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other things, people were asked to say the phrase ‘rolling hills.’ Suddenly different pronunciations of the same language appeared as if this was a quasi-sociological inquiry. Then the voices were broadcast on loudspeakers in the gallery so that psychoacoustic effects would be created and listeners

In: Artistic Research and Literature

de Rameaus or Jacques le Fataliste or the novels of Christoph Martin Wieland. It is a literary form that mirrors and reflects a time that is hard to grasp: with different genres and a plurality of voices, with no results but questions, with no closure but an open-ended pastiche of texts and

In: 25 Years Berlin Republic

, sentiment and the very voice of the colonized are appropriated by the colonizer. (Oryu, Baldacchino 2011, 40) Walcotts Anspielung auf das Lied fügt sich in eine 250-jährige komplexe Rezeptionsgeschichte von „Adieu Foulard“ ein. 72 Die Verse zeigen die vielschichtige Figurenkonstellation in Another Life

In: The Common Bond of the Sea

their weight known, and literary or visual narration assembles voices and objects in a mesh of discourses, iconographies, tropes and topoi intertwined with (one’s own and others’) affects, memories and associations. Kermani’s report gestures at the agency specifically of objects―a focal point of Latour

In: Protest und Verweigerung / Protest and Refusal

thread and weave a fabric for her gown. Instead of a tale out of words, Paul spins flax, while it is the witch herself who speaks. 28 Thus in a scene that takes place almost a decade after unification, Hensel grants the speaking voice—and therefore the determiner of memory—to a feminized herald of

In: Protest und Verweigerung / Protest and Refusal

literature was to introduce the notion of the speaking voice, the conversational tone. That is what really attracted us to Eliot. (Brathwaite 1984, 30) Dieses Verhältnis lässt sich nicht durch ein einfaches Abhängigkeitsverhältnis abbilden. In diesem Kontext ist Ramazanis Aufsatz „Modernist Bricolage

In: The Common Bond of the Sea

dictatorship: »The Socialist ideology was taught … you wore your Young Pioneer Uniform and you were taught what to do and what not to do. Today, there is more freedom and opportunity to make your voice heard«. The son of the second family criticized the widespread impression that the GDR had one of the lowest

In: 25 Years Berlin Republic

ich, Wer hört noch zu.« 25 The resignation that Grass uttered here with apparent bitterness, gives voice to the frustration of a politically engaged public intellectual and high-profile author. During the Wendejahr 1990, Grass sought to instrumentalize the Workers Revolt of 1953 for maximum effect

In: 25 Years Berlin Republic

. Repeatedly, desire was voiced to place the research perhaps surprisingly close to the experience-based conversation and practice long since established as a more or less unspoken pedagogical axiom within Literary Composition. I imagine that a fictional or poetic writing is marked by a simultaneity of feeling

In: Artistic Research and Literature

der Gegenwart. Sozialstruktur − Medien-Ökonomien – Autorpositionen . Hg. Heribert Tommek und Michael Bogdal. Heidelberg: Synchron, 2012, S. 285–301, hier: S. 298. 46 Claudia Breger. “On a Twenty-First-Century Quest for Authoritative Narration: The Drama of Voice in Uwe Tellkamp’s Der Turm .” In: The

In: Protest und Verweigerung / Protest and Refusal