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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/

    This collection of Eighteenth-Century French Novels contains 200 digital texts of novels created or first published between 1751 and 1800. The collection is created in the context of Mining and Modeling Text (2019-2023), a project which is located at the Trier Center for Digital Humanities (TCDH) at Trier University. Metadata There is a short and an extensive metadata description in TSV for all TEI/XML files: Metadata, short version: https://github.com/MiMoText/roman18/blob/master/XML-TEI/xml-tei_metadata.tsv Metadata, long version: https://github.com/MiMoText/roman18/blob/master/XML-TEI/xml-tei_full_metadata.tsv Please find further information on our corpus balancing . Licence All texts and scripts are in the public domain and can be reused without restrictions. We don't claim any copyright or other rights on the transcription, markup or metadata. If you use our texts, for example in research or teaching, please reference this collection using the citation suggestion below. Citation suggestion Collection de romans français du dix-huitième siècle (1751-1800) / Eighteenth-Century French Novels (1751-1800), edited by Julia Röttgermann, with contributions from Julia Dudar, Henning Gebhard, Anne Klee, Johanna Konstanciak, Damir Padieu, Amelie Probst, Sarah Rebecca Ondraszek and Christof Schöch. Release v 1.2.1. Trier: TCDH, 2023. URL: https://github.com/mimotext/roman18. DOI: https://doi.org/10.5281/zenodo.4061903. Funding Forschungsinitiative des Landes Rheinland-Pfalz 2019-2023

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    ZENODO
    Dataset . 2023
    License: CC BY
    Data sources: ZENODO
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    ZENODO
    Dataset . 2023
    License: CC BY
    Data sources: ZENODO
    ZENODO
    Dataset . 2023
    License: CC BY
    Data sources: Datacite
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      ZENODO
      Dataset . 2023
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      Dataset . 2023
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      Dataset . 2023
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    Authors: Rieger, Dietmar;

    The literary history of the ‘gueux’ in the nineteenth century, to which Victor Hugo contributed as well with his story Claude Gueux (1834), takes place mainly in the literary/musical genre of the ‘chanson’ and in feuilletonistic and sociological texts of the paupérisme-debate of the time. Béranger’s Les Gueux, emphasizing the intrinsic value and the autonomy of the social outsider in contrast to his criminalization which dominated the contemporary discussion, remains tinted with epicurean vision and is still too uncritical of the status quo to remain unchallenged in the course of its literary reception – ranging from Gustave Leroy and Jean-Baptiste Clément, who protested just as vigorously as Jules Vallès, to the ‘limonadier’ and disciple of Béranger, Jean-Louis Renaudot, Jehan Rictus, Jean Richepin’s Chanson des Gueux, and the commercialization of the topic of the outcast by Aristide Bruant’. Doubtless, these reactions to Les Gueux reflect the political-ideological debates of nineteenth century bourgeois society on the solution of the social question. ATeM Archives Texte et Musique, No 5,1

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    ATeM Archives of Text and Music Studies
    Article . 2021 . Peer-reviewed
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      ATeM Archives of Text and Music Studies
      Article . 2021 . Peer-reviewed
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    Authors: Bizzari, Valeria; Flas, Jérôme; Rizzo, Remy; Vanacore, Raffaele; +4 Authors

    Filippo Muratori & Valeria Bizzari, Alle origini dell’autismo : Il ruolo dimenticato di George Frankl, Roma, Fioriti Editore, 2019, 95 pages. ISBN : 978-8898991907. Prix : 14 €. What is a mental disorder? That should probably be the starting point of each paper or review that deals with psychopathology. Since time immemorial, human being has tried to unveil and clarify the core nature of these severe diseases. For instance, Ajax Telamonio, one of the heroes of the Homer’s Iliad, did not obtain Achilles’ weapons, in favor of Odysseus. Blinded by grief, Ajax decided to kill those responsible for the decision, but he suffered an incantation by the goddess Athena and, after falling asleep, he massacred a flock of sheep. When he woke up, he realized what he had done and, for the shame, he killed himself. Interestingly, such “pantoclastic crisis” — we would say nowadays — was caused by a supernatural entity. A similar example may be the myth of Bellerophon, whose melancholic state was determined by his hybris towards Olympic gods. In other terms, the first, mythological depictions of mental disorders intertwined human nature with godly entities. No mental health without supernatural support. Of course, the history of mental illness is not the aim of this review. Nevertheless, the abovementioned examples may illustrate a tendency which is today again in vogue. The tendency to attribute non-human aspects to mental diseases. Indeed, the ultra-reductionist theory is the most widesp

