Matthias

This article deals constructively with a study on historical narratology by Harald Haferland, which he presented to a broad audience of experts at the Germanistentag in Bayreuth in 2016. In it, Haferland outlines pre-modern narrative as modular or episodic and characterized by a strikingly fragile space-time continuum compared to modern narrative. The analyses that follow take up these ideas and try them out on a specific type of narrative, the legendary narrative in legend collections. In their narratological peculiarities, both vernacular legends of a medieval legendary, the Der Heiligen Leben, and legends of modern legend collections are examined. Specifically, the Middle High German Antonius legend and the Margarethen legend are examined and compared with 19th- and 20th-century versions. In addition to the exemplary analysis of the Antonius legend and the legend of St. Catherine, the legend of a modern martyr, Alois Grozde, is also focused on. Moreover, the narration of a modern legend collection designed for children is additionally analyzed. It turns out that the differential features of pre-modern and modern storytelling observed by Haferland also apply to this Gumbrechtian type of fascination, but the differences do not merge into a transformation of the storytelling. Rather, modern legend collections exhibit a different form of textual representation, one that is descriptive rather than narrative. It seems that modern legends are perceived less as narratives that create meaning, and more as informative descriptions. Haferland‘s perspective on thematic linkages of legendary storytelling reveals axiological charges of the plot that support the final motivation (sainthood) but run counter to the core of the motivation, the narrated, singular event (sanctification). This opposition primarily concerns the respective, individual sanctification rendered in the legends as a singularity versus the topical descriptions and metonymic condensations narratively employed by it. The legendary plot and the events of a specific sanctification narrated therein, singular in the narrated time, remain untouched in their unrepeatable uniqueness and are not the object of a pious imitatio. The pre-modern legendary narrative conveys, through its axiological charges in the thematic overwritings, how one as a recipient should live godly in order to attain Eternal Life. In their plots, legends tell of extraordinarily godly and, insofar, saintly ways of living that lead to sainthood within the narrative. In the synopsis of both narrative elements, the special conceptual character of the legendary narrative becomes apparent: it is not the mediation of a certain plot that is in the foreground, but the symbolic as well as paraenetic mediation of salvation with an everlasting claim. In contrast to Haferland‘s analyses of the vernacular novel narratives of the Middle Ages, the difference between the pre-modern and modern texts in legend collections is not, or at least only slightly, rooted in a divergent narrative structure and chronological order of storytelling. Rather, the difference lies in the mode of textual presentation. While the vernacular legends in Der Heiligen Leben (or the ‘Passional’) are narrative in their presentation of the saints and their sainthood, modern collections are descriptive in this regard. Modern collections of legends thus approach again in their mode of representation those institutionally back-bound texts that report on the trials and canonization procedures. Haferland‘s ‘narrative continuum’, essential for the modern recipient, in which time, space, and situation are tied back in such a way that leaps and breaks in the narrative, which can be mentally resolved, is replaced in the modern legend by a descriptive mode of representation. Haferland‘s study is able to open up new perspectives on legendary storytelling. On the one hand, by focusing on the thematic or conceptual overwritings, far-reaching statements can be made about the motivational structure and the order of the telling of legends. This reveals an intertwining of the final motivation of the legend plot with the axiologically charged, thematic overwritings, which in their metonymic condensation support the final motivation and order of the narrative. Moreover, the synopsis of the different levels reveals how the legend plot and the time narrated in it are transformed into a salvation plot and a salvation time in the structural layout of the legendary narrative. On the other hand, the analyses of modern salvation legends handed down in collections show that they are subject to a clear spacetime continuum. However, this arises less from a changed mode of narration, as Haferland states for novelistic narration, than from a different textual mode of representation. Legendary narration in pre-modern legend collections transforms into legend reports in modern collections; narration and the space-time structure of storytelling are replaced&nbsp;by description and the topology and chronology of reporting. Related to the narrative representation of saints and their plot in postmodernity, the fascination type of hagiography is fading. The (post)modern texts no longer provide an answer, already unfolding in the narrative, to the question of a saintly life; rather, the descriptive texts must formulate it themselves.

Legendary Narrative in Medieval and Modern Legend  Collections: Transformations of a Type of Fascination and its Textual Representation

Martha

The Nibelungenlied and the Thidrekssaga are two actualizations of the same plot, yet they show a number of differences, for example the depiction of one of their protagonists. By outlining the portrait of the protagonist the Nibelungenlied calls Margrave Rüdiger von Bechelaren and the Thidrekssaga calls Rodingeir von Bakkalar, as well as reviewing preexisting literature on the subject and identifying possible historic models or prefigurations, the article at hand demonstrates the figure’s vast differences. Additionally, it shows that in the Nibelungenlied, the figure serves as a genre defining and plot-driving force and helps to adapt the older heroic matters and plots circulating around the figure of Dietrich von Bern to the German High Middle Ages courtly literary style, while Margrave Rodingeir takes a minor role in the Thidrekssaga. The article demonstrates that in the Nibelungenlied, an adaptation courtoise (Höfisierung) is achieved through various characteristics of the Margrave, such as the use of a specific narration mode, the employment of the Topos locus amoenus, and the contrasting reflection of Christian and worldly lifestyles and their virtues. The Nibelungenlied can even be classified as a helferzentrierte Brautwerbungsdichtung (a piece of helper-focused courtship poetry) because of the Brautwerbungsschema (courting scheme) used by Rüdiger to find a wife for his feudal lord Etzel. This scheme consists of specific elements that can be employed as a group or individually and describe the process of getting married or helping someone else get married: Deciding a marriage shall take place, courting the lady in&nbsp;question, getting married in her native country and the following repatriation of the bride to the grooms dominion after the marriage can all be part of the scheme. Even though the Margrave does not pose as a main protagonist, overall, he still is of high importance to the Nibelungenlied, as he acts as a genre deciding factor and drives the Höfisierung (adaptation courtoise). These courtoise elements are absent in the Thidrekssaga. While Rüdiger appears as a model-knight abiding by all the knightly virtues such as triuwe, mâze and staete in the Nibelungenlied, his counterpart, Rodingeir, in the Thidrekssaga, plays a strictly functional role in advancing the plot. The Margraves knightly virtues show in the figures behaviour, including among others the receptions and treatment his guests receive at the Margraves court function. These act as a sign of the differing depiction of the figure in both works. It is at his dominion that the marriage of Rüdigers daugther and the Burgundian Giselherr is agreed upon in a scene full of elements belonging to the courtly literary style of the European High Middle Ages such as the strict following of courtly ceremony while receiving, entertaining and seeing guests off, as well as great hospitality and hospitality gifts. Furthermore, this courtly reception does not just emphasize Rüdigers model behaviour and knightliness, but is also an example of the Höfisierung or adaptation courtoise of the Nibelungenlied as a whole that is consummated by the Margrave. Moreover, in the Nibelungenlied, the obligation arising from the newly forged family ties that arise from the wedding of Rüdigers daugther and Giselherr together with the Margraves status as a model-knight culminate in the well-known vasallity conflict, in which the figure is trapped in a battle between his feudal lord and his in-laws. A hierarchization of types of vasall and moral obligations only seemingly settles the conflict. The Margrave now not only belongs to the sphere of Etzel, who is his feudal lord, but also to the Burgundian sphere, who he is related through by marriage. The protagonists legal obligations towards his lord and the moral and virtuous implications of his ties forged by marriage cannot be reconciled. Through Rüdigers dilemma, the non-literary conflict of Christian and worldly lifestyles is negotiated, as the article at hand shows. The heroic Nibelungenlied epic asks how concepts of worldly order such as the feudal system and Christian beliefs can be combined into a knightly lifestyle and therefore fits in with the negotiation of traditional heroic virtues and behaviours and the relatively new concepts of Christianity. The article at hand demonstrates that Rüdiger von Bechelarens character is integral to the meaning and structure of the Nibelungenlied and determines the genre, while Rodingeir von Bakkalar is only employed marginally and functionally.

The Nibelungenlieds Margrave Rüdiger von Bechelaren  and the Thidrekssagas Rodingeir von Bakkalar. Portrait, Comparison and Adaptation Courtoise

Svitlana

Prof.

