his Commentary on John, Origen described Jesus’ ascension as an event of anastoixeiôsis, which is the Stoic term for the transformation of heavily elements into lighter and pneumatic ones.

Golden Age Hollywood screenwriter Charles Brackett was an extremely observant and perceptive chronicler of the entertainment industry during its most exciting years. He is best remembered as the writing partner of director Billy Wilder, who once referred to the pair as "the happiest couple in Hollywood," collaborating on such classics as The Lost Weekend (1945) and Sunset Blvd (1950).

In this annotated collection of writings taken from dozens of Brackett's unpublished diaries, leading film historian Anthony Slide clarifies Brackett's critical contribution to Wilder's films and Hollywood history while enriching our knowledge of Wilder's achievements in writing, direction, and style. Brackett's diaries re-create the initial meetings of the talent responsible for Ninotchka (1939), Hold Back the Dawn (1941), Ball of Fire (1941), The Major and the Minor (1942), Five Graves to Cairo (1943), The Lost Weekend, and Sunset Blvd, recounting the breakthrough and breakdowns that ultimately forced these collaborators to part ways.

Brackett was also a producer, served as president of the Academy of Motion Picture Arts and Sciences and the Screen Writers Guild, was a drama critic for the New Yorker, and became a member of the exclusive literary club, the Algonquin Round Table. Slide provides a rare, front row seat to the Golden Age dealings of Paramount, Universal, MGM, and RKO and the innovations of legendary theater and literary figures, such as Alfred Lunt, Lynn Fontanne, Edna Ferber, and Dorothy Parker. Through Brackett's keen, witty perspective, the political and creative intrigue at the heart of Hollywood's most significant films comes alive, and readers will recognize their reach in the Hollywood industry today.

Diese Studie rekonstruiert anhand der Akten der "Hauptverwaltung Verlage und Buchhandel" im Ministerium für Kultur der DDR zunächst die Geschichte dieser zentralen Zensurbehörde und der Evolution eines - auch im Verhältnis zu anderen Ostblock-Ländern - einzigartigen und hochdifferenzierten Systems literaturpolitischer Steuerung.
Vor dem Hintergrund einer in den unterschiedlichsten Formen auftretenden alltäglichen Zensur werden Spielräume, Bedingungen und Illusionen der "Literaturgesellschaft" im "Leseland" sowie die Chancen und Schwierigkeiten einer kritischen DDR-Literatur beschrieben.

An examination of the efforts of faith-based organizations to expand the rights of the formerly incarcerated

The use of religion to rehabilitate and redeem formerly incarcerated individuals has been a cultural touchstone of the modern era. Yet religious outreach to those with criminal records has typically been associated with an emphasis on private spirituality, with efforts focused on repentance, conversion, and restorative justice. This book sheds light on how faith-based organizations utilize the public arena, mobilizing to expand the social and political rights of former inmates.

In “Jesus Saved an Ex-Con,” Edward Orozco Flores profiles Community Renewal Society and LA Voice, two faith-based organizations which have actively waged community organizing campaigns to expand the rights of people with records. He illuminates how these groups help the formerly incarcerated re-enter broader communities through the expansion of citizenship rights and participation in civic engagement.

Most work on prisoner reentry has focused on how the behavior of those with records may be changed through interventions, rather than considering how those with records may change the society that receives them. Flores explores how the formerly incarcerated use redemption scripts to participate in civic engagement, to remove the felony conviction question from employment applications and to restrict the use of criminal background checks in housing and employment. He shows that people with records can redeem themselves while also challenging and changing the way society receives them.

An examination of the efforts of faith-based organizations to expand the rights of the formerly incarcerated

The use of religion to rehabilitate and redeem formerly incarcerated individuals has been a cultural touchstone of the modern era. Yet religious outreach to those with criminal records has typically been associated with an emphasis on private spirituality, with efforts focused on repentance, conversion, and restorative justice. This book sheds light on how faith-based organizations utilize the public arena, mobilizing to expand the social and political rights of former inmates.

In “Jesus Saved an Ex-Con,” Edward Orozco Flores profiles Community Renewal Society and LA Voice, two faith-based organizations which have actively waged community organizing campaigns to expand the rights of people with records. He illuminates how these groups help the formerly incarcerated re-enter broader communities through the expansion of citizenship rights and participation in civic engagement.

Most work on prisoner reentry has focused on how the behavior of those with records may be changed through interventions, rather than considering how those with records may change the society that receives them. Flores explores how the formerly incarcerated use redemption scripts to participate in civic engagement, to remove the felony conviction question from employment applications and to restrict the use of criminal background checks in housing and employment. He shows that people with records can redeem themselves while also challenging and changing the way society receives them.

An examination of the efforts of faith-based organizations to expand the rights of the formerly incarcerated

The use of religion to rehabilitate and redeem formerly incarcerated individuals has been a cultural touchstone of the modern era. Yet religious outreach to those with criminal records has typically been associated with an emphasis on private spirituality, with efforts focused on repentance, conversion, and restorative justice. This book sheds light on how faith-based organizations utilize the public arena, mobilizing to expand the social and political rights of former inmates.

In “Jesus Saved an Ex-Con,” Edward Orozco Flores profiles Community Renewal Society and LA Voice, two faith-based organizations which have actively waged community organizing campaigns to expand the rights of people with records. He illuminates how these groups help the formerly incarcerated re-enter broader communities through the expansion of citizenship rights and participation in civic engagement.