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    Bulletin d'Analyse Phénoménologique
    Article . 2020 . Peer-reviewed
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  • Authors: Leissner, Johanna; Fuhrmann, Constanze;

    Créée afin de renforcer les synergies entre les différents organismes de recherche en Allemagne, cette Alliance favorise la conduite de projets de recherche sur les questions de restauration et de conservation, au niveau national et international. Elle se veut aussi l'ambassadrice de la protection du patrimoine culturel auprès du public.

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    Authors: Vennemann, Aline;

    Das Theater von Elfriede Jelinek und Peter Wagner, das verstärkt seit dem ausgehenden 20. Jahrhundert rezipiert wird, schreibt sich in die Aufarbeitung der jüngsten Vergangenheit und literarische Rezeptionsgeschichte des Holocaust ein. Mit dem Aussterben der letzten Zeitzeugen ändert sich nicht nur die Perspektive, aus der heute die Verfolgung und Vernichtung von als minderwertig bezeichneten Menschen betrachtet wird, sondern auch die Art und Weise, wie an damalige Untaten erinnert und der Opfer gedacht wird. Insbesondere die Werke der letzten zwanzig Jahre reflektieren geläufige Vorstellungen und Darstellungen der Nazi-Verbrechen aus österreichisch-deutschem Blickwinkel, wobei Elfriede Jelinek und Peter Wagner die Aufmerksamkeit des Rezipienten auf die Täter- und Opferstimmen lenken. Anhand eines aus dramatischen Texten, Inszenierungen und Hörspielen bestehenden Korpus legt die Verfasserin die durch Jelineks und Wagners Werke geleistete Gedächtnis- und Erinnerungsarbeit an den Tag. Um sowohl der regionalen als auch der nationalen Aufarbeitung gerecht zu werden, wurden zwei grundlegend verschiedene Schreibweisen miteinander konfrontiert. Während die Werke der Wiener Autorin weltweit rezipiert (und kritisiert) werden, ist Wagners vornehmlich regionales Theater noch weithin unbekannt. Elfriede Jelinek entwirft eine polyphone Erzählkunst unentwegter Rede und Wiederholung. Die Sprache Peter Wagners zeichnet sich durch den Gebrauch von Pausen und eine starke Bildlichkeit aus. So verschieden die Werke und ihr lokaler bzw. nationaler Einfluss sind, so unterschiedlich fällt auch die kulturelle Gedächtnisarbeit aus. Friedemann Kreuders selbstreflexive Aufführungsanalyse vertiefend (Vgl. Formen des Erinnerns, 2002) fokussiert die Verfasserin das dramatische Werk von Elfriede Jelinek und Peter Wagner der letzten zwanzig Jahre. Aus ihren Analysen geht hervor, dass es sich um ein „Theater erinnernder Wieder-Holung“ handelt, die sich sowohl in den Aufführungsorten, als auch in den Texten, Hörspielen sowie Performances festhalten lässt und im Körper der Akteure und Rezipienten fortschreibt. Die vorliegende Arbeit führt somit die Überlegungen Friedemann Kreuders produktiv fort und füllt eine Lücke in der aktuellen Jelinek-Forschung, indem sie diese um eine Theaterwissenschaften, Philologie und Philosophie vereinende Perspektive bereichert. Außerdem versteht sich die Dissertation als ein erster ausführlicher Beitrag zur Rezeption von Peter Wagners Werk im deutsch- französischen Sprachraum. Der knapp 600-seitige Analysetext wird durch einen bilderreichen Anhang ergänzt, der bisher unveröffentlichte Gespräche mit den betroffenen Künstlern und Autoren enthält. Es gilt an dieser Stelle ausdrücklich all denen zu danken, die der Verfasserin genehmigt haben, ihre Fotografien, Skizzen, Mitschnitte usw. zu verwenden, und nicht zuletzt Peter Wagner und Elfriede Jelinek. The theatre of Elfriede Jelinek and Peter Wagner, which has been intensely and widely discussed since the late 20th century, participates in the treatment of the recent past and in the literary reception of the Holocaust. With the death of the last eyewitnesses, the perspective changes from which we view the persecution and extermination of people who are considered inferior, but also the way we reflect on former misdeeds and how we remember the victims. In particular, the works of the last twenty years reflect common notions and representations of Nazi crimes from an Austro-German point of view: Elfriede Jelinek and Peter Wagner direct the spectator’s attention to the voices of the perpetrators and victims. Using a corpus of dramatic texts, performances and radio-plays, this thesis reveals Elfriede Jelinek’s and Peter Wagner’s work on memory and remembrance. In order to respect regional and national reflections about local history, two fundamentally different writing styles were confronted with each other. While the Viennese author is read (and criticized) worldwide, Wagner’s primarily regional theatre is still largely unknown. Elfriede Jelinek creates a polyphonic narrative of ceaseless speech, full of repetitions. Peter Wagner’s language can be characterized by the use of pauses and strong imagery. The differences between these works and their local and national influence are reflected in the diversity of their cultural memory work. Aline Vennemann deepens Friedemann Kreuder’s self-reflective analysis about memory-performance (Formen des Erinnerns, 2002) based on the dramatic works of Jelinek and Wagner of the past twenty years. Her analysis shows that it is a "theatre of reminiscent re-recovery", which can be observed in the theatrical venues as well as in the texts, radio-plays and performances, and which is maintained in the bodies of the actors and spectators. Not only does this thesis continue the considerations of Friedemann Kreuder in order to make them productive but it also fills a gap in the current research on Jelinek by enriching it with an interdisciplinary perspective which unifies theatrical, artistic, philological and philosophical conceptions. In addition, it is the first extensive study of the reception of Peter Wagner's work in the German- French-speaking area. The nearly 600-page analysis is supplemented by an appendix with numerous illustrations and unpublished interviews with the featured artists and authors. I would like to thank everyone who allowed me to use their photographs, sketches and recordings, etc., and last but not least Peter Wagner and Elfriede Jelinek.