As part of intermediality theory, the paper treats the verbal transformation of music in a literary work as a result of structural performability of a text. Thus, the study aims to trace the impact of intermedial performability on the genre nature of a literary text and, by doing so, define the notion of ‘text-concert,’ which is based on the staging of a literary piece as a concert. Similar to the concept of a ‘total work of art’ (R.&nbsp;Wagner – Gesamtkunstwerk), a ‘concert’ in literature draws attention by bearing association with a specific form of cultural practice and the ability to open associative spaces in which a polyphonic ‘composition’ of texts is connected to the idea of the acoustic and thematic variety. A concert as a form of culture clearly demonstrates its aesthetic and social properties with the help of literary images. For literary works, the interpretation of a concert means revealing new textual dimensions, which allows for defining them as ‘texts-concerts.’ Such texts describe a concert as a vivid event, naming the musical pieces and their performers, their individual manner of performance or expression, and the sound of musical instruments or voices and offering an interpretation of the music performances. What is also essential is that texts-concerts serve as a particular type of ‘stage’ where the verbal transformation of music is ‘staged’ with the help of specific structural technologies so that the text as a medium reveals performative qualities like immediacy, procedure, embodiment, intensity, and sensuality. By exposing its mediality&nbsp;and performing the events it is describing, a text exceeds the limits of what is solely narrated. Consequently, this paper looks into textual performability, which is assigned with an intermediary function: to emphasize the realization of what is depicted and simultaneously highlight how a text participates in the dynamic process of sense creation. A text makes up for the lack of intensity via reference to musical plays, visualization of the musical process, embodied language, rhythmization of the narration, problematization of the musical perception, and a focus on the ‘culture of staging.’ A text-concert is enriched by the sensual intensity of music and is based on its ability to respond to the immediate experience of collective identity.&nbsp;The texts selected for analysis include the essay Around the Piano with Thelonious Monk (La vuelta al piano de Thelonious Monk, 1967) by Julio Cortázar and the short-story Future of Beauty (Die Zukunft der Schönheit, 2018) by Friedrich Christian Delius, both of which tell of famous jazz concerts that are actualized by being written into cultural memory. Both writers, excited and inspired by musical events, use their individual writing manner to replicate the specificity of concerts and create their most accurate and vibrant verbalizations. Julio Cortázar, a great connoisseur of jazz music, stages the concert of Thelonious Monk’s quartet, which he attended in March of 1966 in Geneva. To recreate the unique atmosphere of the concert and the reader’s immediate involvement, the writer creates an intertextual network of links called to evoke the feeling of existing outside of time. He masterfully works with the pace of narration, slowing it down to increase the suspense or intensifying it according to the requirements of the play performed. He uses vivid metaphors, rhythmic movements, and gestures as embodied language, paying attention to the musicians’ communication, the individual manner of their performance, and the sound of the instruments. It is stressed that it was the improvisation that appealed to Cortázar in jazz, the ‘result’ of which (performance) is the process of creation, which is ‘realized’. Thus, the writer creates his own textual performance, which allows for the visual and acoustic perception of the musical performance in the text, aiming to break the limits between the text and jazz. Intermedial aesthetics as an experience of jazz perception, recreated through literature, is focused on the unique personality of jazz pianist Thelonious Monk.&nbsp;The autobiographical short-story The Future of Beauty by Friedrich Christian Delius reveals its performative qualities in two dimensions: a concert and an autobiographical act. The text plays out the jazz concert of free-jazz musician Albert Ayler, which the writer had the privilege to attend on May 01, 1966, at one of New York’s jazz clubs. However, the author gave meaning to the event, which he experienced in adolescence, only 50 years later, calling it the ‘emotional key’ of his autobiographical concept. The tension between the experienced I-narrator and the remembered I-poet-newcomer is expressed through deciphering free-jazz compositions, i.e., via the music medium. In consequence, the links between the images that convey free-jazz in the text are highlighted along with the acts which are assigned with meaning by the I-narrator. Therefore, for Delius, the act of autobiographical writing is performative – it portrays the changeability of the subject, the constitution of a concert during listening, and the creation of ties with oneself while gaining the required aesthetic experience stimulated by the concert event. To achieve the immediacy, intensity, and vocality of text, Delius works with rhythm, harmony, tempo, the power of sound, the sound of musical instruments, the way musicians play their instruments, and the communication between them and the public, using metaphors, intertextual and intermedial references, and ritualizing the musical process as initiation.

The Performative Dimension of a Literary Text-Concert

Assoc. Prof.

Beste

The so-called “New [German] Popliterature” (more or less similar to the “Beat Generation”) is regarded as a literary genre that is not clearly defined. Originating after the end of World War II, it experienced a renaissance in the 1990s. The work of Swiss writer Christian Kracht, whose debut novel Faserland (EN: Fatherland), published in 1995, led to a new turning point in the literary scene, What about a New Popliterature in Turkey? Hakan Günday, who published his novel Kinyas ve Kayra eight years after Kracht, could be considered such a writer. In this article, the (western) characteristics of New Popliterature are examined in the novel by Günday using Kracht’s initial example. The article attempts to determine whether Günday can be considered a pop literary writer and whether his work can be classified in this category. If the result can be verified, then it means that the western influence of New Popliterature would also have reached the Turkish literary scene.In this work, the motifs from New Popliterature that were specific to the literary period of the 1990s in Germany were identified in the works of Günday. The main starting points for New [German] Popliterature were Kracht’s novels Faserland and 1979; the solo album by Benjamin von Stuckrad-Barre; and Tristesse Royale from the pop cultural quintet Joachim Bessing, Christian Kracht, Eckhart Nickel, Alexander von Schönburg, and Benjamin von Stuckrad-Barre. These authors reflect attitudes toward life—in particular, the intermedia staging of the authors as ‘pop stars’, ‘pop music as a theme’ and as a template for literature, youth and their ‘generational conflict’, social criticism through ‘apolitics, gender trouble’, ‘ironic use of language’, illness and ‘death’ (the last things), the ‘desire to travel’, ‘brand fetishism’, drug consumption, and also the hopelessness of the young generation in the 1990s. Similar trends can also be found in Turkish literature, especially in the works of Günday. Similar to New Popliterature figures like Kracht, Bessing, and von Stuckrad-Barre in Germany, Günday stands for a new kind of Turkish literature, a kind that follows the visions of the New [German] Popliterature and lets the author rise to the state of a staged “idol”. Günday’s bindings also refer to record covers of the music industry, and the author himself likes to be different and does not mind if you portray him with a cigarette, thus reflecting a new kind of Turkish literature that is developing in popularity.In Günday’s work Kinyas ve Kayra, the reader may often find descriptions of music that underline the scenes of the everyday world of the protagonists. In contrast to the musical characteristics of New Popliterature, which were consolidated by pop and techno music of that time, characteristics of reggae music and jazz music appear in Günday’s work. Günday also uses brand names, especially for alcoholic beverages. “He took a bottle of vodka next from his foot and put it on the table. He smiled. We both had stories about Absolut Vodka.Ayağının yanında duran bir votka şişesini alıp masaya koydu. Gülümsedi. İkimizin de Absolut’le ilgili hikayeleri vardı” [Kinyas ve Kayra, p. 13]. Günday also uses the language of the youth and ironic statements about politics to describe his view of the world. In contrast to the style of New [German] Popliterature, Günday criticizes the welfare state through the protagonists’ own view of the world. Kinyas ve Kayra also exhibits clear openness with regard to sexuality. Travel literature is important as a stylistic device, similar to the features of the New [German] Popliterature. This paper posits that pop literary tendencies can be found in Turkish literature. On the basis of text passages on the central motifs of pop literature, these tendencies are shown and confirmed in the result of this study.

German Popliterature; Turkish Popliteratur? Hakan Günday’s  Kinyas ve Kayra in view of the New [German] Popliterature

Pınar

The coronavirus pandemic resulted in a phase during which the entire world was in a state of emergency and the majority of the population in European countries stayed in their homes. Such days made people realize how vital art actually is. People looked for support in the melodies they heard from the neighborhood or were in search for joy with the help of online galleries. In addition to the cruel photos from the hospitals, there were also numerous images of artistic productivity in varied forms. The hope and confidence hidden in art were contrasting hopelessness and skepticism. Art represented life, while the coronavirus kept reminding people of death. The coronavirus pandemic and the crisis it has brought about has resulted in inaction on the part of the individual. The following passive attitude towards life and ongoing politics is also noticeable in the artist, as the content of the artistic creation has never been directly related to the current situation in times of crises, but rather was used as an escape from the situation. The creative process does not process the material that is available under the given circumstances. Instead art usually represents a means of accepting life as it is with all its sorrow. With the current crisis, one can now see much more clearly how this conception of art, systemized for the first time by Nietzsche, is put into practice, so that its political and social significance is also recognizable. The present essay deals with the question of why, in the modern society, modern art in times of crisis has repeatedly tended towards a status of inaction and tried to provide an answer to crises with mere aesthetic principles. Especially in times of crisis, modern art has moved away from grasping connections, providing access to central social issues and presenting new views. Instead, in times of crisis, modern art has focused solely on the aesthetic content and, as a result, its scope was only as large as the formal limits of the work of art. However, the accumulation of far-reaching social crises in the 21st century makes the question unavoidable as to whether the relevance of art for society will remain as long as it continues to function as a passive place of escape and joy. Will the current crisis bring about the final end of classical tradition, so that art can no longer assume a pioneering character, no longer represent perspectives and alternatives and no longer have the power to show the possibility of a better world? Or will the current crisis at the same time cause a crisis in this abstract art that has been dominant since the beginning of modernism and asserts passivity, acceptance and inaction. This study examines Nietzsche’s ideas, which he systemized with his work The birth of tragedy, in order to be able to see the roots of the inactive status of the modern artist. On the basis of Nietzsche’s aesthetic principles, the study draws a conclusion about the attitude of the artist in times of crises. What is certain, however, is that in phases of great changes and upheavals, conventional political, aesthetic, and even legal norms have to be reorganized. This condition will shape art creation in the future. As a result, this article points out that the current crisis could at the same time give rise to a crisis in abstract art that has been dominating the cultural milieu at the same time pleading for inaction. In a new phase in which new concepts are being sought all over the world, it can hardly be expected that aesthetic principles will be preserved as they have prevailed for more than a hundred years.

