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Digital code as text. Can notions of text that were developed without electronic texts in mind be applied to digital code, and how does literature come into play here? My talk is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer technology solely as an extension of conventional textuality (as manifest in such notions as 'hypertext', 'hyperfiction', 'hyper-/ multimedia') towards paying attention to the very codedness of digital systems themselves. Several phenomena may serve as empirical evidence: - The early focus of conceptualist Net.art on the aesthetics and politics of code; - in turn, the impact of Net.art aesthetics on experimental literature / poetry in the Internet; - the close affinity of Net.art with political activism in the Internet; - which itself increasingly affiliates itself with an older, technical 'hacker' culture (of Chaos Computer Club, 2600, etc.); - the strong interest for (a) Free/Open Source Software and (b) network protocol standardization in all these camps; - the fact that hacker aesthetics, Net.art aesthetics, code aesthetics and network protocol aesthetics have a tremendous impact on contemporary writing in the Internet. (See the work of mez, Alan Sondheim, Talan Memmott, Ted Warnell and others.) I wll discuss how "Codeworks" (Alan Sondheim) fit notions of text that were crafted without digital code (and most importantly: machine-executable digital code) in mind and vice versa. Is it a coincidence for example that, reflecting the low-level codes of the Internet aesthetically, codeworks ended up resembling concrete poetry? And, apart from aesthetic resemblances, how do computer programs relate to literature? Is that what is currently being discussed as "Software Art" a literary genre? Since many of these positions remain debatable, I would like to put up questions in my presentation rather than give answers.

This chapter uses reflection on the author's involvement in the movement known as 'language through literature' or 'pedagogical stylistics' as a way into describing how the field emerged, its relations with different theoretical positions in English Language Teaching (ELT), and its main achievements as regards syllabus reform and methodological innovation. Arguments now made in favour of incorporating the study of literary texts into second-language (L2) English programmes are assessed, as well as some arguments commonly made against. The chapter concludes by identifying present and future challenges, ranging from specifics of course design and pedagogy through to a need to respond to the political imperative of vocational relevance in nearly all fields of education. Each kind of issue, the chapter argues, must be a concern for teachers and others who believe that both a cultural and a professional dimension in English language education are essential, if linguistics is to be 'applied' in socially relevant ways.

This study starts from the assumption that intercultural training with literary texts should have a clearly defined position in foreign language teaching and learning, and that this could facilitate the deconstruction of orientalist perspectives in contemporary political and media discourse. However, the marginalisation of intercultural objectives, methodology and methods in curricula, teacher training and course books that themselves reveal orientalist features demonstrate a long-lasting practical negligence in an area that has been at the forefront of foreign language research in the last two decades. In the short and medium term, this enormous gap between theory and practice could partially be addressed by replacing inadequate sections in course books with literary work, using texts such as The Persian Dinner that have been successfully brought into a foreign language environment at Higher Education level in Cambridge. However, intercultural training in other subject areas than foreign languages will have to support this temporary solution until substantially revised curricula and teacher training programmes start guiding authors and publishers to develop more adequate teaching and learning material.

Battle descriptions as literary text: an introduction -- Year Names as Source for Military Campaigns in the Third Millennium BC -- Much Ado about Nothing? Battle Descriptions in Ugaritic Texts -- Victor without Victory? The Lack of Battle Descriptions in the Achaeamenid Empire -- Battle Descriptions in the Hebrew Bible: An Overview with Special Attention to the Book of Joshua.-Plataea, 479 BC -- "Eine Schlacht wie keine andere" – alles nur Literatur, oder was? Agesilaos II., Xenophon und der "Sieg" Spartas in der Schlacht bei Koroneia (14. August, 394 v. Chr.), der vielleicht eher doch eine Niederlage war! -- Parody as a Sign of Generic Consciousness: Battle Descriptions in the Pseudo-Homeric Batrachomyomachia -- The Battle of Gaugamela. A Case Study and Some General Methodological Considerations -- Die "Thermopylenschlacht 2.0" am Persischen Tor (330 v. Chr.) -- Battle Descriptions in Livy's Ab Urbe Condita -- Conversus ad pacem … (Flor. 2.34.65 = 4.12.65) – Battle Descriptions in Florus Reconsidered -- The Impact of Violence as Heroization Technique in Basini's Hesperis, Naldi's Volaterrais and Filelfo's Sphortias -- A Battle of Emperors? Contemporary Poetic and Prose Descriptions of Austerlitz (1805) -- The Impossibility of Deliberate Action in Tolstoy's Descriptions of Battle in War and Peace -- Historical Distance and Literary Re-Presentation. Ancient Battles in German Classical Studies.

