Suchergebnisse

Dieser Beitrag befasst sich mit dem Umgang mit literarischen Texten im Unterricht Deutsch als Fremdsprache in der französischen Schweiz. Der Ausgangspunkt sind einige Überlegungen zur Bedeutung des Lesens literarischer Texte im heutigen Unterricht. Im ersten Teil wird der Literaturunterricht (LU) in schulischem Kontext des Kantons Waadt im Kontext der Bildungspolitik erläutert. Im zweiten Teil wird die Verschiebung der Rolle von Literatur mit der Entwicklung didaktischer Methoden für den fremdsprachlichen LU in einer historisch-sozial-didaktischen Perspektive dargestellt. Im dritten Teil wird der Umgang mit dem aktuellen kompetenz- und handlungsorientierten LU in der Praxis und die Perspektiven, die sich daraus ergeben, diskutiert.This article focuses on teaching literary texts in German as a foreign language in the French-speaking part of Switzerland. I start with a discussion of the importance of reading literary texts in current teaching. In the first part, literature teaching in the school context of the canton of Vaud is explained in the context of educational policy. In the second part, I present changes of the role of literature in foreign language teaching from a socio-historical and didactic perspective. In the third part, I discuss perspectives for the teaching of literature within the framework of current action-oriented approaches.

Influential accounts of European cultural history variously suggest that the rise of nominalism and its ultimate victory over realist orientations were highly implemental factors in the formation of Modern Europe since the later Middle Ages, but particularly the Reformation. Quite probably, this is a simplification of a state of affairs that is in fact more complex, indeed ambiguous. However, if there is any truth in such propositions - which have, after all, been made by many prominent commentators, such as Panofsky, Heer, Blumenberg, Foucault, Eco, Kristeva - we may no doubt assume that literary texts will have responded and in turn contributed, in a variety of ways, to these processes of cultural transformation. It seems of considerable interest, therefore, to take a close look at the complex, precarious position which literature, as basically a symbolic mode of signification, held in the perennial struggles and discursive negotiations between the semiotic 'twin paradigms' of nominalism and realism. This collection of essays (many of them by leading scholars in the field) is a first comprehensive attempt to tackle such issues - by analyzing representative literary texts in terms of their underlying semiotic orientations, specifically of nominalism, but also by studying pertinent historical, theoretical and discursive co(n)texts of such developments in their relation to literary discourse. At the same time, since 'literary nominalism' and 'realism' are conceived as fundamentally aesthetic phenomena instantiating a genuinely 'literary debate over universals', consistent emphasis is placed on the discursive dimension of the texts scrutinized, in an endeavour to re-orient and consolidate an emergent research paradigm which promises to open up entirely new perspectives for the study of literary semiotics, as well as of aesthetics in general. Historical focus is provided by concentrating on the English situation in the era of transition from late medieval to early modern (c. 1350-1650), but readers will also find contributions on Chrétien de Troyes and Rabelais, as well as on the 'aftermath' of the earlier debates - as exemplified in studies of Locke and (post)modern critical altercations, respectively, which serve to point up the continuing relevance of the issues involved. A substantial introductory essay seeks to develop an overarching theoretical framework for the study of nominalism and literary discourse, in addition to offering an in-depth exploration of the 'nominalism/realism-complex' in its relation to literature. An extensive bibliography and index are further features of interest to both specialists and general readers

Instead of subversive action, in literature, as well as in the culture, women clash and thus enable the unhindered survival of patriarchal norms. In some literary texts, female characters are often opposed, i.e. women show envy towards other women, either because of beauty or a man who is the object of desire. In any case, such opposition is often only part of a patriarchal strategy aimed at women's disunity that distances women from projects that would allow them to act more homogeneously and to oppose traditional patterns of behavior.

The current study aims to make an overall semiotic analysis of translation strategies used to reproduce the imagery and relevant cultural features in John Fowles' "The Collector." Regarding literary translation as a cross-cultural dialogue aimed to achieve both artistic and aesthetic effects contributes much to analyzing the semiotic features of the translated discourse and deciphering the relevant socio-cultural information decoded in the source language text. Therefore, it has been decided that translation is a communicative act that facilitates the transfer of meaning in a cross-cultural perspective and focuses on reproducing the source language semiosphere. The semiotic approach is well-established in translation studies with the subtlety of methods and criteria. Therefore, it was considered that the analysis of lexico-semantic, grammatical and stylistic translation strategies would usefully supplement and extend the scope of literary text research. In the current study, comparing the source and target language texts has shown that the translator employs various translation transformations to transmit the author's pragmatic intent and socially relevant information in the target language.