The Crisis of Aesthetics, Aesthetics of Crisis

İrem

Assist. Prof.

Barış

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Zehra

Quality of Literary Translation. Turkish Translations of E.T.A. Hoffmann’s Novella Das Fräulein von Scuderi as a Case in Point

Heiko

Writing on South Africa is not a popular theme in German literature, yet the Realism of the 19th century as reflected in the writings both of W. O. von Horn and Karl May tends to the remote by finding its setting in the province and overseas. Neither has been to the Cape, W. O. von Horn depending heavily on Eduard Kretzschmarʼs Südafrikanische Skizzen (1853), whereas his own Die Boorenfamilie von Klaarfontein (1855) provides the role model for both Karl Mayʼs short narration Der Africander (published 1878 under the name of his bethrothed Emma Pollmer) and the enlarged version Der Boer van het Roer (1879). All three texts tend to demonize the British as new rulers of the Cape and to idealize the Boers: To W. O. von Horns readers the agricultural Afrikaner life seems so much like their own, Karl May stresses the allegedly strong cultural ties between Germans, Dutch and Boers. By teaching his readers a lesson in humanity and tolerance W. O. von Horn not only follows didactic aims that are a characteristic of the popular enlightenment of early 19th century, but also bases his plot on the romance elements of the literary scheme established by Homerʼs Odyssey to present an enduring hero of a love story. On the other hand Karl May uses the adventure plot of the ancient epic to depict the protagonist (in Der Africander) and especially his first-person narrator (in Der Boer van het Roer) as a trickster whom his readers can admire. In Die Boorenfamilie von Klaarfontein Jan van Daanen does not revolt against his father who does not allow his loving for Mietje to develope into marriage and the founding of an interracial family, but by suffering and enduring he finally overcomes all obstacles: Piet van Daanen learns to accept the Amakosa princess as his daughter-in-law, who brings her tribe christendom and her new Boer family peace with their native neighbours. The Piet van Holmen of Der Africander is not the patient endurer but the active fighter: When British rogues kidnap his beloved, he chases them down and finally kills them; the first-person narrator of Der Boer van het Roer adds to this heroism the intellectual skills of superior warefare; more importantly May distinguishes him from the Boer characters by attributing to the latter a rude and inhuman colonialism which the former does not share and does not approve. But it is he who benefits most from his adventure by bringing home some precious Cape diamonds – and the vision of a future German colonialism that will yield wealth even beyond the exspectations of German Gründerzeit society for those who dare to simply act – not ruthless, but resolutely – in the complex interlacing of a colonial world. Both W. O. von Horn and Karl May follow the aims of their time and surroundings, and both use literary tradition descending from Homer to do so.

Perspectives of Cultural Anthropology and Literary Studies on Novellas by W. O. von Horn and Karl May

Withold

In Emine Sevgi Özdamar’s literary texts, her protagonists typically perform like actors on a stage, such as in Bertolt Brecht’s epic theater. Although the author is clearly well aware of the imaginary stages on which her actors perform their roles, surprisingly little attention has been paid to these stage settings in the literary criticism of her novels. This article addresses the following questions: first, where are the stages on which Özdamar places her novel’s characters, and second, what is the historical and societal relevance being expressed by means of these particular stage settings? Particularly eye-catching in the novels of her so-called her Istanbul-Berlin trilogy novels is the frequent appearance of spaces that Foucault calls heterotopias; that is, cemeteries, mirrors, theaters, brothels, ships, and trains. The role of trains in Özdamar’s novels is of special interest. As Foucault says, “A train is an extraordinary bundle of relations,” and this is true for her novels, where many diverse plays are performed using a railway compartment as the stage setting. At first glance, each book in the trilogy strengthens one’s impression that the trilogy is largely concerned with referential autobiographic writing. However, as a comparison of the highly diverging portrayals of the protagonist’s first railway journey from Istanbul to Berlin show, it is the staging of auto-fiction, not of autobiography, that is orchestrated on the revolving stage of the railway compartment. In addition, the discussions of the motif of her use of German as her novels’ language are played out on trains. It is in a train compartment where the protagonist reveals her choice of German as the language for her literary texts. In addition, her decision to employ a partly hybrid language in her early texts, such as in Mutterzunge and Das Leben ist eine Karawanserei, where the German is permeated with direct translations of Turkish phrases, is motivated by the author’s observations on the creative German-language use by many ‘Gastarbeiters’ during train journeys. It is repeatedly evident that her narratives of solidarity are told in these railway compartments. The cigarettes the travelers smoke together or offer each other become symbols of this ongoing solidarity. Though the panoramic view from the railway window, and the changeover to imaginary literary landscapes constitute illusionary spaces, where for once the ‘actually existing socialism’ seems to be apparent, Özdamar’s protagonists are nevertheless aware of the problems of GDR socialism. These include, among others, the remnants of fascist thinking in spite of the official GDR antifascist narrative. And, it is not only the staging of highly contradictory encounters in the train compartments that are facilitated by the protagonist’s persistent traveling on the urban commuter train between East and West Berlin. This perpetual oscillatory traveling transforms the contradictory and coinciding fragments of the protagonist’s identity into a horizontal coexistence. Although every railway journey comes to an end, one can always start a new, so that in spite of the protagonist’s disillusionment, a utopian moment of solidarity shines forth. Finally, the protagonist becomes an actor, theater director, and author. Eventually, the protagonist’s train journeys between Istanbul and Berlin and between East and West Berlin are followed by a journey to Paris,&nbsp;where she assists director Benno Besson with the staging of the Caucasian Chalk Circle by Bertolt Brecht.

Trains as Stages in Emine Sevgi Özdamar’s Novels

Sabine

Mulitperspectivity, Achrony and (Un)reliability: Synoptic and Kaleidoscopic Strategies in Contemporary Film, Using the Examples of Vantage Point and Forestillinger

Stellan

Grow up! – Masculinity, violence and genre in Fatih Akıns Short sharp shock

Sang-bum

Michael

The Asiatic influence on the Poetics of Expressionism by examples of the German writers Alfred Döblin and Gottfried Benn

Valeria

Scientific Communication: Call for Multiculture

Sergey

Sublanguage ‘linguistics’ in universitary communication: Explicit and implicit authorisation of scientific texts

Ali Osman

Else Günther is a children's author who started writing books after the Second World War, but was almost completely forgotten by the end of the 1970s. In her books, which have a pre-intercultural characteristic, she introduces foreign continents such as Africa and Asia (Turkey) and countries such as Sweden, Norway, and Finland to children in post-war Germany. In my opinion, she uses her writing to develop the intercultural skills of post-war children. Based on the children’s book Sonjas lustige Türkenreise, it seems that the author did not talk about the destruction by and consequences of the Nazi regime, even though she wrote during the early 1950s. On the contrary, she brings an exemplary family life to the forefront of the welfare society. Even the title of her book is striking because it translates as Turkish Trip instead of Turkey Trip, so one could argue that it can be seen as a mental trip into the world of the Turks (as Asians). Franz &amp; Meier (1978, p. 155) state that the text pragmatics, or use and function of the text, should be taken more into consideration while organizing children’s or juvenile literature. They suggest that the following questions be asked:&nbsp;Does the text primarily want to be instructive? - Does the text primarily want to direct behavior? - Does the text primarily want to entertain? (see Nündel, 1976)From this point of view, my aim is to answer these questions about the text function in terms of what it is attempting to evoke in the reader’s mind in the example of Else Günther's children’s novel Sonjas lustige Türkenreise. My goal is to clarify how children's literature contributed to child education in the 1950s and which bridge functions between the self (me) and others after the racist regime. The focus of this research is the question of how the author encouraged child education and the overcoming of societal prejudices toward the degradation of foreign peoples and cultures. Else Günther mostly wrote novels during the first years of her authorship in the 1950s, which made a tremendous pedagogical contribution to intercultural children's education in the context of the literature of child autonomy. In this sense, the children are directed to conscientious behavior through the examples set by little Sonja's mischiefs and experiencesThus, the questions we have asked at the beginning are also answered based on Nündel (1976). Else Günther's text is entertaining on the one hand, but on the other hand, it is secretly so instructive that child readers are directed toward better behavior by reading.From a pedagogical point of view, this approach is praiseworthy, because it would otherwise not be a suitable method for children's education. An unsympathetic teaching might have caused a negative reaction in the children and the desired aim would not have been reached. Children should be able to move autonomously in their own living and play areas so that they can create their own experiences by observing the human and animal environment. In this sense, Else Günther has a tendency to act in accordance with the text function of the novel Sonjas lustige Türkenreise, thus developing a role model for child readers and to initiate a spiritual identification process. The novel is about middle-class heroes who come from a nice family environment. We see here that imagination and psychology are important elements for children to get rid of the obligation to undertake honesty as a duty and a strict adherence to norms set by adults (see Steinlein, 2008, p. 327). In our view, this requires the involvement of Else Günther's young girl novel to the texts of “child autonomy literature” (Ewers, 1995); that is, to the field of the pacemaker texts in this context, with its free-spirited and rebellious protagonist. Not only parents’ relationships with their children, but also the literal reflection of foreign worlds are obviously very important to the author in terms of pedagogical aspects, especially with regard to the intercultural education of the children of the new generation.