Most work on prisoner reentry has focused on how the behavior of those with records may be changed through interventions, rather than considering how those with records may change the society that receives them. Flores explores how the formerly incarcerated use redemption scripts to participate in civic engagement, to remove the felony conviction question from employment applications and to restrict the use of criminal background checks in housing and employment. He shows that people with records can redeem themselves while also challenging and changing the way society receives them.

Die Arbeit behandelt eine Schlüsselstelle innerhalb der Komposition der alttestamentlichen Geschichtsbücher und führt die seit langem und viel verhandelten Probleme von Ri 1 einer neuen Lösung zu. In literarkritischen Detailanalysen einerseits und im Zusammenhang bücherübergreifender redaktionsgeschichtlicher Erwägungen andererseits wird nachgewiesen, dass der eigenartige Landnahmebericht in Ri 1 nie - etwa im Sinne eines "negativen Besitzverzeichnisses" - selbstständig existiert hat, sondern von Anfang an als projudäischer Programmtext auf seinen literarischen Kontext hin verfasst wurde. Damit fällt Ri 1 als Quelle für die Frühgeschichte Israels aus.

Just Mary and Maggie Muggins are names that will arouse memories in those who grew up with CBC radio and television in the 1940s and 1950s. The creator of these and other children's shows, former Fredericton schoolteacher Mary Grannan, became a radio star when she hit the national airwaves in 1939, her popularity peaking when Maggie Muggins moved to television in 1955. Long before The Friendly Giant and Mr. Dressup appeared, her work helped to shape the legacy of gentle children's programming on CBC. Building on her broadcasting success, Grannan published over thirty books, most runaway best-sellers. Attired in stylish dress, extravagant hats, and enormous earrings, she made frequent guest appearances at public events across the country. She received the Beaver Award for her broadcasting and was honoured by the International Mark Twain Society and the Institute for Education by Radio at Ohio State University.

"Just Mary": The Life of Mary Evelyn Grannan is the first biography of this creative and once well-known Canadian woman. Immersing the reader in rich detail while showcasing excerpts of her writings through the years, the book presents an intimate examination of her life journey through previously unreleased personal letters, archives, an abundance of photographs, and interviews with family, friends, colleagues, and former students. This is the private Mary Grannan as the public has never before known her.

For twenty-three years during the golden age of radio in Canada, stories for children by Mary Grannan, "Just Mary," were broadcast by CBC and beloved across the country. She retired from broadcasting in 1962 and died in 1975, but her sweet-tempered and humorous stories still have the power to entertain, while recapturing the atmosphere of another time.

Grannan published stories from Just Mary and Maggie Muggins in over thirty best-selling books, but she had other radio series that were never released in print. The "Just Mary" Reader presents for the first time a selection of her stories from two other radio drama series. Jubilee Road tells the adventures and misadventures of Johnny and Patty Little and their friend Salty Pickle. Or, as Johnny describes it: "We get into quite a few messes, but if you know us, you'll know that it's hardly ever our fault."

In Land of Supposing, Grannan retold fairy tales and legends from around the world, as well as a few legends of her own making. Previously unpublished selections from Just Mary and Maggie Muggins complete the collection.

So unwillkürlich es im konkreten Fall erscheinen mag: Lachen in der Literatur und als Effekt, nicht zuletzt auf dem Theater, ist ein Gegenstand komplexer Inszenierungen und überdies Fluchtpunkt poetologischer, anthropologischer und sogar sozialprogrammatischer Ansprüche. Es ist mit einer ganzen Reihe von Gattungen und literarischen Formen verknüpft, von Fastnachtspiel, Posse und Komödie über Parodien und Satiren bis hin zum Sprachspiel oder essayistischen Witz. Weitgefächert sind auch die möglichen Ursachen des Lachens: Wer lacht, kann dies spottend, aus Übermut, angesichts komischer Unfälle oder aus Verzweiflung tun. Dass sich hinter dem Lachen einiges Ernsthafte verbergen kann, wusste bereits Lessings Minna von Barnhelm. Die Literaturwissenschaft hat sich mit dem Lachen trotzdem häufig schwergetan, weil es mit ihrer Seriosität unvereinbar schien. Lachende Selbstdistanz kann jedoch gerade auch wissenschaftlich eine produktive Haltung sein: Ihre Liebe zur Literatur bringt sie nicht durch Thesengravität oder Pathos zum Ausdruck, sondern mit Kontingenzbewusstsein und Reflexion zumal auf die spielerischen Seiten der Literatur wie des Lebens.

Die Hekale des hellenistischen Dichters Kallimachos stellt eines der bekanntesten Kleinepen der griechischen Literatur dar und fand als solches großen Anklang in der Antike. Im Mittelpunkt dieser Untersuchung steht die bisher nur selten gestellte und daher nicht ausreichend behandelte Frage nach dem Verhältnis der Hekale zu dem homerischen Epos, und zwar zur Odyssee. Den gewonnenen Erkenntnissen zufolge stellt sich heraus, dass die Odyssee ebenso deutlich wie nachhaltig die Sprache, die Figurenkonstellation des hellenistischen Miniaturepos wie auch die gesamte Struktur dessen Handlung beeinflusste. Die Untersuchung dokumentiert die zahlreichen und verschiedenartigen Rekurse, Anklänge, Anleihen, die Kallimachos auf sprachlicher, figurenbezogener und nicht minder auch struktureller Ebene bei der Odyssee gemacht hat, indem sie Lesestrategien in Anspruch nimmt, die auf Inter- und Intratextualität, Erzähltheorie, poetische Etymologie, Mündlichkeit vs. Schriftlichkeit und Geschlechterforschung beruhen. In diesem methodischen Rahmen enthält sie mehrere Interpretationsversuche, die neues Licht auf die ‚kleinen Leute‛ sowohl des homerischen als auch des hellenistischen Epos werfen sollen.

