Terminology on Accessible Communication has primarily evolved and been published within the borders of a given country with no or only little exchange across these borders. Since English can be regarded as the lingua franca of science, this first German–English dictionary of Accessible Communication will help to promote international exchange and an international discourse on this topic by attempting to define concepts that go beyond the scope of a single-country centered approach. The terminological work for this dictionary is based on the German Handbook of Accessible Communication. Most of the handbook’s contents are language-independent and applicable to other recipient communities. On the basis of the German terminology, the English equivalents, definitions and explanations were researched. The dictionary contributes to the development of a standardised terminology across languages and cultures.
Terminology on Accessible Communication has primarily evolved and been published within the borders of a given country with no or only little exchange across these borders. Since English can be regarded as the lingua franca of science, this first German–English dictionary of Accessible Communication will help to promote international exchange and an international discourse on this topic by attempting to define concepts that go beyond the scope of a single-country centered approach. The terminological work for this dictionary is based on the German Handbook of Accessible Communication. Most of the handbook’s contents are language-independent and applicable to other recipient communities. On the basis of the German terminology, the English equivalents, definitions and explanations were researched. The dictionary contributes to the development of a standardised terminology across languages and cultures.
Since the late eighteenth century, writers and thinkers have used the idea of love—often unrequited or impossible love—to comment on the changing cultural, social, and political position of Jews in the German-speaking countries. In Mixed Feelings, Katja Garloff asks what it means for literature (and philosophy) to use love between individuals as a metaphor for group relations. This question is of renewed interest today, when theorists of multiculturalism turn toward love in their search for new models of particularity and universality. Mixed Feelings is structured around two transformative moments in German Jewish culture and history that produced particularly rich clusters of interfaith love stories. Around 1800, literature promoted the rise of the Romantic love ideal and the shift from prearranged to love-based marriages. In the German-speaking countries, this change in the theory and practice of love coincided with the beginnings of Jewish emancipation, and both its supporters and opponents linked their arguments to tropes of love. Garloff explores the generative powers of such tropes in Moses Mendelssohn, G. E. Lessing, Friedrich Schlegel, Dorothea Veit, and Achim von Arnim. Around 1900, the rise of racial antisemitism had called into question the promises of emancipation and led to a crisis of German Jewish identity. At the same time, Jewish- Christian intermarriage prompted public debates that were tied up with racial discourses and concerns about procreation, heredity, and the mutability and immutability of the Jewish body. Garloff shows how modern German Jewish writers such as Arthur Schnitzler, Else Lasker-Schüler, and Franz Rosenzweig wrest the idea of love away from biologist thought and reinstate it as a model of sociopolitical relations. She concludes by tracing the relevance of this model in post-Holocaust works by Gershom Scholem, Hannah Arendt, and Barbara Honigmann.
An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art. Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance—with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.
Examines the responses of German Jewish writers to the geographical and cultural displacement that is one of the lasting consequences of the Holocaust. When Paul Celan was charged with plagiarism in 1960, the ensuing public debate in West Germany threw the poet into a major personal crisis even though most German critics immediately came to his defense. This crisis coincided with a transformative moment in the history of Holocaust remembrance, its first generational reimagining in the wake of a number of highly publicized criminal trials. Words from Abroad takes its lead from this disjunction between public ritual and private crisis to chart the emergence of a new literary diaspora, examining German Jewish writers who were dislocated in the course of World War II and began rewriting their own displacement more than a decade after the war. The idea of diaspora had ceased to be a constructive element of Jewish culture in Germany during the nineteenth-century process of emancipation and assimilation, though this book argues that it becomes crucial in articulating the possibility of German Jewish identity after the Holocaust. Along with the works of Paul Celan, Words from Abroad examines selected German Jewish writers such as Peter Weiss and Nelly Sachs. The study of these authors is framed by theoretical reflections on the play of distance and proximity in German Jewish intellectuals after the Holocaust, including Theodor W. Adorno, Jean Améry, and Günther Anders. Drawing on postcolonial theory, diaspora studies, trauma theory, and psychoanalytical theory, author Katja Garloff offers an original and nuanced reading of the way in which these writers, in the wake of the Holocaust, experienced and variously created a vision of dispersion as both traumatic and productive. Words from Abroad is an important tool in investigating the works of these German Jewish writers and thinkers, but it is also a contribution to the interdisciplinary scholarship on trauma and displacement itself.
This book provides a timely and unique contribution to current debates on how effectively voluntary party quotas address the persistent underrepresentation of women in legislatures. Using a most similar case design and a mixed-methods approach, the authors draw attention to the ways in which electoral systems and party regulations interface with voluntary party quotas in Germany and Austria. All quota parties in these countries support the goal of equal participation of women and men in elected office, and quotas are presented as a means to precisely that end. In order to assess parties’ commitment to their declared goals, and the effectiveness of quotas, the book introduces the concept of the post-quota gender gap and defines it as the difference between a party’s adopted quota and the actual share of women in legislative bodies at the national and regional level. Complementing the existing literature on recruitment and socio-cultural legacies, the authors argue that the problem of voluntary party quotas lies at the intersection of party quota design and electoral law. Either parties need to design quotas that actually work within a given electoral system, or we need legislative action geared toward advancing parity not just in candidate selection, but in the composition of legislatures. The book draws on gendered candidate and election data, on the party statutes of federal and state-level party organizations, and on interviews with party officials and party women’s organizations.
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