Seminar paper from the year 2009 in the subject American Studies - Literature, grade: 1,0, Ernst Moritz Arndt University of Greifswald (Institut für Anglistik/Amerikanistik), course: Chicano/Chicana Culture and Literature in the USA, language: English, abstract: ¿Quién soy yo? or Who am I? One question is expressed in two languages. But there are numerous answers one can give. Some would say their gender and define themselves as being a man or a woman. Others would simply give their names or their religions. One could also reveal the nationality, the origin or the own social strata. There are a lot of possible answers to this question as humans perceive and identify themselves differently. But people cannot say who they are by using just one single criterion. "Of course, all of us have multiple identities. We may identify ourselves simultaneously as, for instance, woman, socialist, ecological farmer, world citizen, mother, daughter, wife, researcher, Finnish, Scandinavian, European, witch, theosopher, lover of music and plants, and so on (Fishman 54)." Having a closer look at the meaning of the word "identity" the Oxford English Dictionary gives a proper definition of the word: "identities are the characteristics, feelings or beliefs that distinguish people from others." This definition shows that identities are not just formed by the own person. It must rather be seen in relation to other humans. The system of society prescribes certain role models humans are expected to fulfil be it on grounds of their sex, race or their economic class. This is also what the personal identity shapes. What if someone does not really know who he or she? Of course, there are some basic answers one can give like the gender or the name but in some cases it is quite hard for people to be aware of themselves. Some marginal groups do not have that feeling of belonging to either side, for example black or white. They are brown, or simply an "in-between case". They are a mixture of both col
Seminar paper from the year 2009 in the subject American Studies - Literature, grade: 1,0, Ernst Moritz Arndt University of Greifswald (Institut für Anglistik/Amerikanistik), course: Chicano/Chicana Culture and Literature in the USA, language: English, abstract: ¿Quién soy yo? or Who am I? One question is expressed in two languages. But there are numerous answers one can give. Some would say their gender and define themselves as being a man or a woman. Others would simply give their names or their religions. One could also reveal the nationality, the origin or the own social strata. There are a lot of possible answers to this question as humans perceive and identify themselves differently. But people cannot say who they are by using just one single criterion. “Of course, all of us have multiple identities. We may identify ourselves simultaneously as, for instance, woman, socialist, ecological farmer, world citizen, mother, daughter, wife, researcher, Finnish, Scandinavian, European, witch, theosopher, lover of music and plants, and so on (Fishman 54).” Having a closer look at the meaning of the word “identity” the Oxford English Dictionary gives a proper definition of the word: “identities are the characteristics, feelings or beliefs that distinguish people from others.” This definition shows that identities are not just formed by the own person. It must rather be seen in relation to other humans. The system of society prescribes certain role models humans are expected to fulfil be it on grounds of their sex, race or their economic class. This is also what the personal identity shapes. What if someone does not really know who he or she? Of course, there are some basic answers one can give like the gender or the name but in some cases it is quite hard for people to be aware of themselves. Some marginal groups do not have that feeling of belonging to either side, for example black or white. They are brown, or simply an “in-between case”. They are a mixture of both colours and still in the process of defining themselves or simply lost in it...
Wie kaum ein anderer Künstler hat Pierre-Auguste Renoir unser Verständnis von den stimmungsvollen Figurenbildern des Impressionismus geprägt. Sein Gemälde La fin du déjeuner, das sich seit 1910 im Städel Museum in Frankfurt befindet, ist nun Ausgangspunkt für eine weitreichende Auseinandersetzung mit einer für ihn zeitlebens bedeutenden Inspirationsquelle: dem Rokoko. Galt diese Malerei nach der französischen Revolution als frivol und unmoralisch, so erlebte sie im 19. Jahrhundert eine Renaissance und war zu Lebzeiten Renoirs überaus präsent. Dieser umfangreiche Band erscheint anlässlich der großangelegten Ausstellung des Städel Museums und untersucht Renoirs facettenreiche Traditionsverbundenheit ausgehend von erhellenden Gegenüberstellungen seiner Kunst mit Werken des 18. Jahrhunderts sowie von Zeitgenossen.