An Analysis of the Educational Value of Children’s Literature in Else Günther’s  Sonjas lustige Türkenreise

Özlem

German playwright Heiner Müller, a dramatist coined as a postmodernist, produced postdramatic plays using techniques such as pastiche, rewriting and alienation, and reimagined history, myths and old texts under the light of the twentieth century history and postrdramatic theatre. One of his most exemplary plays that uses these characteristics is Hamletmachine (Die Hamletmaschine, 1977), a distinctive rewriting of Hamlet. Hamlet as one of the most important examples of the Elizabethan drama and revenge tragedies is itself a play that uses techniques such as pastiche, play within a play, and rewriting, proves the interdisciplinary nature of drama. Hamlet includes discussions about religion and philosophy, together with a slight discussion of art theory in the midst of the play. The rewriting of Hamlet, with the writing style of Müller in 1970s, puts forward the changes in and the important techniques of the twentieth century texts and performances. As a rewriting Hamletmachine creates not only a new text but also an unusual, innovative, and even experimental interpretation in terms of text and performance. Not only the text and performance, but also the text, performance, years of literary criticism, and many readings of the original text are connected to one another in this play which help the creation of a different kind of visibility on stage. “Death Suits Ophelia,” directed by Ozan Gözel and Tuluğ Ülgen as a part of the 4 Short Plays by Studio Actors in 2005, focuses on Müller’s interpretations while it also suggests that they’re rewriting not only Shakespeare and Müller but the existentialist writer Sartre’s The Flies (1943) as well as Eugene O’Neill’s Mourning Becomes Ophelia (1931) (These texts are 1930s and 1940s rewriting of the Ancient Greek myths of Orestes and Electra, and Aeschylus’ tragedy Oresteia, a tragedy that affected Hamlet and Hamletmachine, as well). As a rewriting of these text, their performance piece creates a new text and gives way to new interpretations with its diverse staging. The aim of this article is to argue that drama is an interdisciplinary and intermedia art by nature, and the performance can also be considered as a rewriting while play texts and performance, two parts of the same art, are also two different disciplines with their own dynamics. For this aim, this article will focus on Müller’s Hamletmachine investigating the text’s relation to its predecessor, its use of technique and the multiple interpretations in the play. The article will also focus on the different interpretations of the performance piece “Death Suits Ophelia” with an intention to discuss both texts’ interdisciplinary and intermedia characteristics as rewritings.

Text and Performance as an Interdisciplinary and Intermedia Rewriting:  Hamletmachine (1977) and “Death Suits Ophelia” (2005)

Laura

Wolfgang Koeppens short stories: various ways of an autobiographical writing

Franziska

"We call him son" – the nexus of identity, family and migration in Feridun Zaimoğlu's Leyla

Cristiano

Lecturer

The Neoclassical Grand Tour of Sicily and Goethe’s Italienische Reise

Saniye

Even though Feridun Zaimoglu’s novel Isabel, published in 2014, evokes his other novel Leyla in view of its female title character, there are significant differences between these two works. Isabel focuses on topics such as identity, integrity, border, and crisis situations, all of which are regarded as peculiar to Turkish-German Literature from a different perspective. The novel presents life and border situations from the 21st century life in Berlin. It further visualizes the theme of non-integrity as well as the crisis of the modern subject of the present, which results from social problems and social conventionality. The novel’s female protagonist puts an end to her life as a model and begins a new life after separating from her long-term boyfriend. She is surrounded by figures from the lower social milieu, including bottle pickers, madmen, transsexuals, and homeless people. The aim of this study is to focus on the conceptualization of the title character with regard to the constitution of the subject and from an intercultural perspective. By using and introducing the theoretical approaches of Stuart Hall and Judith Butler to the “subject", I will first analyze the ‘crisis of the subject’, which appears with the eponymous character. I will also concentrate on the critical position of the female protagonist that is particularly targeted against the conventional discourses and attitudes of society. In view of her distinctive disgust for the fundamental things in life, the protagonist is primarily characterized by a new concept of the self. She has a firmly distant attitude toward any kind of conventionality and thus isolates herself from society. However, she also rescues herself from the position of the subjected and non-“recognizable” (Butler 2008: 15) individual, insofar as she reverses the dynamics of society through her critical attitude revealed in her discourse. This means that this character performs a “subversive resignification” (Butler 2008: 246) and creates a space for her self-defined subjectivity. This process of revaluation, which is directly linked to the title character, can also be observed from an intercultural perspective. Secondly, I will show how the novel undermines and recodes the ethnicized and culturalized female subject through its subversive title character. It is remarkable that even though this character is of Turkish origins, this fact has no specific function on the frame of the plot. The emphasis on the performative phrase “I am only me” makes the distant and critical position of the protagonist to any kind of conventional discourse strategies obvious. In this regard, the conceptualization of the title character is a reminiscent of the female characters in Koppstoff who explicitly reject the stereotypical formations of the Turkish-German woman that are commonly found in the German public. The speech of the character Gül is particularly important here. In this context, the novel leads to the critical reconsideration of perception patterns Turkish culture as well. It is clear that the novel initiates a revaluation of the Turkish culture within the German community and its elements in a subtle way.

“I am only me.” The ‘Crisis of the Subject’ in Feridun Zaimoglu’s Novel Isabel

Antonie

Academic Writing with Italian freshman students of German as a Foreign Language – Feasible Steps to Critical Thinking?

Deniz

Sarah

Garbage in Paradise – Waste and the Representation of Space in Fatih Akın’s Documentary Müll im Garten Eden

Alena

Women Writings of Men Authors in Contemporary Migrant Literature? Leyla by Zaimoğlu and Zaira by Florescu

Şebnem

1979, the second novel of the Swiss writer Christian Kracht, published in 2001, is an implicit criticism of the culture of Western bourgeoisie. Both with its title and with its setting in Tehran, especially in the first part, the novel reminds us the 1979 Islamic Revolution in Iran from its start. Kracht’s novel depicts Tehran as a modern city and as one of the geographies of modernism and globalisation as Andreas Huyssen identifies (Huyssen 2005: 6). From this perspective, we get to know Tehran as a city where decadent people from all over the world organize jet-set parties and in the light of this information Tehran as depicted in the novel emerges as a space which is beyond cultures and independent of Eastern identity. However, the date is 1979 and the city is on the threshold of social and political transformation. All in all, the novel does not mainly deal with the fact that city, hence the country, is at a political junction. The novel mainly focuses on an anonymous first person narrator and his partner Christopher who come to the city which is on the verge of the coup. They came to the city for a degenerate party with drug use in the atmosphere. After this party, which depicts the Western life style in its degenerated from, Christopher dies at a derelict hospital in one of the city’s dark neighbourhoods. Hence, the anonymous protagonist of 1979, decides to travel East as the other of the West. The second part of the novel mainly deals with the constantly eastward journey of the anonymous protagonist. His purpose is the fill the gap inside him and create some value in his life. With this purpose in mind, the protagonist of 1979 joints the Tibetan pilgrims who travel to the sacred Mount Kailash, accepted as the centre of the universe. After a hard climb, he understands that he won’t find the meaning he was seeking there. The journey did not achieve its goal. Then he travels further eastwards. During his journey he gets arrested by the Red Chinese soldiers and he is taken to a working camp where experiments on atom bombs are carried out. It is at this camp that the protagonist can get rid of his western identity. The camp is a place where hunger and cruelty rule and people inflict great pain on one another. He is content; because his anonymity had gained some meaning at last. As Johannes Birgfeld (2007: 408) states, this is a kind of exile and it is an attempt to deal with the existing identity crisis. 1979 shows that as one gets further away from the West, not only the subject with its Western identity, but all other concepts ascribed to the West also die. Hence, 1979 does not only pinpoint the beginning of a coup in world history, but the novel emerges as a turning point where concepts of space and time are also dissolved as cultural signifiers. The present study expounds on this argument in relation to Christian Kracht’s novel 1979.