'Lesser Breeds' focuses on racism as manifested in the popular culture of nineteenth- and early twentieth-century Britain, exemplified by attitudes to the Chinese, Arabs, Blacks and Jews. This compelling book investigates the manifold expressions of prejudice in the popular arts of the period. Like Diamond's successful 'Victorian Sensation', this is a comparative exploration of how popular racism was naturalised, what issues it raised and fed off, and what this said about British people at the time. One of the author's key concerns is the way in which the popular media feeds on stereotypes, which go on to reinforce relatively uninformed cultural and social assumptions. The parallel to our own cultural and political climate is compelling. This fascinating title will be of interest given the current trend of tabloid racism; it will also appeal to a general and unfailing interest in the intriguingly vulgar British Empire.

The fascinating tale of how a bipartisan coalition worked successfully to lower the voting age

“Let Us Vote!” tells the story of the multifaceted endeavor to achieve youth voting rights in the United States. Over a thirty-year period starting during World War II, Americans, old and young, Democrat and Republican, in politics and culture, built a movement for the 26th Amendment to the US Constitution, which lowered the voting age from twenty-one to eighteen in 1971. This was the last time that the United States significantly expanded voting rights.

Jennifer Frost deftly illustrates how the political and social movements of the time brought together bipartisan groups to work tirelessly in pursuit of a lower voting age. In turn, she illuminates the process of achieving political change, with the convergence of “top-down” initiatives and “bottom-up” mobilization, coalition-building, and strategic flexibility. As she traces the progress toward achieving youth suffrage throughout the ’60s, Frost reveals how this movement built upon the social justice initiatives of the decade and was deeply indebted to the fight for African American civil and voting rights.

2021 marks the fiftieth anniversary of this important constitutional amendment and comes at a time when scrutiny of both voting age and voting rights has been renewed. As the national conversation around climate crisis, gun violence, and police brutality creates a new call for a lower voting age, “Let Us Vote!” provides an essential investigation of how this massive political change occurred, and how it could be brought about again.

The fascinating tale of how a bipartisan coalition worked successfully to lower the voting age

“Let Us Vote!” tells the story of the multifaceted endeavor to achieve youth voting rights in the United States. Over a thirty-year period starting during World War II, Americans, old and young, Democrat and Republican, in politics and culture, built a movement for the 26th Amendment to the US Constitution, which lowered the voting age from twenty-one to eighteen in 1971. This was the last time that the United States significantly expanded voting rights.

Jennifer Frost deftly illustrates how the political and social movements of the time brought together bipartisan groups to work tirelessly in pursuit of a lower voting age. In turn, she illuminates the process of achieving political change, with the convergence of “top-down” initiatives and “bottom-up” mobilization, coalition-building, and strategic flexibility. As she traces the progress toward achieving youth suffrage throughout the ’60s, Frost reveals how this movement built upon the social justice initiatives of the decade and was deeply indebted to the fight for African American civil and voting rights.

2021 marks the fiftieth anniversary of this important constitutional amendment and comes at a time when scrutiny of both voting age and voting rights has been renewed. As the national conversation around climate crisis, gun violence, and police brutality creates a new call for a lower voting age, “Let Us Vote!” provides an essential investigation of how this massive political change occurred, and how it could be brought about again.

The fascinating tale of how a bipartisan coalition worked successfully to lower the voting age

“Let Us Vote!” tells the story of the multifaceted endeavor to achieve youth voting rights in the United States. Over a thirty-year period starting during World War II, Americans, old and young, Democrat and Republican, in politics and culture, built a movement for the 26th Amendment to the US Constitution, which lowered the voting age from twenty-one to eighteen in 1971. This was the last time that the United States significantly expanded voting rights.

Jennifer Frost deftly illustrates how the political and social movements of the time brought together bipartisan groups to work tirelessly in pursuit of a lower voting age. In turn, she illuminates the process of achieving political change, with the convergence of “top-down” initiatives and “bottom-up” mobilization, coalition-building, and strategic flexibility. As she traces the progress toward achieving youth suffrage throughout the ’60s, Frost reveals how this movement built upon the social justice initiatives of the decade and was deeply indebted to the fight for African American civil and voting rights.

2021 marks the fiftieth anniversary of this important constitutional amendment and comes at a time when scrutiny of both voting age and voting rights has been renewed. As the national conversation around climate crisis, gun violence, and police brutality creates a new call for a lower voting age, “Let Us Vote!” provides an essential investigation of how this massive political change occurred, and how it could be brought about again.

Mit der Ausgabe des 'Liber ordinis rerum' legt die Würzburger Forschergruppe "Prosa des deutschen Mittelalters" die erste der von ihr in Angriff genommenen Arbeiten zur Erschließung der Vokabularliteratur des späten Mittelalters vor. Das Ziel der Gruppe ist es, die wichtigsten, weil am weitesten verbreiteten und im Wortmaterial ergiebigsten Vokabularien in Editionen zugänglich zu machen und durch die Erforschung ihrer Text- und Uberlieferungsgeschichte für bildungs-, literatur- und sprachgeschichtliche Auswertung zu erschließen.