(M)Other Tongues: Literary Reflexions on a Difficult Distinction examines a key problem of literary criticism: the differentiation between languages is at the same time necessary and impossible. It is indispensable in order to read a text, yet literary texts are precisely those that question this distinction, articulating the link between languages and cultures, as well as the inherent strangeness of even one’s own mother tongue. (M)Other Tongues explores texts from the 16th century to the 21st century, focusing on different aspects of one main feature of literary texts: formally, as well as semantically, they transcend the rules and conventions of the language they speak. Crossing cultural borders is commonly discussed in historical, social, linguistic, and psychoanalytical terms – whether it be as (post-)colonialism, exilic or diasporic identities, creoles, or the displaced other within the own. (M)Other Tongues argues that, rather than being mere evidence in the theoretical analysis of cultural transitions, literary texts are a unique medium to reflect such processes as they challenge and modify the notion of language itself. The book discusses texts written mainly in English, French, and German, but also in Spanish and the complex formerly known as Yugoslavian. (M)Other Tongues shows that such distinctions between languages are precise since they can be exemplified with an indefinite number of words and rules, and still remain uncertain because they cannot be abstracted from these examples. What separates the mother tongue from other tongues is indeed precise uncertainty.
Hannah Arendt (1906-1975) no tuvo en gran consideración la contemplación apartada del mundo. Al contrario, aparecer públicamente y asumir la responsabilidad de las posiciones adoptadas, aunque parezca arriesgado, representa para ella la tarea decisiva del pensamiento filosófico. Pues lo político necesita una esfera pública. La libertad del ser humano, para Arendt, radica en poder intercambiar ideas con los demás, pues solo entonces está dada la posibilidad de estar unos con otros. Una pensadora, comprometida y valiente, que se atrevió a hacer frente al terror de la tiranía y a la opresión, que pretenden subyugar al ser humano.
How does the entrance of a character on the tragic stage affect their visibility and presence? Beginning with the court culture of the seventeenth century and ending with Nietzsche’s Dionysian theater, this monograph explores specific modes of entering the stage and the conditions that make them successful—or cause them to fail. The study argues that tragic entrances ultimately always remain incomplete; that the step figures take into visibility invariably remains precarious. Through close readings of texts by Racine, Goethe, and Kleist, among others, it shows that entrances promise both triumph and tragic exposure; though they appear to be expressions of sovereignty, they are always simultaneously threatened by failure or annihilation. With this analysis, the book thus opens up possibilities for a new theory of dramatic form, one that begins not with the plot itself but with the stage entrance that structures how characters appear and thus determines how the plot advances. By reflecting on acts of entering, this book addresses not only scholars of literature, theater, media, and art but anyone concerned with what it means to appear and be present.
Misunderstanding is a pervasive phenomenon in social life, sometimes with serious consequences for people's life chances. Misunderstandings are especially hazardous in high-stakes events such as job interviews or in the legal system. In unequal power encounters, unsuccessful communication is regularly attributed to the less powerful participant, especially when those participants are members of an ethnic minority group. But even when communicative events are not prestructured by participants' differential positions in social hierarchies, misunderstandings occur at different levels of interactional and social engagement. Misunderstanding in Social Life examines such problematic talk in ordinary conversation and different institutional settings, including socializing events and story tellings, education and assessment activities, and interviews in TV news broadcasts, employment agencies, legal settings, and language testing. The analyzed interactions are located in a variety of sociocultural environments and conducted in a range of languages, including English, French, German, Hebrew, Japanese, such language varieties as Aboriginal Australian English and Maori New Zealand English, and nonnative varieties. The original studies included in this volume adopt a variety of theoretical perspectives, including discourse-pragmatic approaches, conversation analysis, interactional sociolinguistics, social constructionism, tropological and narrative analysis. They represent multiple views of misunderstanding as a multilayered discourse event.