The literary onym is one of the main structural elements of the onomastic space of a literary text. The problem of studying this literary category is to identify their main features, features of functioning in the structure of a literary text, as well as to study the role of contextual synonymy in creating images of literary characters. The article analyzes the views of researchers on the problems of literary onomastics, clarifies the terminological apparatus. The article analyses the main distinguishing features of onyms, such as their secondary nature, as well as semantic load. Literary onyms are characterized by a number of functions in a work of fiction. They can perform nominative, ideological, characterizing, aesthetic, symbolic functions. The study revealed that the main functions of proper names in the analyzed works are recognized as nominative and characterizing, and in some cases symbolic. Creating a literary image of a character, the author uses a variety of linguistic means, in particular contextual synonymy based on metaphorical transfer. The conclusion confirms the idea that literary onyms are an additional mechanism in a work of fiction, which is designed to create a more capacious, versatile image of literary characters

The further scholarship investigates life forms (ecology, evolutionary biology and microbiology) the less those forms can be said to have a single, independent and lasting identity. The further scholarship delves into texts (deconstruction) the less they too can be said to have a single, independent and lasting identity. This similarity is not simply an analogy. Life forms cannot be said to differ in a rigorous way from texts. On many levels and for many reasons, deconstruction and ecology should talk to one another. It is interesting to contemplate an entangled bank, clothed with many plants of many kinds, with birds singing on the bushes, with various insects flitting about, and with worms crawling through the damp earth, and to reflect that these elaborately constructed forms, so different from each other, and dependent on each other in so complex a manner, have all been produced by laws acting around us. (Charles Darwin, The Origin of Species, 395–396)

This article examines Arno Geiger's series "Die Bewohner von Château Talbot," a literary photo-text with complex visual and theoretical implications that has appeared since 2010 in the journal Volltext . In the series, private snapshots of unknown origin are combined with literary texts. Photography and text appear to tell the same story. How does this collaboration function? Under what theoretical conditions does it present itself and where does the fundamental difference between the two media lie?

In this article, we discuss the methodological prospects of using the term 'pattern' in the analysis of a literary text. We identify the semantic and categorial field of the term, propose a definition of 'pattern' as projected on language material, and correlate the terms 'pattern', 'repetition', 'recurrence', and others. The linguistic ontology of the pattern as a text-generating mechanism is determined by the fact that the pattern problematizes the relation­ship between repetition and variation, singular and plural, a norm and a deviation. A text has a pattern nature if its basic pattern does not coincide with its textual realizations, provided the latter are very similar at the prototype or model level. Therefore, the relationship between the pattern and a resultant text is isomorphic to the relationship between language and speech. Our analysis of poetic texts by Andrey Monastyrsky and Dmitri Prigov demonstrates the possibilities of studying a text as the realization of a pattern from the perspective of vari­ous literary strategies adopted by authors.

Gagne reviews BLOOD NARRATIVE: Indigenous Identity in American Indian and Maori Literary and Activist Texts by Chadwick Allen.

The interpretation of a literary work and the analysis of literary characters in the teaching of literature at all levels of education is based on the interpretation of characters' relation to the rest of the depicted artistic theme of a literary text and the examination of artistic means which an author used to create and characterize them. To become able to interpret a literary work, a teacher practitioner has to possess theoretical knowledge of classification and numerous ways of characterization of literary characters. Theoretical and methodical literature describes plenty of methods of artistic characterization. Considering the importance to a practitioner of not only their theoretical knowledge, but also the ability of the practical application of this knowledge, we investigated what role and significance various methods of characterization have during the analysis of a literary text. The interpretation of a literary work requires a systematic and comprehensive approach in the interpretation of literary characters, and the particularities of the characterization itself condition and direct the way of interpretative approach. It is aligned with them, in order to highlight and interpret, in the most functional, methodological, and justified way, all the particularities of characters as focal points of a plot, and representatives of meaning, aesthetic, and ethical values of a literary text, and interpret in that way the other more important segments of a literary work as a complex and multilayered structure.