In über 400 Fragen und Antworten faßt das - meist Honorius Augustodunensis, gelegentlich wie in der altfranzösischen Übersetzung 1 auch Anselm von Canterbury, zugeschriebene - »Elucidarium« das elementare religiöse Wissen der Zeit um 1100 zusammen. Unter den zahlreichen Übersetzungen in die verschiedensten europäischen Volkssprachen des Mittelalters, darunter fünf französische, kommt der sogenannten Übersetzung 1 ins Altfranzösische eine besondere Bedeutung für die Erforschung des mittelalterlichen Geisteslebens zu. Denn sie fand nicht nur eine vergleichsweise große Verbreitung, von der mehr als 20 erhaltene Handschriften aus dem 13. bis 15. Jahrhundert zeugen, sie erlangte auch eine so hohe Autorität, daß sie - und nicht das lateinische Original - weiteren Texten als Quelle diente.

Die vorliegende Arbeit fragt nach den Gründen für die Änderungen, die Übersetzer und Kopisten am Ausgangstext vornahmen und versucht zu zeigen, daß diese einerseits den Bedürfnissen eines neuen, theologisch wenig erfahrenen Publikums entsprachen und andererseits das Ziel verfolgten, den Text, wenn auch in bescheidenem Ausmaß, theologisch auf der Höhe der Zeit zu halten. Sie versucht so den Nachweis, daß auch ein anscheinend wenig origineller Text durchaus Rückschlüsse auf den Wandel von Einstellungen und das Einsickern gelehrten Wissens in die Volkssprache erlaubt. Der Editionsteil macht den Text einschließlich aller relevanten Lesarten aus den erhaltenen Textzeugen zugänglich.

Die traditionelle Judenfeindschaft wandelte sich in der zweiten Hälfte des 19. Jahrhunderts zu einem rassistisch geprägten Antisemitismus. Seine Propagandisten fühlten sich zur "Lösung der Judenfrage" berufen. 1885 wurde die Idee geboren, Madagaskar zur Heimstätte aller Juden der Welt zu machen. So grotesk diese Vorstellung einer "territorialen Endlösung" anmutet, sie fand Anhänger in vielen europäischen Ländern. Eine "Internationale des Antisemitismus" propagierte Ideen dieser Art bis in die Jahre des "Dritten Reiches". In dieser Zeit erhielt der Madagaskar-Gedanke eine neue Variante: Polen hoffte, im deutschen Windschatten zur Großmacht aufzusteigen und auch seine "Judenfrage" lösen zu können; die polnische Regierung bemühte sich, Madagaskar als Auswanderungsgebiet für ihre jüdische Bevölkerung und als polnische Kolonie von Frankreich zu erhalten. Nach dem Sieg über Frankreich plante Hitlers Regime, die Insel in ein jüdisches Groß-Ghetto unter SS-Aufsicht zu verwandeln. Es charakterisiert die unterschwelligen Intentionen und die Realitätsferne des deutschen Madagaskar-Plans, wenn dieser nicht mehr blieb als ein kurzlebiges Projekt auf dem Weg in den Holocaust. Der Autor schildert umfassend die Geschichte dieser antisemitischen Wahnidee und geht den konkreten Plänen zu einer Judenunterbringung auf Madagaskar in ihrer internationalen Verflechtung nach. Neben deutschen Quellen werden dabei erstmals die umfangreichen Bestände britischer, französischer und polnischer Archive wie auch die internationale Publizistik berücksichtigt.

Der Band legt eine systematisch-theologische Gesamtdarstellung der eschatologischen Theologie Luthers auf Basis der 17 Predigten vor, die Luther in den Jahren 1532 und 1533 über 1.Kor 15 gehalten hat. Die Interpretation der Predigt zeigt exemplarisch, dass Luthers Theologie ganz von ihrem Bezug auf die verheißene Vollendung lebt. Das gilt für seine Grundentscheidungen in der Lehre von Wort und Glauben sowie von der Sprache des Glaubens. Das gilt ebenso für die Auferstehungslehre, die den Bogen von Schöpfung und Fall über die Soteriologie hin zur Vollendung des Sieges Christi in "des Todes Tod" spannt, und für Luthers Rede über das diesseitige Leben.

During the 1930s the Vienna-born writer Emil Alphons Rheinhardt (1889–1945) lived in the town of Le Lavandou in the South France, where he made his house a hospitable meeting place for German-speaking literary exiles. In 1943, during the German occupation of France, Rheinhardt was arrested and then in 1944 deported to Dachau concentration camp, where he died shortly before the liberation. A few years ago the historian Dominique Lassaigne discovered his prison diary, which had been believed lost. Rheinhardt’s notes from the Gestapo prisons bear witness to a long-forgotten humanist who believed in the peacemaking power of culture.

In the years between the Revolution and the Civil War, as the question of black political rights was debated more and more vociferously, descriptions and pictorial representations of whites coupling with blacks proliferated in the North. Novelists, short-story writers, poets, journalists, and political cartoonists imagined that political equality would be followed by widespread inter-racial sex and marriage. Legally possible yet socially unthinkable, this "amalgamation" of the races would manifest itself in the perverse union of "whites" with "blacks," the latter figured as ugly, animal-like, and foul-smelling. In Miscegenation, Elise Lemire reads these literary and visual depictions for what they can tell us about the connection between the racialization of desire and the social construction of race.