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Paderborn, 24 entries in the bibliography, language: English, abstract: At first sight, Ulysses might appear intimidating. The reader's reaction might vary from confusion to excitement to enthusiasm or even resignation. F. Scott Fitzgerald said the novel made him feel a "hollow, cheerful pain" and remarked: "The book makes me feel appallingly naked." To Stephan Zweig Ulysses is not just a novel, to him it is a "witches Sabbath of the spirit, a gigantic 'Capriccio', a phenomenal cerebral Walpurgisnacht. ...] Something evil is its root." Ulysses is not a novel, it's an epic. Inspired by Homer's adventures of the voyager hero Odysseus Joyce expanded a short story to almost a thousand pages and created a one-of-a-kind portrait of Dublin, at the start of the twentieth century. Hence, Ulysses does not actually mirror the ancient epic, neither does it recall Irish history as presented in a history book, solely in terms of social and political events and changes....
Studienarbeit aus dem Jahr 2002 im Fachbereich Französische Philologie - Literatur, Note: 1,7, Humboldt-Universität zu Berlin (Romanistik), Veranstaltung: PS Historischer Roman & Historiographie in der französischen Romantik, Sprache: Deutsch, Abstract: Victor Hugo wird am 26. Februar 1802 in Besancon als dritter Sohn von General Léopold Hugo und Sophie Trébuchet geboren. Wegen der schwierigen Ehe seiner Eltern verbringt Hugo den größten Teil seiner Kindheit allein mit seiner Mutter und seinen zwei Brüdern in einem Feuillantinerinnen-Kloster in Paris. Die Mutter sorgt für eine gute Bildung ihrer Söhne bei einem Privatlehrer im Sinne der Aufklärung. Dadurch wird in Hugo früh das Interesse für griechische und lateinische Klassiker geweckt. Da sein Vater in den napoleonischen Kriegen dient, wird Hugo auf Reisen nach Italien und Spanien mitgenommen, wo er die Schrecken von Krieg und Unterdrückung kennen lernt. Diese Eindrücke prägen ihn für sein ganzes Leben und spiegeln sich in vielen seiner späteren Werke wieder.
Seminar paper from the year 2001 in the subject English Language and Literature Studies - Literature, grade: 1,3 (A), Free University of Berlin (Institute for English Philology), course: HS Dialogue and Drama im WiSe00/01, language: English, abstract: In the following I am going to approach Shakespeare’s „The Taming of the Shrew,“ by analyzing selected dialogues according to their communication patterns. Main focus here is it to look at relationship and gender structures and their manifestations. The question raised is whether language is specifically used to affirm polarities, or even if these polarities are only a result of defining language. To what extent is reality constructed through this language and for what reason? What positions do non-verbal communication signs, such as clothes and body-language have, and do they influence the interaction as well? Working with a text always brings up questions and conclusions that may be subjective and just one possible interpretation. I have tried to show different approaches and have backed up my analysis with studies in communication sciences such as works by Watzlawick and Schultz von Thun. The main axiom on which I base this paper on is: “All behaviour is communication.” I am going to present different aspects of language to picture communication as a whole, as a system with various elements, supporting each other.
Seminar paper from the year 2006 in the subject Business economics - Offline Marketing and Online Marketing, grade: 75 %, Northumbria University, language: English, abstract: This academic paper critically analyses the relationship marketing orientation of MINI, a cult car of the car manufacturer BMW. A brief historical review serves to demonstrate MINI’s specific position in the BMW brand portfolio. Further, the need to build a close relationship especially with retailers and end-consumers is demonstrated. In this context the expanded marketing mix framework is applied to state the relationship marketing activities MINI currently adopts. Further suggestions for improvement are provided accordingly. Finally shortcomings of relationship marketing knowledge as well as appropriate recommendations are provided.
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