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    Authors: Karp Lugo, Laura;

    Au tournant du XXe siècle, Buenos Aires était une vitrine privilégiée pour la diffusion des artistes espagnols qui, pour promouvoir leur œuvre, ne bénéficiaient dans leur pays que d’une faible structure. Réfléchissant sur les imbrications entre la situation du marché de l’art espagnol et la réception des artistes espagnols en Argentine de 1890 à 1920 environ, cette étude contribue à éclairer les raisons de cette immigration massive et la manière dont ces circulations artistiques se sont opérées. Cet article analyse des questions d’identité et d’histoire du goût, dans une approche intercontinentale qui relève de la méthode des transferts culturels.

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    Purdue E-Scholar
    Other literature type . 2016
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    Article . 2016
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      Other literature type . 2016
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    Authors: Calle-Gruber, Mireille; Sanson, Hervé;

    *** Mireille Calle-Gruber est professeur émérite de littérature et d’esthétique à l’Université Paris III-La Sorbonne nouvelle et écrivain. Parmi ses nombreuses publications, celles consacrées à Assia Djebar ont fait d’elle la spécialiste incontestée de cette œuvre : Assia Djebar ou la résistance de l’écriture. Regards d’un écrivain d’Algérie, chez Maisonneuve & Larose, 2001 ; Assia Djebar, Ministère des Affaires étrangères, ADPF, 2006 ; Assia Djebar, nomade entre les murs… (dir.), chez Maison...