Previous studies of the prohibition of interracial sex and marriage in the U.S. have focused on either the slave South or the post-Reconstruction period. Looking instead to the North, and to such texts as the Federalist poetry about Thomas Jefferson and Sally Hemings, James Fenimore Cooper's Last of the Mohicans, Edgar Allan Poe's "Murders in the Rue Morgue," and the 1863 pamphlet in which the word "miscegenation" was first used, Lemire examines the steps by which whiteness became a sexual category and same-race desire came to seem a biological imperative.

In the years between the Revolution and the Civil War, as the question of black political rights was debated more and more vociferously, descriptions and pictorial representations of whites coupling with blacks proliferated in the North. Novelists, short-story writers, poets, journalists, and political cartoonists imagined that political equality would be followed by widespread inter-racial sex and marriage. Legally possible yet socially unthinkable, this "amalgamation" of the races would manifest itself in the perverse union of "whites" with "blacks," the latter figured as ugly, animal-like, and foul-smelling. In Miscegenation, Elise Lemire reads these literary and visual depictions for what they can tell us about the connection between the racialization of desire and the social construction of race.

Previous studies of the prohibition of interracial sex and marriage in the U.S. have focused on either the slave South or the post-Reconstruction period. Looking instead to the North, and to such texts as the Federalist poetry about Thomas Jefferson and Sally Hemings, James Fenimore Cooper's Last of the Mohicans, Edgar Allan Poe's "Murders in the Rue Morgue," and the 1863 pamphlet in which the word "miscegenation" was first used, Lemire examines the steps by which whiteness became a sexual category and same-race desire came to seem a biological imperative.

Der Band schildert die Geschichte der Stadt Auschwitz im Zweiten Weltkrieg. Im Mittelpunkt steht die Untersuchung der konzeptionellen, zeitlichen und räumlichen Einheit von Germanisierungs- und Vernichtungspolitik, fokussiert auf die Stadt und die umgebende Region Oberschlesien. Dabei zeigt sich: Auschwitz war für die nationalsozialistische Wirtschafts- und Siedlungspolitik von herausragender Bedeutung. Trotz der Nähe zum Konzentrationslager wurde die Stadt zum Modellobjekt bei der "Eindeutschung" des Ostens.

Im Rückgriff sowohl auf T.S. Eliots These von der „dissociation of sensibility“ als auch auf die Kontroverse zwischen Elias und Duerr zeigt sich in der Analyse von lyrischen Texten des 17. Jahrhunderts, dass ein folgenschwerer Paradigmenwechsel das Ende des Barock und den Beginn der Moderne einleitet.
In ihrer erotisierten Theologie zeigen Donne und Crashaw, dass der Körper nicht von der Ebene der Metaphysik zu trennen ist, dass vielmehr Körperflüssigkeiten zu prokreativen Himmelsleitern werden und für den Dichter in der Rolle des Ganymed eine göttliche Insemination an die Stelle der herkömmlichen Inspiration getreten ist.
Im Unterschied hierzu setzt in der Versdichtung der Cavaliers zwischen 1620 und 1630 eine früh-klassizistische Gegenbewegung ein: beeinflusst durch die Erfindung der Bühnenfigur des Don Juan negieren Dichter wie Carew, Suckling und der zur Restaurationszeit gehörende Earl of Rochester die im Barock mit Nachdruck betonte Allianz von Erotik und Theologie, um fortan die Quantität des sexuellen Abenteuers zu zelebrieren. Ostentativ die Extreme von Lust und Ekel hervorhebend, antizipieren die Cavaliers Körper- und Erotikentwürfe, die im 19. Jahrhundert so heterogene Figuren der literarischen Moderne wie den Dandy oder den ‚ubusesken‘ Triebmenschen hervorbringen sollten.

Gerade die ersten formatierenden Jahre der NS-Wissenschaftspolitik blieben bislang weitgehend unberücksichtigt. Die Untersuchung von L. Mertens stellt sich der forschungsleitenden Fragestellung, wie die Forschungsförderung der DFG im totalitären Staat nach 1933 ablief, wer und was (Themen, Fachbereiche) gefördert wurde, welche Kriterien bei der Stipendiatenauswahl eine Rolle spielten. Weiter wird eine zentrale institutionsinterne Veränderung behandelt: die Schaffung einer Personalstelle, welche die politische und rassische Überprüfung der Stipendienbewerber vornahm und vor allem unter ihrem ersten Leiter in den Jahren 1934 35 zahllose Auskünfte bis hin zur Geheimen Staatspolizei und NSDAP-Stadtleitungen einholte.

During the Battle of the Atlantic, Dr. George Hendry had just finished performing two major surgical operations on board the destroyer HMCS Ottawa when his ship was ambushed by 13 German U-boats. Canadian warships like Ottawa had inadequate radar sets that were incapable of detecting submarines approaching in the dark. On September 13, 1942, U-91 stole in and torpedoed Ottawa, sinking her in 20 minutes. utterly exhausted, Dr. Hendry was lost along with 113 of his shipmates.

George Hendry was a much-loved man, a great university athlete, and a very good doctor. Unfortunately, he was also naive and too trusting. One night in January 1941, he committed a very foolish indiscretion. He would spend the rest of his tragically short life making amends for this mistake.