The Dissolution of Images of Space and Time  in Christian Kracht’s Novel 1979

Published in 1902, Thomas Mann’s novella Gladius Dei concentrates on the confrontation of a burgher and his extraordinary artwork, and by that, shows a tragic situation of an artist at the turn of the 20th century. In the novella, Mann criticizes the art scene in and around Munich, which was the “city of art” in Germany during the process of modernization. The city turned into a center for artists who independently produced art and sold these works in flourishing art galleries. Rapidly increasing industrialization had caused an increase in the income of the rising educated middle classes, who in turn had become increasingly interested in art. In the fin-de-siècle, or more precisely, in the transition to modernity, art occupied a special role in society. As such, its overall position became more autonomous. Art, which tried to separate itself from everyday life with clearly visible borders, provided the basis for the simple array of entertaining works that were characterized by the “L’art pour l’art” principle. The narrative of the novella depicts Munich’ art scene in its excessiveness, and simultaneously emphasizes the strong aestheticism and the extreme dominant role of beauty in these artworks. Mann’s storyline reflects the fact that artworks increasingly gained function as commodities. It was not only artists who profited from these artworks, but an increasing number of people started to dealth art, and as such, art became considered a trade. This, in turn, led to a situation in which art stared to lose its function and turned into something meaningless. In the novella, this lucrative “beauty business” is reflected in the Blüthenzweig art gallery. While showing exaggerated attitudes toward art, the narration critiques the fact that art was gaining such an autonomous position in society. Hieronymus, who is a pious character, feels offended by the obscene representation of Madonna, which he sees in the beauty shop of Blüthenzweig. In fact, he wants this inconvenient painting to be burned. Hieronymus’ stance represents the group of people within society who thought that this new type of art was misleading and caused separation from religion. The text refers to secularization as one of the main results of modernization process. The role of religion began to change and the educated middle classes began to question religious devotion. Instead, art was almost worshiped and thereby it was beginning to replace religion. However, the separation from religious institutions was not easily accepted, and there was staunch opposition against this development. Modern art was blamed for the intellectual development and emotional alienation of individuals from religion. While the Munich art scene and its excessiveness is reflected in the “beauty business” of Blüthenzweig, Hieronymus’ pointed depiction also symbolizes the exaggerated moral attitudes toward modern art, whereby the narrative draws attention to a balanced position. Mann refers to the theatrical exaggeration of beauty, which runs into a dead-end through the lack of reference to everyday life, whereby the artwork simultaneously loses its function and meaning. The novella ends with the&nbsp;process of estrangement of the artist, for whom the work of art only exists in terms of aesthetic and material values. Moreover, Mann criticizes the nonsensical beauty worship and emphasizes that this is a result of artistic disconnectedness. Hence, the aspiration of the artist to separate himself from the bourgeoisie seems absurd, for the artist himself is part of the bourgeois world. The ostensible antithesis of artistry and bourgeoisie was the consequence of this civil period in crisis. Thus, it can be seen as a reflection of the entire bourgeois situation at the turn of the century, implying the social reality of decadence. Gladius Dei contains an implicit criticism of the fin-desiècle art scene in Munich. The narrative interprets art as meaningless by showing how much it has become oriented toward purely aesthetic values.

The artist at the turn of the century as a “burgher who’s gone astray“: Munich’s Modernist Movement in search of its identity in the early stories of Thomas Mann

Mahmut

Cosmopolitan Imaginings in the German-Speaking World

Arne

Gabriella

Transfer of knowledge in lectures on physics: German-Italian perspectives on verbal processing

Res. Assist.

Literature and Film. Introduction to Literary Film Analysis

Riham

“It is the pain that brings us together”. Approach through loss in September. Fata Morgana by Thomas Lehr

Gülay

International conference: „The future of bilinguality in German educational system: with focus on Russsian and Turkish

Sevinç

Representation of foreign language skills of prospective Turkish Teachers of German: A Case Study of Istanbul University

7. International contrastive Media Linguistics Conference: Media Culture – Multimodality and Intermediality

The fact that the perceptions of the teaching profession determine the attitudes of teachers and their behavior within the classroom is often mentioned in academic literature (Borg, 2003, p. 81). In this regard, it is important to explore prospective teachers’ perceptions of teachers and the teaching profession in order to make conclusions about their own learning and teaching behavior. The word “metaphor,” originally from Greek, is an important tool to describe how people see life, the environment, events and objects, and seek explanation through comparison (Cerit, 2008, p. 694). Metaphors structure our inner world, thinking processes, and reflect not only our plans and ideas, but also how we perceive our environment (Marsch, 2009). To a large extent, metaphors also form the way we think, experience, decide, and behave in our daily lives (Lakoff &amp; Johnson, 1980).Numerous studies show the reproduction of thinking of prospective (or currently practicing) English teachers via metaphors. In particular, in this sense, in the field of prospective German language teachers (or currently practicing) the potential to use metaphors has hardly been used. Therefore, this study aims to determine which metaphors prospective German language teachers describe their role as future teachers. Since teachers describe their role through metaphors, they also construct specific personal meanings about teaching per se. This study attempts to answer the following five research questions: (i) What metaphors do prospective Turkish language teachers of German create to describe a German language teacher? (ii) What metaphors do prospective German language teachers of German create to describe a German language teacher? (iii) How do prospective Turkish language teachers of German describe their metaphors? (iv) How do the prospective German language teachers of German describe their metaphors? (v) Do these metaphors reveal cultural differences? Data were gathered from a research study group consisting of 130 German language students (62 Turkish and 68 German) who were at the time studying in their first year in the German language teacher training programs at Turkish and German universities respectively. These teacher trainee students were asked to provide their own conceptualization regarding their roles as language teachers through the statement “A German teacher is like ……………because…………………..” They were asked to focus on only one metaphor. These reasons enabled a more precise interpretation of the metaphors and their classification into categories. The data for this study were analyzed using the metaphor analysis methodology. The metaphors were separately analyzed. Similar metaphors were brought together and were codified according to the typology of metaphors developed by De Guerrero and Villamil (2000). This categorization includes nine role categories: cooperative leader, knowledge provider, challenger/agent of change, nurturer, innovator, provider of tools, artist, repairer, and gym instructor.The results show that the Turkish participants named 35 different metaphors while the German participants named 48. The metaphors that the participants produced varied in terms of number and content. The German participants preferred animate metaphors whereas the Turkish participants mostly created not-so-imaginative metaphors. Only the metaphors of teacher, travel guide, and parent were used by both groups. Because most of the prospective teachers were being considered teachers, they were also conceptualized as being cooperative leaders. In both groups, this category was the most commonly described metaphor. While the Turkish student group saw the teacher as a second “knowledge provider,” this category was only seventh among the German student group. It is remarkable that both groups did not see the teacher as an “innovator”. The results of the Turkish students, in particular, show that they see the teacher according to behavioristic principles, that is, as a person who–besides conveying knowledge and giving support to students– does not take any other roles. From the analysis of the results, it can be concluded that cultural characteristics are hardly apparent. Undoubtedly, the results, as described above, cannot be generalized and must be supported by further research. In this context, the study presented here is only a first step in this direction, for it attempts to give an insight into the realm of thinking in the field of prospective German language teachers.

A Comparative Study of the Realms of Thinking by German Language Teachers Using Metaphors

Erika

Germanistik zwischen Regionalität und Internationalität: 60 Jahre Temeswarer Germanistik

Intertextual relationships in academic texts and production of polyphony: A descriptive analysis of citations using the example of Turkish and German business management research articles

German language and literature between regionality and internationality: 60 years of Timisoarian German language and literature

Business German as an occupational course in the curricula of departments for German language and literature in Turkey – using the example of Department for German Language and Literature at Istanbul University

Nilgün

Symposium of School for Foreign Languages at TurkishGerman University „Lingual and cultural contacts in the GermanTurkish context“

