A major figure in women's studies and a long-term activist for women's issues, Gerda Lerner is a pioneer in the field of Women's History and one of its leading practitioners. "Why History Matters" is a summation of her work which includes pieces on the author's early life as a Jewish refugee from Nazi Germany and on her slow assimilation into American life.

Given the predominance of multilingualism in many countries there is great need for a new, interdisciplinary approach to the problem. Sociolinguistics—or the sociology of language—provides such an approach and can help to shed new light on a phenomenon which is often discussed in terms that tend to create more problems than they solve. In order to demonstrate how sociolinguistic theory and practice can contribute to the study of multilingualism this paper will attempt to outline briefly some of the basic premises (...) of sociolinguistic theory which appear relevant to the understanding of the phenomenon of multilingualism and also to define multilingualism as a social behaviour in response to a contact situation. (shrink)

Angelaki, Volume 16, Issue 4, Page 43-57, December 2011.

Within the genres of news and current affairs television, it is the generic logic of the ‘feelgood’ genre of the talk show that legitimizes personalized discourse between famous hosts and politicians. The article presents a case study of such an interview, focusing on the ways in which the interaction between the verbal, the visual and the rhythmic modalities of the interview is employed by the multiple authors of the text to construct a variety of interpersonal footings for interviewer and interviewee (...) on the one hand and a series of preferred interpretations for the audience on the other. The method is deviant case analysis, using tools from semantics and pragmatics, discourse and conversation analysis, and visual analysis of news images. To explore the manner of interaction between the verbal and visual channel, the concept of rhythm is developed for dialogic audiovisual texts. Dialogic audiovisual rhythm is defined as arising from the interaction of speaker or addressee change with onset of new shot, and with frequency of shots per turn/ generic unit of the interview. Rhythmic sequences can then be segmented which make up the textual structure of the interview, delineating its semantic units and areas of strategic positioning between the private, the personal and the political. Three types of the personalization of politics can be discerned in the text: that of the private domain, that of political relations as private ones, and that of politics as history being made by great men. A forth type of personalization is that of the relations between the media and politics. Different combinations of verbal, visual and rhythmic means are used to realize these types discursively. (shrink)

These nineteen original studies deal with Wessel Gansfort (1419-1489), the Modern Devotion and its influence, subjects and personalities of early humanism and ...

Two Jewish families, the Langs and the Ottenheimers, settled in the two separate parts of Suessen, District Goeppingen, in 1902. The Langs established a cattle business in Gross-Suessen, the Ottenheimers established a branch of their weaving business, headquartered in Goeppingen, in Klein-Suessen. Based primarily on archival sources, the study gives an insight into everyday rural Jewish life, persecution and deportation during the Holocaust, an American soldier's World War II experience, experiences of liberation from concentration camps, the reparations process and life (...) after 1945. (shrink)

This special issue on posthumanist perspectives on affect seeks to create a platform for thinking about the intersection of, on the one hand, the posthumanist project of radically reconfiguring the meaning of the “human” in light of the critiques of a unified and bounded subjectivity and, on the other, the insights coming from recent scholarship on affect and feeling about the subject, sociality, and connectivity. Posthumanism stands for diverse theoretical positions which together call into question the anthropocentric assertion of the (...) human as a distinctive, unique and dominant form of life – in turn, the concept of affect has been linked with ideas of increasing and decreasing energetic intensities, which underlie, but for some also precede, processes of individuation and subjectivation.The contributors to this issue consider critically the vistas opened by affect studies and by posthumanism. Coming from diverse disciplinary traditions, including literature, philosophy, critical sociology, visual arts, and heritage studies, the articles contribute to the four thematic idioms of this issue in an attempt to structure a dialogical space on posthumanist perspectives on affect and on affect-based politics. Questions of environmental governance, the critique of speciesism, the formation of cross-species solidarity, the politics of the “inhuman”, biopolitics and necropolitics form the intellectual mosaic of this issue. Finally, we pose the question of “academic affects”, in circulation in the researcher's encounter with her others – humans, insects, ghostly presences or inanimate objects – and we ask how these affects, including anger and mourning, but also joyful affirmation, are brought to bear on the process of writing. (shrink)

Filozófiai és művészeti gyűjtemények számára egyaránt érdekes lehet Széplaky Gerda filozófus, esztéta, kritikus legújabb kötete, melynek írásai izgalmasan társítják az esztétikát a fenomenológiával. A szerző esszéi a testiség, a nézőben végbemenő fiziológiai folyamatok felől értelmezik a befogadás aktusát. Az első írás általánosságban szól a radikális kritikáról, majd a figyelemfelkeltő kötetcímmel megegyező című esszé (Kant hátán a szőr) a megrázkódtatásról, mint esztétikai fenoménról szól. Olyan további általánosabb témákról ejt még szót a szerző, mint az esztétikai hatásban megnyilvánuló erőszak vagy az (...) építészeti reprezentáció problémái. A kötet második felében konkrét alkotók művészetével kapcsolatos írások kaptak helyet, olyan témákban, mint Bukta Imre művészetének változásai, Szirtes János videoperformanszai, a játék esztétikai szerepe Bondor Csilla műveiben, vagy az Élet menete című holokauszt-emlékmű és kontextusai. "www.kello.hu © minden jog fenntartva". (shrink)

Summary A total of 1068 secondary school pupils completed a questionnaire concerned with enjoyment of school, enjoyment of subjects and what they attributed academic success to. Gender differences were shown in the overall enjoyment of school (girls expressing greater enjoyment). Girls also reported liking friends, teachers, outings and lessons more than boys, while boys reported liking sports and school clubs more. Enjoyment of school subjects reflected traditional sex stereotyping: girls reported more liking than did boys for English, French, German, history, (...) drama, music and home economics while boys reported more liking for science. craft and design technology, physical education and information technology. Some gender differences were shown in rating factors contributing to academic success (girls rating hard work and teachers? liking for you as more important than boys, and boys rating cleverness, talent and luck as more important than girls) but attributions with respect to academic success varied more with age than with gender. (shrink)

A revision of the author's thesis, Ruhr-Universitèat Bochum, 1976.

In recent years, the category of evidentiality has also come into use for the description of Romance languages and of German. This has been contingent on a change in its interpretation from a typological category to a semantic-pragmatic category, which allows an application to languages lacking specialised morphemes for the expression of evidentiality. We consider evidentiality to be a structural dimension of grammar, the values of which are expressed by types of constructions that code the source of information which a (...) speaker imparts. If we look at the situation in Romance languages and in German, drawing a boundary between epistemic modality and evidentiality presents problems that are difficult to solve. Adding markers of the source of the speaker’s knowledge often limits the degree of responsibility of the speaker for the content of the utterance. Evidential adverbs are a frequently used means of marking the source of the speaker’s knowledge. The evidential meaning is generalised to marking any source of knowledge, what can be regarded as a result of a process of pragmaticalisation. The use of certain means which also carry out evidential markings can even contribute to the blurring of the different kinds of evidentiality. German also has modal verbs which in conjunction with the perfect tense of the verb have a predominantly evidential use. But even here the evidential marking is not without influence on the modality of the utterance. The Romance languages, however, do not have such specialised verbs for expressing evidentiality in certain contexts. To do this, they mark evidentiality – often context bound – by verb forms such as the conditional and the imperfect tense. This article shall contrast the different architectures used in expressing evidentiality in German and in the Romance languages. (shrink)