“‘Our Native Antiquity’ makes a valuable contribution to the emergent field of interdisciplinary scholarship scrutinizing the object world, in particular the role of artifacts in literary texts (as in the work of Bill Brown), in the Slavic field and beyond. Even such media spectacles as Vladimir Putin’s 2011 scuba dive to ‘recover’ ancient amphorae take on new meaning in light of Kunichika’s book, which makes clear that establishing Russia’s links with antiquity has long had implications for the nation's sense of self-worth. The past is a renewable resource.” —Julia Bekman Chadaga, Slavic Review

“‘Our Native Antiquity’ makes a valuable contribution to the emergent field of interdisciplinary scholarship scrutinizing the object world, in particular the role of artifacts in literary texts (as in the work of Bill Brown), in the Slavic field and beyond. Even such media spectacles as Vladimir Putin’s 2011 scuba dive to ‘recover’ ancient amphorae take on new meaning in light of Kunichika’s book, which makes clear that establishing Russia’s links with antiquity has long had implications for the nation's sense of self-worth. The past is a renewable resource.” —Julia Bekman Chadaga, Slavic Review

Walter Scott was a populist with a vision for the new province. A newspaperman, entrepreneur, and land speculator before being elected to the House of Commons in 1900, by 1905, Scott had become leader of the Saskatchewan Liberal party and premier of the new province. After the 1905 election, Scott embarked on a program to build the province's infrastructure, including the Legislative Building and the University of Saskatchewan. He believed that agriculture was a vital component in the fabric of Saskatchewan life, and by including farm leadership in cabinet, he created a political climate founded on agriculture. Scott's government was also instrumental in enacting prohibition and establishing female suffrage. The fruits of Walter Scott's labours in education, agriculture and public policy continue to be harvested in Saskatchewan today, but few remember who planted the original seeds.

In his day, Scott was respected for his leadership in the growth and development of Saskatchewan. With the publication of this landmark biography by Gordon L. Barnhart, Scott's pivotal role will be recognized anew by the generations who now live in the province he was instrumental in founding.

Der Band präsentiert die Ergebnisse der internationalen Fachtagung „perceptual dialectology – Neue Wege der Dialektologie“, die im Mai 2008 an der Christian-Albrechts-Universität zu Kiel stattfand. Thema sind die subjektiven, laienlinguistischen „naiven“ Sichtweisen auf deutschsprachige Dialekte sowie die Rolle, die sie im alltäglichen sozialen Umgang spielen. Das Ziel dieser im deutschen Sprachraum in dieser Größenordnung ersten abgehaltenen Tagung zur perceptual dialectology bestand deshalb in erster Linie darin, die innovativsten Forschungsergebnisse möglichst umfassend zusammenzutragen. Das Spektrum der Beiträge erstreckt sich auf die folgenden Bereiche:

• Wissenschaftsgeschichte, Theorie und Methode (Preston, Löffler, Jakob, Anders)
• Dialektwahrnehmung und Kognition (Christen, Berthele, Spiekermann, Purschke)
• Salienz sprachlicher Merkmale (Lenz, Elmentaler/ Gessinger/ Wirrer)
  Normfragen (Davies, Langer, Eichinger)
• Subjektive Dialektgrenzen (Lameli/ Kehrein/ Purschke, Kennetz, Stoeckle, Dailey-O'Cain/ Darling, Hundt)

Der Band richtet sich an Germanisten, Kulturgeographen, Soziologen Psychologen, Kognitionswissenschaftler sowie an alle weiteren Zielgruppen, die sich für deutsche Dialekte interessieren.

For more than 10 years, Rainer Ganahl has been engaged in a subtle exploration of the points of overlap of art and learning, using a variety of media including photographs, videos, books, wall texts, and tapestries. Much of Ganahl's work falls into the following categories: Libraries, collections of scholarly books, intended to be perused by gallery visitors; Seminars and Lectures, where he attends and photographs seminars and lectures by leading scholars; Readings, where he photographs and/or videotapes invited participants as they analyze theoretical texts with him; Studies, portraits of himself as a learning machine, documenting his efforts to study new languages; and Dialogs, either interviews or collaborations outside educational institutions. Ganahl has had numerous solo exhibitions in Europe and New York and was selected as one of three Austrian representatives to the Venice Biennale in 1999. William Kaizen, a Columbia University doctoral candidate in art history, is the curator of The Wallach Art Gallery (3230) exhibition and primary author of the exhibition catalogue, which provides a comprehensive overview and a scholarly exploration of the artist's work. In her introduction to the catalogue, Professor Gayatri Chakravorty Spivak discusses her personal connection to Ganahl. She sees in his work an answer to Marx's question, "Who will educate the educators?"

Kaizen's essay takes up the politics of Rainer Ganahl's claim that education is art's "abhorred other" and discusses the means through which the artist creates possibilities for both art and knowledge production. A color plate section with commentary by the artist includes more than 400 images that document Ganahl's varied artistic practices during the past decade. Two additional contributions by the artist—"Marx and again Marx: Antonio Negri interviewed by Rainer Ganahl" and "A Portable Library for Columbia University"—expand the understanding of his practice.

Friedrich Hölderlins Ode Empedokles wurde in der Vergangenheit ausschließlich im Rahmen der gleichnamigen Dramenentwürfe sowie der Schrift Grund zum Empedokles thematisiert. In Form einer Wort-für-Wort vorgehenden Interpretation reflektiert die vorliegende Studie die Ode erstmals in ihrem poetischen Eigenwert und liest sie als einen zentralen Text für alle weiteren Arbeiten Hölderlins zu diesem Stoff. Die Ergebnisse der Interpretation eröffnen zugleich eine neue Perspektive auf Hölderlins Konzeption der ‚poëtischen Individualität‘ und seine Poetik des ‚Erinnerns‘und erschließen so neue Zugänge zu seinen Texten.