Mukadder

Learning starts with the birth of an individual, and the learning process is dependent on several factors during the life span of individuals. Family, environmental factors, social culture and traditions, education system, conditions, necessities, and teacher attitudes are the factors that direct the learning process. Learning is both an individual and a social process, and the traditions of learning and teaching are effective in this process. Learning and teaching habits are also dependent on a country’s teaching and learning tendencies or education system. However, this situation should not create the view that learning can be generalized as a single learning culture and is fixed. Just like the variety of individuals, learning habits hold individual differences, too. In other words, people have different learning habits and strategies, and these learning habits may change over time. When individuals think about the issue of learning, have a conscious comprehension of learning, or make conscious decisions on how they will learn in a successful way, their learning habits may change, and their motivation may increase. For learners (individuals), self-learning means taking the responsibility of learning, planning, analyzing, and evaluating; being able to identify their strengths and weaknesses; and being motivated to learn. To sum up, selflearning is a component of lifelong learning. Self-learning may take place both during and out of the formal education process. The importance of self-learning to the learners can be summarized as follows:Supporting learner autonomy, - Identifying and developing individuals’ own skills and competencies, - Being able to follow the dynamic developments of the twenty-first century and information and communication technologies, and - Increasing one’s own motivation.&nbsp;Concepts such as lifelong learning, motivation, self-learning, communicative competence, and learner autonomy play a central part in the current and contemporary education process. These key concepts are identified as important objectives in education. Students are at the center of this process because the self-learning habits of students are indispensable in the frame of identified objectives. Self-learning is undoubtedly significant for German language teacher candidates, too. The purpose of this study is to reveal the self-learning habits of German language teacher candidates in the sample of Trakya University. In accordance with this purpose, a questionnaire was administered in all classes of the German Language Teaching Department. In this context, the questionnaire aimed to identify German language teacher candidates’ self-learning habits and perspectives on self-learning itself. A total of 40 German language teacher candidates (32 females, 8 males) participated in the study. In each class from the first grade to the fourth grade, a total of 10 students were randomly chosen, and a total of 40 students answered the questionnaire to collect data. The number of participants was limited because open-ended questions were included, aside from the close-ended questions, in the questionnaire. Close-ended questions were analyzed by using SPSS and were evaluated in percentages. For open-ended questions, content analysis was performed.&nbsp;The findings of the study demonstrate that the keywords used by participants on self-learning were “interest,” “want,” and “effort.” Terms such as “identifying objects” or “taking responsibility” were expressed by only three participants. The self-learning habits emphasized mostly by the German language teacher candidates who participated in the study were note-taking, summarizing, writing sentences with the newly learned words, researching, vocabulary studies, and repetition. These findings indicate that the participants especially focused on writing skill among their self-learning habits. This finding shows that various learning styles and different learning methods should be allowed in the education process of students. Only in this way can students develop their skills, competences, and tendencies in the context of self-learning. As mentioned in the introduction part of the study, one of the most important objectives of the German Language Teaching Department is to help German language teacher candidates become competent in the linguistic, professional, and cultural dimensions. An especially crucial skill for German language teacher candidates is linguistic competence (reading, writing, speaking, and listening) in the teaching learning dimension. With regard to their evaluation of language levels, more than half of the participants (58%) classified their language levels as intermediate. Another important detail to note is that the number of participants who regard their language levels as weak or low (30%) was not scarce. In this respect, German language teacher candidates inevitably become more conscious about selflearning to develop their German language skills. One of the significant outcomes of this study is that German language teacher candidates evaluate the self-learning process as important. However, they possess a limited perspective on the context and need guidance and encouragement regarding self-learning. For this reason, one of the most important duties of the German Language Teaching Education Department is to arrange environments where active learning will be maintained for students, learning objectives will be determined, and taking responsibility will be specified and guided.&nbsp;

Self-learning habits of German language teacher candidates

Şeyda

Şenöz-Ayata, Canan (2014): Bilimsel Metin Üretimi, İstanbul: Papatya, 232 sayfa

Khrystyna

The article analyzes television interviews in Ukrainian and German from the perspective of the personality of the interviewer and the difficulties that arise before and during that interview. Communicative deviations as differences in the expectations of the interviewer vis-à-vis the expectations of the respondent and the addressee are revealed and critically analyzed. Particular attention is paid to the triangle of relationships between the interviewer, the respondent, and the addressee (the viewer). Elements such as age, sex, status, knowledge, interests, and expectations play an important role in the building of relationships between the interviewer, the respondent, and the addressee. Therefore, they are important for the overall success of the interview. However, we believe that all these elements can be generalized under a hypernym of expectations. Accordingly, the journalist assumes three roles: a representative of the audience (the addressee), a promoter of the invited (the respondent), or a representative of himself/herself. In this article, we only draw on and reflect the deviations in the television interviews in both languages when the interviewer has other expectations about the interview than the respondent or the addressee (the viewer), which is a failure from the side of the first one, that is, the interviewer. Therefore, the two levels at which interviews are conducted are important. Namely, these are the informative level (receiving and providing information) and the emotional level (feelings and mutual understanding). The informative level includes informative purpose, types of questions, clarity of expression, clarity of answers, and content of information. The emotional level embraces climate (socio-emotional connection), non-verbal behavior, elaborative questions, intentional adjustment, and approaches to journalists and respondents. Yet, we believe that it is also noteworthy to include a third level, namely a contextually situational one. On the basis of empirical material, we have identified the following communicative deviations in the television interviews from the perspective of the interviewer: 1. The goal is not set or is prepared inaccurately, 2. The topic is too broad, 3. Inappropriate respondent, 4. The respondent is not sufficiently prepared for the interview, 5. Difficulties in conducting interviews (such as issues with equipment or problems with shooting), 6. The respondent is not listening (in some situations this prevents the opening of a dialog altogether), 7. Too conventional and fixed list of questions, 8. Lack of time for preparation, and 9. Wrong approach to the respondent in terms of his/her expectations regarding age, gender, status, knowledge, and interests. Taking into account the communicative failures in the television interviews we have analyzed before, one can distinguish the following ways of eliminating them: 1. Clearly define the goal of the interview, 2. Find the appropriate communication partner in terms of his/her skills and the ability to speak, 3. Create a favorable atmosphere in the previous conversation to properly prepare the respondent for the communication, 4. Carefully listen to the respondent, 5. During the interview itself, the content, the intention of the respondent, the language, and the speaking&nbsp;manner of the respondent, as well as the body language, and facial expressions and gestures of the respondent should be additionally observed, and 6. In cases when the interviewer is evading a question or does not want to respond at all, one can resort to these tactics. Communicative deviations as violations of the interviewer’s expectations in all their forms can be avoided, or at least reduced, if all the elements of communication at the informative and emotional level—and very often at the communicative-situational level—are taken into account, and greater attention is also paid to technical characteristics. This will contribute to an interesting and dynamic, understandable and consistent, and most importantly, informative television interview. At the same time, there were no significant differences in the television interviews in Ukrainian (more cautious and sensitive questions) or in German (more specific and targeted questions), for the journalists’ European way of conducting television interviews is similar in both linguistic cultures, and the differences are due to the historical development of democracy.

Political television interviews and communicative failures for journalists

Gesellschaft für interkulturelle Germanistik 2014 yılı kongresi 29 Mayıs-1 Haziran 2014, Limerick

Diskursanalyse interdisziplinär, Bremen - Berlin 17.08.2014 - 31.08.2014

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Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur which has been an official publication of Istanbul University, Faculty of Letters, Department of German Language since 1954 is an international, open access, peer-reviewed and scholarly journal published two times a year in June and December.

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur publishes disciplinary and/or interdisciplinary, theoretical and/or applied research articles that focus on German language and literature in the following fields: literary studies, linguistics, cultural studies, media studies, translation studies, and language teaching. The journal aims to provide a platform for sharing scientific knowledge in these fields.

The journal also offers reviews of scientific books and news of national and international conferences which cover the mentioned fields. This journal accepts manuscripts written in one of the following languages: German, Turkish, and English. The target group of the Journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles. http://sdsl.istanbul.edu.tr/en/content/about/open-access-statement

MLA International Bibliography

Scopus

Emerging Sources Citation Index (ESCI)

TR Dizin

SOBIAD Sosyal Bilimler Atıf Dizini

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Studien zur deutschen Sprache und Literatur

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Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur which has been an official publication of Istanbul University, Faculty of Letters, Department of German Language since 1954 is an international, open access, peer-reviewed and scholarly journal published two times a year in June and December.Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur publishes disciplinary and/or interdisciplinary, theoretical and/or applied research articles that focus on German language and literature in the following fields: literary studies, linguistics, cultural studies, media studies, translation studies, and language teaching. The journal aims to provide a platform for sharing scientific knowledge in these fields.The journal also offers reviews of scientific books and news of national and international conferences which cover the mentioned fields. This journal accepts manuscripts written in one of the following languages: German, Turkish, and English. The target group of the Journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

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- SCOPUS - Web of Science - Emerging Sources Citation Index (ESCI)- TÜBİTAK-ULAKBİM TR Dizin- MLA International Bibliography- SOBIAD

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The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. The Journal gives priority to original research papers submitted for publication.Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.For quoted texts, tabulated data and graphics from published papers, author has to obtain permission from the author(s) or the owner of the publishing rights of the source article and indicate the allowance in the paper. Author(s) is responsible to obtain such permissions.If the manuscript was produced from a proceeding previously presented at a scientific meeting, it must be stated in the manuscript as a footnote indicating the information regarding the scientific meeting. The editor hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims. Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors. Refused manuscripts and graphics are not returned to the author.

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Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur is an open access journal which means that all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author.The articles in Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur are open access articles licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/deed.en </a>)

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Ethics

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.-    Principles of integrity, quality and ransparency should be sustained in designing the research, reviewing the design and conducting the research.-    The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.-    The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.-    Research participants should participate in the research voluntarily, not under any coercion.-    Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.-    The independence of research must be clear; and any conflict of interest or must be disclosed.-    In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.-    If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.-    In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.

It is authors’ responsibility to ensure that the manuscript is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=copyright_agreement_form_sdsl.doc" target="_blank">Copyright Agreement Form</a>. The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor-in-Chief to provide retractions or corrections of mistakes.