Abstract
Feuilleton is a hybrid genre. This genre is important for both literature and journalism because it has literary and journalistic characteristics. There are different opinions about the genre characteristics of feuilleton. So, in studies, it is sometimes characterized only as a journalistic genre. Although some of the studies pay attention to its literary peculiarities, they do not mention its journalistic peculiarities. There are also studies that examine the genre in both literary and journalistic contexts, and such a complex approach is of great importance to the analysis of the genre. Based on the ideas about the hybridity of the genre, our opinion on this matter is that when examining the feuilleton, it is important to thoroughly study it, taking into account the fact that it is a hybrid genre. When conducting research, all features should be studied, no feature should be left out of the study. The artistic colors of feuilleton are distinguished by their realistic and sharp lines. Here, the events are given in all their reality. This is one of the points that form the basis of journalistic works. In this article, the feuilleton genre is examined in the context of literary-journalistic genre; the history of feuilleton, its main features, and its literary and journalistic aspects are studied.

The article analyses the function of titles in a selection of colonial and postcolonial novels in English. By availing herself of the theoretical premises of Jerrold Levinson, John Fisher and S.J. Wilsmore, the author argues that the hermeneutical purpose of titling has in postcolonial literature both an aesthetic impact and a political connotation. In this light, the title becomes a vector of specific postcolonial issues inherent in the text, and denounced by it, by means of which the writer takes a specific position in relation to imperialist ideologies and dominant modes of representation. In such a context, the aesthetic value of the postcolonial text is in the political message it transmits, and the title indeed contributes to strengthen or to focalize the meaning and resonance of this message. Some significant titles of works produced in different geographical contexts and historical periods (Heart of Darkness, A Passage to India, Things Fall Apart, My Place, Where We Once Belonged, Foe, The Lonely Londoners, The Emigrants, Brick Lane, N-W) are examined as representative of a typically postcolonial coincidence of poetic value/political message and they are considered in the light of different levinsonian categories like "undermining titles", "reinforcing titles", "focusing titles", "allusive titles".

Seventeenth-century literature in the Holy Roman Empire has rarely been discussed in general cultural histories about the European Baroque. The dramatic achievements of Shakespeare, Calderon, and Corneille, the inimitable poetry of the Metaphysicals and Marino and the mischievous adventures of the Spanish picaro have long overshadowed the literary accomplishments of the German Baroque. Even today many scholars are still content to dismiss the German seventeenth century as derivative while, in the opposite camp, loyal Germanists currently defend its uniqueness. As is generally known, literary developments in the Empire were slowed by a number of unfortunate circumstances. Geographical, confessional, and linguistic disunity strongly contributed to the parochialism of German Baroque letters. Local literary societies were widely scattered throughout the Empire from Silesia to the Rhine and communication between them was greatly hampered. The lack of a main cultural center similar to the artistic hubs of Paris or London further isolated the writers from each other. In addition, confessional differences not only segregated Catholic and Protestant poets, but also resulted in the simultaneous development of a Batoque Latin and German literature.

Introduction1. Linguistics and literature2. Problematising the linguistic status quo -- The LeftHand of Darkness and Häutungen3. Proposing linguistic neutrality -- The Cook and theCarpenter and Woman on the Edge of Time4. Reversing the linguistic status quo -- Egalias døtre5. 'It's good to make people realise ... double standards' -- Evaluating the impact of literary texts thematising sex/gender and languageConclusionsWorks CitedIndex