Der textnahen Lektüre der Empedokles-Ode sind theoretische Überlegungen zum methodischen Vorgehen sowie zur Metrik vorangestellt, die ausgehend von den Momenten ‚Prozeß‘ und ‚Struktur‘ die Poetizität und Individualität literarischer Texte allgemein zu denken versucht. Überdies enthält die Arbeit eine Textkritische Neuedition aller erhaltenen Überlieferungsträger der Ode, die die Entstehung des Textes sowie die poetische Verfahrensweise Hölderlins nachvollziehbar macht.

Am Beispiel der gescheiterten Bemühungen, in Europa einen einheitlichen Farbfernsehstandard auszuhandeln, thematisiert diese interdisziplinär angelegte Studie die Komplexität internationaler Standardisierungsprozesse. Gleichzeitig leistet sie einen innovativen Beitrag zu einer politischen Kulturgeschichte der Technik. Technik wird als historisch gewachsene, sozial konstruierte und symbolisch aufgeladene Kulturleistung verstanden. Der historische Vergleich zwischen den beiden Hauptakteuren der Farbfernsehkontroverse Mitte der sechziger Jahre bietet einen erfrischenden Blick auf die Geschichte der deutsch-französischen Beziehungen im Kontext europäischer Technikentwicklung.

Republication on the twenty-fifth anniversary of “Pretends to Be Free” recognizes the signal importance of its sterling presentation of northern self-emancipation. Today, even more than a quarter-century ago, these fugitive slave notices are the best verbal snapshots of enslaved Americans before and during the American Revolution. Through these notices, readers can discover how enslaved blacks chose allegiance during our War for Independence.

Replete with a preface by Edward E. Baptist, the leading scholar of slavery and capitalism and director of a massive project aimed at digitalizing every escape notice, and with a new Introduction and teacher’s guide by Graham Hodges, this new edition makes this documentary study more relevant than ever.

In this fourth volume of Joseph E. Gillet's monumental study, Propalladia and Other Works of Bartolomé De Torres Naharro, all students of Renaissance drama will find a wealth of material on the origins of the modern European theater.

Torres Naharro created the cloak-and-sword play almost a century before Lope de Vega. The common­places of romantic comedy appeared, for the first time on any stage, in his Comedia Ymenea published at Naples in 1517. Two of his works, the Soldadesca and the Tinellaria—evocations of the roistering life of the barracks and of a cardinal's scullery—are remarkable examples of dramatic realism avant Ia lettre. The influence of Torres Naharro and his work on the Spanish drama of the sixteenth century was all pervasive.

In this volume, all the material gleaned by Dr. Gillet in extensive research is brought into clear focus to show Torres Naharro as a man of the Renaissance and a man of the theater. Of the greatest interest is the exposition of his intuition of the distinction between poetic and historic truth—commedias a fantasia and a noticia—long before the recovery of the true text of Aristotle's Poetics, and of the substratum of primitivism in many of his plays: ritual societies, the medicine man, the right to tribute, social discipline, name changing, loss of memory, sports, games, acrobatics, sorcery, riddles, genealogies, weddings, propitiation and death song, resuscitation, license and chastity, and so on. And this dramatic activity occurred early, antedating most of the Italian plays of the sixteenth century.

In this fourth volume of Joseph E. Gillet's monumental study, Propalladia and Other Works of Bartolomé De Torres Naharro, all students of Renaissance drama will find a wealth of material on the origins of the modern European theater.

Torres Naharro created the cloak-and-sword play almost a century before Lope de Vega. The common­places of romantic comedy appeared, for the first time on any stage, in his Comedia Ymenea published at Naples in 1517. Two of his works, the Soldadesca and the Tinellaria—evocations of the roistering life of the barracks and of a cardinal's scullery—are remarkable examples of dramatic realism avant Ia lettre. The influence of Torres Naharro and his work on the Spanish drama of the sixteenth century was all pervasive.

In this volume, all the material gleaned by Dr. Gillet in extensive research is brought into clear focus to show Torres Naharro as a man of the Renaissance and a man of the theater. Of the greatest interest is the exposition of his intuition of the distinction between poetic and historic truth—commedias a fantasia and a noticia—long before the recovery of the true text of Aristotle's Poetics, and of the substratum of primitivism in many of his plays: ritual societies, the medicine man, the right to tribute, social discipline, name changing, loss of memory, sports, games, acrobatics, sorcery, riddles, genealogies, weddings, propitiation and death song, resuscitation, license and chastity, and so on. And this dramatic activity occurred early, antedating most of the Italian plays of the sixteenth century.