Editor provides a fair double-blind peer review of the submitted manuscripts for publication. He ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor is responsible for the contents and overall quality of the publication. He must publish errata pages or make corrections when needed.Editor does not allow any conflicts of interest between the authors, editors and reviewers. He has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal. They must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers should identify the relevant published work that has not been cited by the authors. They must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the Editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The reviewers are not allowed to have copies of the manuscripts for personal use and they cannot share manuscripts with others. Unless the authors and editor permit, the reviews of referees cannot be published or disclosed. The anonymity of the referees is important. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The selected manuscripts are sent to at least two national/international referees for evaluation and publication decision is given by editor-in-chief  upon modification by the authors in accordance with the referees’ claims.Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed. Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal. Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective. Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side. A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process. The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Peer Review

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.  Editor-in-chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international referees for evaluation and publication decision is given by editor-in-chief  upon modification by the authors in accordance with the referees’ claims.Editor in chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.-    Does the manuscript contain new and significant information?-    Does the abstract clearly and accurately describe the content of the manuscript?-    Is the problem significant and concisely stated?-    Are the methods described comprehensively?-    Are the interpretations and consclusions justified by the results?-    Is adequate references made to other Works in the field?-    Is the language acceptable?Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

LanguageArticles in Turkish, German and English are published. Submitted manuscript must include an abstract both in the article language and in English. All manuscripts must include an extended abstract in English as well.Manuscript Organization and FormatAll correspondence will be sent to the first-named author unless otherwise specified. Manuscpript is to be submitted online via <a href="https://dergipark.org.tr/en/pub/iuaded" target="_blank">https://dergipark.org.tr/en/pub/iuaded</a> and it should be accompanied by a cover letter indicating that the manuscript is intended for publication, specifying the article category (i.e. research article, book review etc.) and including information about the manuscript (see the Submission Checklist). Manuscripts should be prepared in Microsoft Word 2003 and upper versions. In addition, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/6468D634067B4061934C0010EE90AECD" target="_blank">Copyright Agreement Form</a> that has to be signed by all authors must be submitted.1.    The manuscripts should be in A4 paper standards: having 2.5 cm margins from right, left, bottom and top, Times New Roman font style in 10 font size, line spacing of 1.5 and “justify align” format. For indented paragraph, tab key should be used.2.    The title of the text should be centered on the page, in lower-case letter, bold, Times New Roman font.3.    Before the introduction part, there should be an abstract of 200-250 words both in the language of the article and in English and an extended abstract in English between 600-800 words, summarizing the scope, the purpose, the results of the study and the methodology used following the abstracts. The English title of the manuscript should be above the English abstract. Underneath the abstracts, 5 keywords that inform the reader about the content of the study should be specified in the language of the article and in English.4.    The manuscripts should contain mainly these components: title in the language of the article, abstract and keywords; title in English, abstract and keywords in English, extended abstract in English, body text sections, footnotes and references.5.    Quantitative and qualitative studies should include Introduction, Methods, Findings, Discussion sections. If an original model is used, the Methods section should include the Sample / Study Group, Data Collection Tools and Process subdivisions.6.    Tables, graphs and figures should be given with a number and a defining title to enable following the idea of the article.7.    A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A7655E620CE4854A3AE17C1F79ADB7E" target="_blank">title page</a> including author information must be submitted together with the manuscript. The <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatesdsl_636996628523220791.docx" target="_blank">title page</a> is to include fully descriptive title of the manuscript and affiliation, title, e-mail address, ORCID, postal address, phone number of the author(s) (see The Submission Checklist).8. Tables, Graphics and PicturesAll tables, graphics and pictures should be numbered in the order of Arabic numerals and written in bold. Every table, graphic or picture should have a title. More informations about the tables, pictures or graphics should be given as footnote.Examples: Tablo 1: Öğrencilerin Dil Kullanımı  / Resim 1: René Magritte İmgelerin Laneti9. All words except publication languages (German, English and Turkish) should be written in italic font.Examples: 1968 führte Jacques Derrida den Begriff la différance in die Philosophie ein.                   Lexikalisch zentral sind die Wörter pelle, rughe, viso und luce.10. Citations should be given in original form. Every citation shpuld have a reference information such as date, author and page numbers.Citations shorter than 3 lines should be given as shown below:Articles written in English or Turkish: “…”Example: Lennard J. Davis writes “To understand the disabled body, one must return to the concept of the norm, the normal body” (Davis, 1995, p. 23).Example: Akşit Göktürk ütopya adasını “örnek yasalarla kurulmuş mutlu bir toplum düzeni” olarak tanımlar (Göktürk, 2012, s. 60-61).Articles written in German: ,,……“Example: Die Szene eröffnet mit dem Ausspruch „Pietro Aretino war ein Spötter, / Und trotzdem hat ihn Tizian gemalt.“ (Wedekind, 2009, Band VII,1, S. 275).Citations longer than 3 lines should be given as shown below:Articles written in German:Gegen Ende der Szene stürmt der Polizeipräsident die Bühne und versucht, das Publikum vor der Nacktheit zu schützen:Besteht das Publikum da unten vielleicht aus Paradieskindern? Nein! Besteht das Publikum aus lauter Geistesgrößen? Nein! Der normale Staatsbürger kann nun einmal die Wahrheit nicht hören und die Nacktheit nicht sehen, ohne außer Rand und Band zu geraten, ohne gemeingefährlich zu werden. (Wedekind, 2009, Band VII,1, S. 281)Articles written in English or Turkish:Example: The Author Lennard J. Davis continues,So much of writing about disability has focused on the disabled person as the object of study, just as the study of race has focused on the person of color. But as recent scholarship on race, which has turned its attention to whiteness, I would like to focus not so much on the construction of disability as on the construction of normalcy. I do this because the problem is not the person with disabilities; the problem is the way that normalcy is constructed to create the ‘problem’ of the disabled person. (Davis, 1995, pp. 23–24)Batı’nın zamanı ideal tarihin inşasının kurucu öğesi olarak görmesi, Engelhardt’ı zamanın ve tarihin dışında bir şimdi yaratmaya sevk eder:Zira Engelharhdt’ın, komodin olarak kullandığı bir kütüğün üzerine yerleştirdiği ve bir anahtar vasıtasıyla düzenli bir şekilde kurduğu saati tek bir kum tanesi yüzünden geri kalmaktaydı, kum tanesi kendisine saatin içinde yay ile vızıldayan küçük bir dişli arasında rahat bir yer bulmuştu ve sert, öğütülmüş mercan iskeletinden meydana geldiği için Kabakon zamanının minimal ölçüde yavaşlamasında neden oluyordu (Kracht, 2012, s. 74)11. The references part shuold be named as Literaturverzeichnis, References or Kaynakça.12. Title of the abstracts should be Abstract for articles written in German or English and Öz for articles written in Turkish.13. All shortened book names or names of special historical events should be remarked as footnote to provide information about the book’s original name.Example: World War I &gt; WWIVerwirrung der Gefühle (Zweig, 1926) &gt; VG14. All emphasized words or phrases should be given as shown below:Articles written in German:Haushofer perspektiviert die Natura us einem ,femininien Stanpunktʽ.Articles written in English or Turkish:As a matter of fact, this speaks about ‘hopelessness’ and ‘the way to uncertainty’.Romandaki adada dış dünyada akıp giden zamanın aksine bir tür ‘zamansızlık’ hüküm sürer.15. Names of books, films, journals, songs etc. Should be written in italic font.16. Custom names or names of the fictional characters should not be written in bold or italic font.17. Headlines and subheadlines are not necessary, however if they will be used, all of them should be numbered in the order of Arabic numerals and formatted as shown below:Example:1 Einleitung2 Erstes Kapitel2.1       Erstes Unterkapitel des ersten Kapitels2.2       Zweites Unterkapitel des ersten Kapitels3  Zweites Kapitel3.1       Erstes Unterkapitel des zweiten Kapitels3.2       Zweites Unterkapitel des zweiten Kapitels3.3       Drittes Unterkapitel des zweiten Kapitels4 Drittes Kapitel5 SchlussLiteraturverzeichnisAnhang18.    The liability of the manuscripts submitted to our journal for publication, belongs to the author(s).19.    The author(s) can be asked to make some changes in their manuscripts due to peer reviews.20.    The studies that were sent to the journal will not be returned whether they are published or not.