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    Authors: Stuzmann, Dominique;

    Les initiatives TEI (Text Encoding Initiative) et MUFI (Medieval Unicode Font Initiative) multiplient les potentialités des transcriptions et invitent à interroger le processus même d'une opération pourtant commune dans les études médiévales. Transcrire, c'est décrire un texte et sa mise en forme graphique. Cela ouvre des voies aux études paléographiques, notamment par la description des diverses variantes morphologiques des lettres ou abréviations. Des recherches entreprises sur la production écrite de l'abbaye cistercienne de Fontenay démontrent le potentiel considérable des transcriptions dites " allographétiques " et des statistiques descriptives pour comprendre les évolutions de l'écriture médiévale. La fragmentation du paysage actuel de la recherche amène pourtant à souhaiter une harmonisation des pratiques, tant pour décrire les phénomènes paléographiques que pour structurer les données et formuler des ontologies. Electronic texts employing the Text Encoding Initiative (TEI) and the Medieval Unicode Font Initiative (MUFI) provide added value for transcriptions of medieval manuscripts. This is such a significant improvement that it requires rethinking the established process of transcribing. Transcribing is describing: with the encoding of variants for letters or abbreviations, palaeography can explore new horizons. A research on the scriptorium of Fontenay (O. Cist.) proves that graphetic transcriptions and statistical analysis improves our understanding of medieval scripts and their evolutions. Nonetheless, the field is diverse, and an elaboration of good practices for describing, structuring and organizing palaeographical data and relevant ontologies is urgently needed.

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    Other literature type . 2011
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    Authors: Tchibozo, Romuald;

    Die Frage nach dem Verhältnis zwischen der zeitgenössischen afrikanischen Kunst und den anderen Gesellschaften dieses Planeten kommt mir immer wieder vor wie der Ausdruck einer Trauer im kulturellen und künstlerischen Bereich, die Menschheit seit dem Anfang dieses Jahrhunderts bis heute mit sich trägt. Einerseits ist diese Trauer auf den unerwarteten und plötzlichen tiefen Bruch zwischen Kunst und Sakralem zurückzuführen, der Ende des letzten Jahrhunderts in Europa zustande kam und Afrika in den dreißiger Jahren einholte. Andererseits hatte der Anfang des kalten Krieges mit seinen ideologischen Merkmalen eine derart beeinflussende Rolle, dass sich auf diesem Kontinent eine Kunstform entwickeln können, die sich als modisches Element versteht und jegliche Sakrale Bedeutung verloren hat. Von diesem Augenblick an tritt sein Verhältnis zu den anderen Gesellschaften in eine elitäre Phase ein, die in meiner Arbeit zugrunde liegen wird. In meiner Arbeit habe ich den Einfluss der Epoche des kalten Krieges auf die zeitgenössische afrikanische Kunstproduktion und deren Wahrnehmung insbesondere in Deutschland untersuchen. Es soll ermittelt werden wie in den beiden ehemals getrennten Staaten: DDR und BRD Kunstmarktexperten, Journalisten und allgemein die Verbraucher zeitgenössische afrikanische Kunst einschätzten. Es handelt sich hierbei um ein ideales, in Europa und auf der ganzen Welt einzigartiges Untersuchungsbeispiel, an dem man die in beiden Ländern damals jeweils unterschiedliche Art der kulturellen Organisation sowie das Wahrnehmung und das Verständnis von afrikanischer Kunst herausarbeiten kann. "The Art and Arbitrary: A study for African Contemporary Art perception in western: Germany’s case from 1950 to today", is a study of the art theories, art criticism and philosophic, ethnologic, even journalistic view of African contemporary art in Germany following the Second World War. This study describes the relationship of capitalist and communist ideologies concerning their reception to African contemporary art. By implementing colonial/post-colonial theories, this project examines western perceptions of contemporary African art. What is African contemporary art a product for money, or a product for struggle against imperialism?