The recent interest in quinqui film and the uprooted people of the Transition who were relegated to the background or were forgotten has recovered throughout the twenty-first century. The dissemination of the subgenre, paraphernalia and fetishism that surrounds these films, as well as the social groups they represented, have had their maximum exponent in exhibitions around the time that they were displayed in Madrid and Barcelona. During the summer of 2010, specifically from May 25 to September 6, the exhibition “Quinquis de los 80. Cine, prensa y calle” took place at the CCCB (Center for Contemporary Culture of Barcelona). Echoing this interest and practically simultaneously (from July 9 to August 29), the cultural center La Casa Encendida of Madrid held an exhibition and numerous screenings of Quinqui movies from the 70s and 80s. Both exhibitions enjoyed a great reception and affluent visits, as well as publicity and repercussion in different media, highlighting the large number of press releases published and the multiple reports that were broadcast during the television news shows of the main networks in primetime. Recently, films made with retro aesthetics in remembrance of that era have been released on the big screen, as is the case of revisions such as 7 vírgenes by Alberto Rodríguez (2005), Volando voy by Miguel Albadalejo (2006) or El idioma imposible by Rodrigo Rodero (2010). This last film is based on the homonymous novel by Francisco Casavella that is part of his particular vision of the years of the Transition through the trilogy “El día del Watussi”. In turn, renowned authors integrated into the literary star system of large circulation have published texts that portray this era and these young delinquents, slum dwellers and outcasts that are somewhere between the extreme hedonism of the heroine, the constant escape on board a Seat miriafiori or a Bultaco and survival in the peripheral neighborhoods of post-Franco Spanish cities. Authors such as Javier Cercas, with his novel Las leyes de la frontera (2012), and tributes to this type of cinema now bring this genre to a large audience that always turned its back on Quinqui film and its actors, with a nostalgic look and definitely romanticized of this time to legitimize it and finally integrate it, even within marginality, into what the Transition meant for Spanish society as a critical historical moment, however idealized, from which one cannot separate reality from the most disadvantaged that these films capture.

These films already anticipated much of the failure of the Transition, which failed to accomplish all of the achievements that it promised and that eventually ended up becoming, to a certain extent, just noise. What later is referred to as “the desencanto”, term established by the homonymous documentary of Chávarri in 1976 on the figure of the poet Leopoldo Panero; already anticipated by these films, which, although they do not articulate it theoretically or analyze it explicitly, if they implicitly expose their navajero, chorizo, macarra and yonqui characters, who live with the immediacy and the harshness of an era that did not offer them solutions, in fact one ignores them and sinks them, even more so if possible, in their particular hell in the democratic city. This ethical-social positioning towards the environment of the films analyzed here moves away completely from the illusions and reveries of high culture, as well as from the false illusion of modernity that took place in Spain at the time. Consciously or not, the films showed that disenchantment for the lack of solutions in society, not in formation, but already emerged and that had direct negative repercussions on the most disadvantaged classes. This representation of the outcasts reveals the vulnerability of the system that was being organized and that reproduced the exclusion of the lower classes. At the same time, it allowed the public to romanticize and place these characters within a halo of exoticism that attracted the big screen, since viewers could approach the wild side of life; knowing in advance the degree of verisimilitude that these works exuded since their protagonists, in numerous occasions, acted on their own existence, since many of them were drug dealers, criminals, thugs and people with multiple drug addictions who saw how their lives were spoiled as well as of most of the characters they represented on the big screen.

These films are representative of quinqui film, as a type of production that collects the lives of young delinquents in the late seventies and eighties and reflect the insecurity of the time and the degree of fame reached by the protagonists of the films. These films attempt to analyze the fractures of the new social order and offer a portrait of a collective belonging to a generation relegated to the background. The delinquency, marginality and exile of the mainstream suffered by the protagonists are the main elements that form the plot and thematic axis of these films. The Transition seems to ignore the rejection suffered by young people of the lower class and the approach of these to heroin and criminality, as spaces to develop their individualities. In this time of uncertainty, the most important creators of the Spanish film scene seem to opt for a realistic cinema, dealing with the most pressing problems of Spanish society. The works combine violence, delinquency and concern for youth, showing an attractive commercial appearance at the box office. The association between cinema, drugs and delinquency, which had never been excessively frequent, utilizes the concept of the spectacle, paradoxically, as evasion and abstraction of reality. Although these works suffer from a strong stigmatization in their beginnings, as far as criticism is concerned, they have gradually acquired the status of document and attention by social disciplines. Developing a retrospective look, this type of cinema has been constituted as another source of information when it comes to deploying social studies to analyze the conditions of youth during these years and, recently, this genre has enjoyed outbreaks of interest in criticism and the general public, both from the filmic and the social perspective.

Die vorliegende Studie ist eine rechtslinguistische Untersuchung zur Explizierung des textgestützten und diskursbasierten Rechtsstreits zwischen verschiedenen Rechtsarbeitern (Richter, Staatsanwalt, Rechtsanwalt) im Rechtsfindungsverfahren. Als Untersuchungskorpus gelten die authentischen Textmaterialien (Anklageschriften, Berufungs- bzw. Revisionsschriften, Urteile und Schriftsätze usw.) von sechs zusammenhängenden Rechtsfällen aus der deutschen Rechtspraxis. Die Analyse setzt sich zum Ziel, einerseits zugunsten des interdisziplinären Erkenntnisinteresses einen exemplarischen Beitrag zu der in Anbetracht ihrer Relevanz noch relativ wenig erforschten textlinguistischen Beschäftigung mit Rechtstexten zu leisten und andererseits den fachspezifischen Kommunikationsvorgang in stärkerem Maße anhand linguistischer Instrumentarien verständlich zu machen. Die entwickelten Beschreibungsansätze richten sich auf die differenzierten Sprachhandlungsmuster und die dabei verwendeten spezifischen Handlungsstrategien und Perspektivierungsanstrengungen. Dadurch wird sowohl juristischen Fachleuten als auch Laien ein transparentes Analysemodell der Rechtskommunikation unterbreitet.