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Dieser Band versammelt die Beiträge zum 22. Österreichischen Europarechtstag 2023 zum Thema "Strukturprinzipien des Unionsrechts". Sie untersuchen, wie man angesichts einer zunehmenden Fragmentierung des Unionsrechts in unterschiedliche Teildisziplinen das "große Ganze" dieser Materie nicht aus den Augen verliert – also genau jene Essenz, welche das Wesen der Union ausmacht und sie in ihrem Innersten zusammenhält. Als strukturiertes Netz miteinander verflochtener Grundsätze, Regeln und Rechtsbeziehungen stellen diese vielfältigen Strukturprinzipien von verfassungsrechtlichem Charakter eine Konstante des Unionsrechts dar, welche letztendlich gewährleisten, dass es als einheitliche Rechtsordnung kohärent operieren kann. Mit Beiträgen von Friedrich Erlbacher | Univ.-Prof. Dr. Hans-Peter Folz | Univ.-Prof. MMag. Dr. Paul Gragl | Ass.-Prof. Dr. Lena Hornkohl, LL.M. | Univ.-Prof. Dr. Marcus Klamert, M.A. | Dr. Christoph Krenn | Univ.-Prof. Dr. Brigitta Lurger, LL.M. (Harvard) | Prof. Dr. Andreas Müller, LL.M. (Yale) | Univ.-Ass. Dr. Laura Pavlidis | Dr. Julia Schmoll | Univ.-Prof. Dr. Alexander Somek | Prof. i.R. Dr. Christoph Vedder | Assoz.-Prof. Dr. Lorin-Johannes Wagner

During the twentieth century juvenilia received increasing critical attention. This provided a rise in the literary status of writing by children. However, even now, in the twenty-first century, it remains one of the more neglected literary forms. This thesis adds to the growing body of literature recognising juvenilia as an authentic literary genre, worthy of the critic's attention. Two key ~underline this thesis: firstly, juvenilia can be of importance to the scholar in their own right whether this Is due to their social and/or political impact, their influence on other authors, their development of a literary style or methodology, or the merit of their aesthetic quality -a variety of issues examined in chapters focussing on Marla Edgeworth, William Ainsworth, George Eliot and Emily Bronte. Secondly, juvenilia are precursors to the adult writing of the examined authors, with many of the advances to their writing that are the subject of praise in their adult work having been established long before in their juvenilia. This is demonstrated in representative early works by the same authors, examined alongside their later novels. An Appendix of Edgeworth's unpublished play The Double Disguise Is also included. These are not entirely new contentions, but, notwithstanding some attention from a handful of scholars, little research has been done to confirm and demonstrate their merit. This thesis suggests that critics should evaluate an author's body of work as an "entire entity" rather than confining their research to the author's mature writing. To dismiss something just because it is titled "juvenilia" is to dismiss a major part of the author's development and literary career.

They are upon us: May 17 -- On the war-path for Vicksburg: May 18 -- A long dreadful day: Fifteenth Corps, May 19 -- I hope every man will follow me: Seventeenth and Thirteenth Corps, May 19 -- This will be a hard place to take: May 20-21 -- Dismay and bewilderment: Blair, May 22 -- Now, boys, you must do your duty: McPherson, May 22 -- The horror of the thing bore me down like an avalanche: McClernand and Osterhaus, May 22 -- Boys, you have just fifteen minutes to live: 2nd Texas Lunette, May 22 -- A thousand bayonets glistened in the sunlight: railroad redoubt, May 22 -- I don't believe a word of it: Grant, Sherman, and McClernand, May 22 -- Am holding position but suffering awfully: Blair, Ransom, and Tuttle, May 22 -- It made the tears come to my eyes: Steele, May 22 -- Boys, don't charge those works: Logan and Quinby, May 22 -- It is absolutely necessary that they be dislodged: reclaiming railroad redoubt, May 22 -- An ardent desire to participate in the capture of Vicksburg: Grant, Pemberton, Porter, and McArthur, May 22 -- I feel sad but not discouraged: making sense of May 22 -- I am surfeited, sick, and tired of witnessing bloodshed: casualties, wounded, prisoners -- No one would have supposed that we were mortal enemies: burial, mourning -- They ought to be remembered: honors, infamy, life stories -- Eventful on the page of history: commemoration.

This article explores a particular version of the narrative of personal stories, i.e., the "narrative about the author", which is indicative for the analysis of writers' reflection on their role in modern Russian-language literature. The article aims to determine the specifics of the "narrative about the author", show that it is formed in public discourse and conditioned by the existence of a narrative framework (a question-and-answer form of an interview that demonstrates public expectations from the creator). Public self-reflection captures the process of self-identification and modeling of the myth of verbal creative work in modern times. The event of the "narrative about the author" is an important change, after which they were able to define themselves as a writer (to name themselves). The author uses methods of classical and postclassical narratology, as well as personological and narrative psychology in the study of the "narrative about the author". The study reveals that the "narrative about the author" occupies a borderline position with respect to fictionality, the narrator is non-trivial, they are both inside the event and outside it, combining personal attitude with social, cultural, and other conventions adopted about authorship. The article considers the "narrative about the author" with reference to an interview with the Ural poet E. Simonova. The empirical basis of the study is the interviews she gave from 2019 to 2022. In her interviews, Ekaterina Simonova creates an image of a "little poet", a socio-psychological construct created under the influence of changes in the symbolic status of poetry in modern times, whose components are non-exclusivity and inclusion into everyday life. Within the narrative and within the limits of one response, one sees the formulation of a position, and in the comments given in parentheses, its ironic interpretation. As a result, the author concludes that in the interview with E. Simonova, a myth develops about the writer as an "everyday", ordinary person who is built on a strategy of ironic sincerity, which is consistent with the artistic narrative of her poetry.

In "towards a theory of the periodical genre," Margaret Beetham observes that "the material characteristics of the periodical . have consistently been central to its meaning" (22–23). In particular, Beetham emphasizes, "the elation of blocks of text to visual material is a crucial part of " the periodical's processes of signification and the reader's experience of making meaning out of its time-stamped yet open-ended issues (24). While this theoretical position underlies much excellent critical work in periodical studies, it is less evident in the electronic repositories on which research in the field increasingly relies. In this paper, I examine what it might mean to inform our digitization practices with a theory of the periodical hypertext as a remediated object. Focusing on the specific editorial problem of periodical pages decorated with textual ornaments, I take as my case study The Evergreen: A Northern Seasonal (1895 to 1897), a Scottish magazine scheduled for markup and publication on The Yellow Nineties Online. Making remediated Celtic ornament a structural feature of its aesthetic design and an integral expression of its larger political agenda, the Evergreen reminds us of what is at stake if our own electronic remediation practices are not adequate to the periodical objects we study. ; "The Politics of Ornament: Remediation and/in The Evergreen" was first published in ESC: English Studies in Canada in the special issue on Magazines and/as Media: The Politics and Aesthetics of Periodical Form, vol 41, no. 1 (2015): 1-24.