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    This collection of Eighteenth-Century French Novels contains 200 digital texts of novels created or first published between 1751 and 1800. The collection is created in the context of Mining and Modeling Text (2019-2023), a project which is located at the Trier Center for Digital Humanities (TCDH) at Trier University. Metadata There is a short and an extensive metadata description in TSV for all TEI/XML files: Metadata, short version: https://github.com/MiMoText/roman18/blob/master/XML-TEI/xml-tei_metadata.tsv Metadata, long version: https://github.com/MiMoText/roman18/blob/master/XML-TEI/xml-tei_full_metadata.tsv Please find further information on our corpus balancing . Licence All texts and scripts are in the public domain and can be reused without restrictions. We don't claim any copyright or other rights on the transcription, markup or metadata. If you use our texts, for example in research or teaching, please reference this collection using the citation suggestion below. Citation suggestion Collection de romans français du dix-huitième siècle (1751-1800) / Eighteenth-Century French Novels (1751-1800), edited by Julia Röttgermann, with contributions from Julia Dudar, Henning Gebhard, Anne Klee, Johanna Konstanciak, Damir Padieu, Amelie Probst, Sarah Rebecca Ondraszek and Christof Schöch. Release v 1.2.1. Trier: TCDH, 2023. URL: https://github.com/mimotext/roman18. DOI: https://doi.org/10.5281/zenodo.4061903. Funding Forschungsinitiative des Landes Rheinland-Pfalz 2019-2023

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    ZENODO
    Dataset . 2023
    License: CC BY
    Data sources: ZENODO
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    ZENODO
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    ZENODO
    Dataset . 2023
    License: CC BY
    Data sources: Datacite
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      ZENODO
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      ZENODO
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    Authors: Rieger, Dietmar;

    The literary history of the ‘gueux’ in the nineteenth century, to which Victor Hugo contributed as well with his story Claude Gueux (1834), takes place mainly in the literary/musical genre of the ‘chanson’ and in feuilletonistic and sociological texts of the paupérisme-debate of the time. Béranger’s Les Gueux, emphasizing the intrinsic value and the autonomy of the social outsider in contrast to his criminalization which dominated the contemporary discussion, remains tinted with epicurean vision and is still too uncritical of the status quo to remain unchallenged in the course of its literary reception – ranging from Gustave Leroy and Jean-Baptiste Clément, who protested just as vigorously as Jules Vallès, to the ‘limonadier’ and disciple of Béranger, Jean-Louis Renaudot, Jehan Rictus, Jean Richepin’s Chanson des Gueux, and the commercialization of the topic of the outcast by Aristide Bruant’. Doubtless, these reactions to Les Gueux reflect the political-ideological debates of nineteenth century bourgeois society on the solution of the social question. ATeM Archives Texte et Musique, No 5,1

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    ATeM Archives of Text and Music Studies
    Article . 2021 . Peer-reviewed
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      ATeM Archives of Text and Music Studies
      Article . 2021 . Peer-reviewed
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    Authors: Bizzari, Valeria; Flas, Jérôme; Rizzo, Remy; Vanacore, Raffaele; +4 Authors

    Filippo Muratori & Valeria Bizzari, Alle origini dell’autismo : Il ruolo dimenticato di George Frankl, Roma, Fioriti Editore, 2019, 95 pages. ISBN : 978-8898991907. Prix : 14 €. What is a mental disorder? That should probably be the starting point of each paper or review that deals with psychopathology. Since time immemorial, human being has tried to unveil and clarify the core nature of these severe diseases. For instance, Ajax Telamonio, one of the heroes of the Homer’s Iliad, did not obtain Achilles’ weapons, in favor of Odysseus. Blinded by grief, Ajax decided to kill those responsible for the decision, but he suffered an incantation by the goddess Athena and, after falling asleep, he massacred a flock of sheep. When he woke up, he realized what he had done and, for the shame, he killed himself. Interestingly, such “pantoclastic crisis” — we would say nowadays — was caused by a supernatural entity. A similar example may be the myth of Bellerophon, whose melancholic state was determined by his hybris towards Olympic gods. In other terms, the first, mythological depictions of mental disorders intertwined human nature with godly entities. No mental health without supernatural support. Of course, the history of mental illness is not the aim of this review. Nevertheless, the abovementioned examples may illustrate a tendency which is today again in vogue. The tendency to attribute non-human aspects to mental diseases. Indeed, the ultra-reductionist theory is the most widesp