Author Guidelines

Before beginning the online submission process please read the Information for Authors and make sure you have the followings available:Cover letter to the editor<ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirming that the references cited in the text and listed in the references section are in line with APA 6.</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/EBAF378B18074C69A4B017D6DC1BC151" target="_blank">Copyright Agreement Form</a>Permission of previous published material if used in the present manuscript<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/ACF0D299C4F64C05B2234BF663AA338C" target="_blank">Title page</a><ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>The title of the manuscript both in the language of the article and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address and telephone number</li> <li>ORCIDs of all authors.</li> </ul> </ul>Main Manuscript Document<ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in the language of the article and in English</li> <li>Abstracts (200-250 words) both in the language of the article and in English</li> <li>Key words: 5 words both in the language of the article and in English</li> <li>Extended Abstract (600-800 words) in English</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul> </ul>Manuscript Submission<ul type="disc"> <li style="text-align: left;">DergiPark manuscript submission site of the journal is: <a href="https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new</a></li> <li style="text-align: left;">The manuscript must be submitted through the account of the corresponding author. The account of authors other than the corresponding author or someone else who is not included as an author in the work must not be used for submission. All correspondence regarding the submission is made with the correspondingauthor through e-mail via the DergiPark system.</li><li style="text-align: left;">While uploading Main Document, make sure that the main document has no information that clarify the author’s identity. Due to double blind peer review, Main Document must not include Title Page, the name of author or any other detail that can disclose the author identity. </li> </ul><ul type="disc"> </ul>Files to be uploaded separately<ul type="disc"> <li>Copyright Agreement Form</li> <li>Permissions obtained for previously published material if used in the present manuscript</li> <li>Title page</li> <li>Main Manuscript Document</li> </ul><ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in the language of the article and in English</li> <li>Abstracts (200-250 words) both in the language of the article and in English</li> <li>Key words: 5 words both in the language of the article and in English</li> <li>Extended Abstract (600-800 words) in English</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li></ul></ul><ul type="disc"> </ul>

Although references to review articles can be an efficient way to guide readers to a body of literature, review articles do not always reflect original work accurately. Readers should therefore be provided with direct references to original research sources whenever possible. On the other hand, extensive lists of references to original work on a topic can use excessive space on the printed page. Small numbers of references to key original papers often serve as well as more exhaustive lists, particularly since references can now be added to the electronic version of published papers, and since electronic literature searching allows readers to retrieve published literature efficiently.Papers accepted but not yet included in the issue are published online in the Early View section and they should be cited as “advance online publication”. Citing a “personal communication” should be avoided unless it provides essential information not available from a public source, in which case the name of the person and date of communication should be cited in parentheses in the text. For scientific articles, written permission and confirmation of accuracy from the source of a personal communication must be obtained.Reference Style and FormatAlman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur complies with APA (American Psychological Association) style 6th Edition for referencing and quoting. For more information:-    American Psychological Association. (2010). Publication manual of the American Psychological Association (6th ed.). Washington, DC: APA.-    <a href="http://www.apastyle.org" target="_blank">http://www.apastyle.org</a>Accuracy of citation is the author’s responsibility. All references should be cited in text. Reference list must be in alphabetical order. Type references in the style shown below.Citations in the TextCitations must be indicated with the author surname and publication year within the parenthesis.If more than one citation is made within the same parenthesis, separate them with (;).Samples:More than one citation;(Esin et al., 2002; Karasar, 1995)Citation with one author;(Akyolcu, 2007)Citation with two authors;(Sayıner &amp; Demirci, 2007)Citation with three, four, five authors;First citation in the text: (Ailen, Ciambrune, &amp; Welch, 2000) Subsequent citations in the text: (Ailen et al., 2000)Citations with more than six authors;(Çavdar et al., 2003)Citations in the ReferenceAll the citations done in the text should be listed in the References section in alphabetical order of author surname without numbering. Below given examples should be considered in citing the references.Booka) Turkish BookKarasar, N. (1995). Araştırmalarda rapor hazırlama (8th ed.) [Preparing research reports]. Ankara, Turkey: 3A Eğitim Danışmanlık Ltd.b) Book Translated into TurkishMucchielli, A. (1991). Zihniyetler [Mindsets] (A. Kotil, Trans.). İstanbul, Turkey: İletişim Yayınları.c) Edited BookÖren, T., Üney, T., &amp; Çölkesen, R. (Eds.). (2006). Türkiye bilişim ansiklopedisi [Turkish Encyclopedia of Informatics]. İstanbul, Turkey: Papatya Yayıncılık.d) Turkish Book with Multiple AuthorsTonta, Y., Bitirim, Y., &amp; Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme [Performance evaluation in Turkish search engines]. Ankara, Turkey: Total Bilişim.e) Book in EnglishKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) Chapter in an Edited BookBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). Edinburgh, UK: Edinburgh University Press.g) Chapter in an Edited Book in TurkishErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi [Organization culture: Its functions, elements and importance in leadership and business management]. In M. Zencirkıran (Ed.), Örgüt sosyolojisi [Organization sociology] (pp. 233–263). Bursa, Turkey: Dora Basım Yayın.h) Book with the same organization as author and publisherAmerican Psychological Association. (2009). Publication manual of the American psychological association (6th ed.). Washington, DC: Author.Articlea) Turkish ArticleMutlu, B., &amp; Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri [Source and intervention reduction of stress for parents whose children are in intensive care unit after surgery]. Istanbul University Florence Nightingale Journal of Nursing, 15(60), 179–182.b) English Articlede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Journal Article with DOI and More Than Seven AuthorsLal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. New England Journal of Medicine, 372, 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184d) Journal Article from Web, without DOISidani, S. (2003). Enhancing the evaluation of nursing care effectiveness. Canadian Journal of Nursing Research, 35(3), 26–38. Retrieved from http://cjnr.mcgill.cae) Journal Article wih DOITurner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. Technical Services Quarterly, 27, 261–278. http://dx.doi.org/10.1080/07317131003765910f) Advance Online PublicationSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/10.1037/a45d7867g) Article in a MagazineHenry, W. A., III. (1990, April 9). Making the grade in today’s schools. Time, 135, 28–31.Doctoral Dissertation, Master’s Thesis, Presentation, Proceedinga) Dissertation/Thesis from a Commercial DatabaseVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 9943436)b) Dissertation/Thesis from an Institutional DatabaseYaylalı-Yıldız, B. (2014). University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University (Doctoral dissertation). Retrieved from http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portalic) Dissertation/Thesis from WebTonta, Y. A. (1992). An analysis of search failures in online library catalogs (Doctoral dissertation, University of California, Berkeley). Retrieved from http://yunus.hacettepe.edu.tr/~tonta/yayinlar /phd/ickapak.htmld) Dissertation/Thesis abstracted in Dissertations Abstracts InternationalAppelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. Dissertation Abstracts International: Section B. Sciences and Engineering, 65(10), 5428.e) Symposium ContributionKrinsky-McHale, S. J., Zigman, W. B., &amp; Silverman, W. (2012, August). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome. Symposium conducted at the meeting of the American Psychological Association, Orlando, FL.f) Conference Paper Abstract Retrieved OnlineLiu, S. (2005, May). Defending against business crises with the help of intelligent agent based early warning solutions. Paper presented at the Seventh International Conference on Enterprise Information Systems, Miami, FL. Abstract retrieved from http://www.iceis.org/iceis2005/abstracts_2005.htmg) Conference Paper - In Regularly Published Proceedings and Retrieved OnlineHerculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. Proceedings of the National Academy of Sciences, 105, 12593–12598. http://dx.doi.org/10.1073/pnas.0805417105h) Proceeding in Book FormParsons, O. A., Pryzwansky, W. B., Weinstein, D. J., &amp; Wiens, A. N. (1995). Taxonomy for psychology. In J. N. Reich, H. Sands, &amp; A. N. Wiens (Eds.), Education and training beyond the doctoral degree: Proceedings of the American Psychological Association National Conference on Postdoctoral Education and Training in Psychology (pp. 45–50). Washington, DC: American Psychological Association.i) Paper PresentationNguyen, C. A. (2012, August). Humor and deception in advertising: When laughter may not be the best medicine. Paper presented at the meeting of the American Psychological Association, Orlando, FL.Other Sourcesa) Newspaper ArticleBrowne, R. (2010, March 21). This brainless patient is no dummy. Sydney Morning Herald, 45.b) Newspaper Article with no AuthorNew drug appears to sharply cut risk of death from heart failure. (1993, July 15). The Washington Post, p. A12.c) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/d) Online Encyclopedia/DictionaryIgnition. (1989). In Oxford English online dictionary (2nd ed.). Retrieved from http://dictionary.oed. comMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.). The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastDunning, B. (Producer). (2011, January 12). inFact: Conspiracy theories [Video podcast]. Retrieved from http://itunes.apple.com/f) Single Episode in a Television SeriesEgan, D. (Writer), &amp; Alexander, J. (Director). (2005). Failure to communicate. [Television series episode]. In D. Shore (Executive producer), House; New York, NY: Fox Broadcasting.g) MusicFuchs, G. (2004). Light the menorah. On Eight nights of Hanukkah [CD]. Brick, NJ: Kid Kosher.

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/EE4157011B0444969B059B32E1066E3D" target="_blank">Copyright Agreement Form</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/4704082247624A55A50DBFEF65A4FFC7" target="_blank">Title page</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/4479F9A84A3949FF849ECE028991DF31" target="_blank">Author Form</a>

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Issue Type	Regular
Issue Date	18.06.2021
Editor(s)	İrem Atasoy, Barış Konukman
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Studien zur deutschen Sprache und Literatur

ISSUE 45, 2021

Legendary Narrative in Medieval and Modern Legend Collections: Transformations of a Type of Fascination and its Textual Representation

The Nibelungenlieds Margrave Rüdiger von Bechelaren and the Thidrekssagas Rodingeir von Bakkalar. Portrait, Comparison and Adaptation Courtoise

The Performative Dimension of a Literary Text-Concert

German Popliterature; Turkish Popliteratur? Hakan Günday’s Kinyas ve Kayra in view of the New [German] Popliterature

The Crisis of Aesthetics, Aesthetics of Crisis

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