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    Bulletin d'Analyse Phénoménologique
    Article . 2020 . Peer-reviewed
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  • Authors: Leissner, Johanna; Fuhrmann, Constanze;

    Créée afin de renforcer les synergies entre les différents organismes de recherche en Allemagne, cette Alliance favorise la conduite de projets de recherche sur les questions de restauration et de conservation, au niveau national et international. Elle se veut aussi l'ambassadrice de la protection du patrimoine culturel auprès du public.

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    Authors: Vennemann, Aline;

    Das Theater von Elfriede Jelinek und Peter Wagner, das verstärkt seit dem ausgehenden 20. Jahrhundert rezipiert wird, schreibt sich in die Aufarbeitung der jüngsten Vergangenheit und literarische Rezeptionsgeschichte des Holocaust ein. Mit dem Aussterben der letzten Zeitzeugen ändert sich nicht nur die Perspektive, aus der heute die Verfolgung und Vernichtung von als minderwertig bezeichneten Menschen betrachtet wird, sondern auch die Art und Weise, wie an damalige Untaten erinnert und der Opfer gedacht wird. Insbesondere die Werke der letzten zwanzig Jahre reflektieren geläufige Vorstellungen und Darstellungen der Nazi-Verbrechen aus österreichisch-deutschem Blickwinkel, wobei Elfriede Jelinek und Peter Wagner die Aufmerksamkeit des Rezipienten auf die Täter- und Opferstimmen lenken. Anhand eines aus dramatischen Texten, Inszenierungen und Hörspielen bestehenden Korpus legt die Verfasserin die durch Jelineks und Wagners Werke geleistete Gedächtnis- und Erinnerungsarbeit an den Tag. Um sowohl der regionalen als auch der nationalen Aufarbeitung gerecht zu werden, wurden zwei grundlegend verschiedene Schreibweisen miteinander konfrontiert. Während die Werke der Wiener Autorin weltweit rezipiert (und kritisiert) werden, ist Wagners vornehmlich regionales Theater noch weithin unbekannt. Elfriede Jelinek entwirft eine polyphone Erzählkunst unentwegter Rede und Wiederholung. Die Sprache Peter Wagners zeichnet sich durch den Gebrauch von Pausen und eine starke Bildlichkeit aus. So verschieden die Werke und ihr lokaler bzw. nationaler Einfluss sind, so unterschiedlich fällt auch die kulturelle Gedächtnisarbeit aus. Friedemann Kreuders selbstreflexive Aufführungsanalyse vertiefend (Vgl. Formen des Erinnerns, 2002) fokussiert die Verfasserin das dramatische Werk von Elfriede Jelinek und Peter Wagner der letzten zwanzig Jahre. Aus ihren Analysen geht hervor, dass es sich um ein „Theater erinnernder Wieder-Holung“ handelt, die sich sowohl in den Aufführungsorten, als auch in den Texten, Hörspielen sowie Performances festhalten lässt und im Körper der Akteure und Rezipienten fortschreibt. Die vorliegende Arbeit führt somit die Überlegungen Friedemann Kreuders produktiv fort und füllt eine Lücke in der aktuellen Jelinek-Forschung, indem sie diese um eine Theaterwissenschaften, Philologie und Philosophie vereinende Perspektive bereichert. Außerdem versteht sich die Dissertation als ein erster ausführlicher Beitrag zur Rezeption von Peter Wagners Werk im deutsch- französischen Sprachraum. Der knapp 600-seitige Analysetext wird durch einen bilderreichen Anhang ergänzt, der bisher unveröffentlichte Gespräche mit den betroffenen Künstlern und Autoren enthält. Es gilt an dieser Stelle ausdrücklich all denen zu danken, die der Verfasserin genehmigt haben, ihre Fotografien, Skizzen, Mitschnitte usw. zu verwenden, und nicht zuletzt Peter Wagner und Elfriede Jelinek. The theatre of Elfriede Jelinek and Peter Wagner, which has been intensely and widely discussed since the late 20th century, participates in the treatment of the recent past and in the literary reception of the Holocaust. With the death of the last eyewitnesses, the perspective changes from which we view the persecution and extermination of people who are considered inferior, but also the way we reflect on former misdeeds and how we remember the victims. In particular, the works of the last twenty years reflect common notions and representations of Nazi crimes from an Austro-German point of view: Elfriede Jelinek and Peter Wagner direct the spectator’s attention to the voices of the perpetrators and victims. Using a corpus of dramatic texts, performances and radio-plays, this thesis reveals Elfriede Jelinek’s and Peter Wagner’s work on memory and remembrance. In order to respect regional and national reflections about local history, two fundamentally different writing styles were confronted with each other. While the Viennese author is read (and criticized) worldwide, Wagner’s primarily regional theatre is still largely unknown. Elfriede Jelinek creates a polyphonic narrative of ceaseless speech, full of repetitions. Peter Wagner’s language can be characterized by the use of pauses and strong imagery. The differences between these works and their local and national influence are reflected in the diversity of their cultural memory work. Aline Vennemann deepens Friedemann Kreuder’s self-reflective analysis about memory-performance (Formen des Erinnerns, 2002) based on the dramatic works of Jelinek and Wagner of the past twenty years. Her analysis shows that it is a "theatre of reminiscent re-recovery", which can be observed in the theatrical venues as well as in the texts, radio-plays and performances, and which is maintained in the bodies of the actors and spectators. Not only does this thesis continue the considerations of Friedemann Kreuder in order to make them productive but it also fills a gap in the current research on Jelinek by enriching it with an interdisciplinary perspective which unifies theatrical, artistic, philological and philosophical conceptions. In addition, it is the first extensive study of the reception of Peter Wagner's work in the German- French-speaking area. The nearly 600-page analysis is supplemented by an appendix with numerous illustrations and unpublished interviews with the featured artists and authors. I would like to thank everyone who allowed me to use their photographs, sketches and recordings, etc., and last but not least Peter Wagner and Elfriede Jelinek.

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    Authors: Karp Lugo, Laura;

    Au tournant du XXe siècle, Buenos Aires était une vitrine privilégiée pour la diffusion des artistes espagnols qui, pour promouvoir leur œuvre, ne bénéficiaient dans leur pays que d’une faible structure. Réfléchissant sur les imbrications entre la situation du marché de l’art espagnol et la réception des artistes espagnols en Argentine de 1890 à 1920 environ, cette étude contribue à éclairer les raisons de cette immigration massive et la manière dont ces circulations artistiques se sont opérées. Cet article analyse des questions d’identité et d’histoire du goût, dans une approche intercontinentale qui relève de la méthode des transferts culturels.

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    Authors: Calle-Gruber, Mireille; Sanson, Hervé;

    *** Mireille Calle-Gruber est professeur émérite de littérature et d’esthétique à l’Université Paris III-La Sorbonne nouvelle et écrivain. Parmi ses nombreuses publications, celles consacrées à Assia Djebar ont fait d’elle la spécialiste incontestée de cette œuvre : Assia Djebar ou la résistance de l’écriture. Regards d’un écrivain d’Algérie, chez Maisonneuve & Larose, 2001 ; Assia Djebar, Ministère des Affaires étrangères, ADPF, 2006 ; Assia Djebar, nomade entre les murs… (dir.), chez Maison...

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    Authors: Stuzmann, Dominique;

    Les initiatives TEI (Text Encoding Initiative) et MUFI (Medieval Unicode Font Initiative) multiplient les potentialités des transcriptions et invitent à interroger le processus même d'une opération pourtant commune dans les études médiévales. Transcrire, c'est décrire un texte et sa mise en forme graphique. Cela ouvre des voies aux études paléographiques, notamment par la description des diverses variantes morphologiques des lettres ou abréviations. Des recherches entreprises sur la production écrite de l'abbaye cistercienne de Fontenay démontrent le potentiel considérable des transcriptions dites " allographétiques " et des statistiques descriptives pour comprendre les évolutions de l'écriture médiévale. La fragmentation du paysage actuel de la recherche amène pourtant à souhaiter une harmonisation des pratiques, tant pour décrire les phénomènes paléographiques que pour structurer les données et formuler des ontologies. Electronic texts employing the Text Encoding Initiative (TEI) and the Medieval Unicode Font Initiative (MUFI) provide added value for transcriptions of medieval manuscripts. This is such a significant improvement that it requires rethinking the established process of transcribing. Transcribing is describing: with the encoding of variants for letters or abbreviations, palaeography can explore new horizons. A research on the scriptorium of Fontenay (O. Cist.) proves that graphetic transcriptions and statistical analysis improves our understanding of medieval scripts and their evolutions. Nonetheless, the field is diverse, and an elaboration of good practices for describing, structuring and organizing palaeographical data and relevant ontologies is urgently needed.

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    Authors: Tchibozo, Romuald;

    Die Frage nach dem Verhältnis zwischen der zeitgenössischen afrikanischen Kunst und den anderen Gesellschaften dieses Planeten kommt mir immer wieder vor wie der Ausdruck einer Trauer im kulturellen und künstlerischen Bereich, die Menschheit seit dem Anfang dieses Jahrhunderts bis heute mit sich trägt. Einerseits ist diese Trauer auf den unerwarteten und plötzlichen tiefen Bruch zwischen Kunst und Sakralem zurückzuführen, der Ende des letzten Jahrhunderts in Europa zustande kam und Afrika in den dreißiger Jahren einholte. Andererseits hatte der Anfang des kalten Krieges mit seinen ideologischen Merkmalen eine derart beeinflussende Rolle, dass sich auf diesem Kontinent eine Kunstform entwickeln können, die sich als modisches Element versteht und jegliche Sakrale Bedeutung verloren hat. Von diesem Augenblick an tritt sein Verhältnis zu den anderen Gesellschaften in eine elitäre Phase ein, die in meiner Arbeit zugrunde liegen wird. In meiner Arbeit habe ich den Einfluss der Epoche des kalten Krieges auf die zeitgenössische afrikanische Kunstproduktion und deren Wahrnehmung insbesondere in Deutschland untersuchen. Es soll ermittelt werden wie in den beiden ehemals getrennten Staaten: DDR und BRD Kunstmarktexperten, Journalisten und allgemein die Verbraucher zeitgenössische afrikanische Kunst einschätzten. Es handelt sich hierbei um ein ideales, in Europa und auf der ganzen Welt einzigartiges Untersuchungsbeispiel, an dem man die in beiden Ländern damals jeweils unterschiedliche Art der kulturellen Organisation sowie das Wahrnehmung und das Verständnis von afrikanischer Kunst herausarbeiten kann. "The Art and Arbitrary: A study for African Contemporary Art perception in western: Germany’s case from 1950 to today", is a study of the art theories, art criticism and philosophic, ethnologic, even journalistic view of African contemporary art in Germany following the Second World War. This study describes the relationship of capitalist and communist ideologies concerning their reception to African contemporary art. By implementing colonial/post-colonial theories, this project examines western perceptions of contemporary African art. What is African contemporary art a product for money, or a product for struggle against imperialism?

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