The Centre encourages and supports research dealing with all aspects of Irish-German relation. Besides Germany, our work has therefore on numerous occasions focussed on Austria and Switzerland as well.
In addition to numerous publications by individual members of the Centre only the monographs are included here , the Centre issues a book series entitled Irish-German Studies Wissenschaftlicher Verlag Trier in which nine volumes have already appeared and four further volumes are in preparation. Several research projects are currently run under the auspices of the Centre, among them one on German exiles and Ireland, one on intercultural competence for Erasmus students and one on the development of the Irish image of Germany since Among the PhD students past and present several have been cosupervised with colleagues in Germany and Sweden; some are now teaching at universities and educational institutions in Ireland, Germany or Norway.
An acknowledgement of the 4. Daniela Schadt in July While based in the School of Modern Languages, the Conferences have always aimed to facilitate interdisciplinary dialogue and this objective has been enthusiastically embraced by the speakers at the conferences, many of them leaders in their respective academic fields, as well as politicians incl. Ministers, MdBs and a former Taoiseach and business leaders. Art exhibitions and music as well as involvement with and invitations to local community organisations have also been frequent elements of our activities.
The conferences have been very successful in attracting audiences far beyond the academic sphere and have, in a number of cases, received considerable prominence in the Irish and German media. Our work over the last twenty years would not have been possible without the support of many colleagues, friends and institutions.
Firstly, our colleagues in UL and Mary Immaculate College who, hailing from a large variety of disciplines, have made the Centre the inter-disciplinary venture we had envisaged.
Our colleagues at other Irish universities and further afield who have become active members and contributors to the Centre over the years have lent it the international dimension we had hoped. And without the active and especially financial support of many bodies and institutions which saw value in what we do many of our projects would just have remained pipe-dreams.
A longer list can be found at the end of this booklet. Dr iur. Organized in co-operation with the Ralahine Centre for Utopian Studies. Limerick, in co-operation with the Irish Palatine Association. Photo: Eoin Stephenson. The event was attended and supported by H. Busso von Alvensleben, German Ambassador to Ireland.
The interdisciplinary workshop featured international experts including Centre member Dr Fergal Lenehan Jena. Organised in association with the Irish Palatine Association. Ian Wallace Bath , supported by German Embassy. Prof Houswitschka also gave a paper at a seminar on migration literature organised jointly with the English section, UL. It was sponsored by the Austrian Embassy, Dublin. Dr Luke Ashworth, Head, Dept.
Dr Joachim Fischer chaired the session. An Autobiography - From Wagner to Hitler. Video: www. Exhibitions and Concerts Partly associated with conferences 9 February Concert with Clara Schumann songs A unique opportunity to listen to Clara Schumann songs, performed by Elisabeth Goell and accompanied on a piano that was made for and owned by Clara Schumann and then found its way to Donegal.
At the Glucksman Library, University of Limerick. Opening of the exhibition by renowned artist David Lilburn. Book Collection Over the past twenty years the Centre for Irish-German Studies has compiled a significant collection of Irish-German materials, consisting chiefly of books, brochures, pamphlets and digital sources in German about Ireland and Irish materials about the Germanspeaking countries.
Many individuals and publishing houses have generously contributed to the collection over the years. This will further enhance its attractiveness to specialist researchers. The Centre room is fully furnished with computer facilities and has over the years served a basis for many visiting scholars and postgraduate students. The items of current collection can be found via the main Glucksman library online catalogue, using the filter location.grupoavigase.com/includes/248/5247-mujeres-solteras-de.php
Meaning of "Intertextualität" in the German dictionary
Oxford: Peter Lang Manchester: ManchesterUniversity Press BadenBaden: Nomos Herres, G. Munich: iudicium Frankfurt am Main, Oxford: Peter Lang, Holfter, G. Stuhlmann, A. Frankfurt: Peter Lang, Fischer, J. Cork: Collins Pres Bern: Peter Lang Arlen: Galway Joachim Fischer Das Deutschlandbild der Iren Geschichte — Form — Funktion. Such signals change the meaning of all actions within the situation. For example, what seems to be pursuit, attack, or business, changes to "only play" or "just for fun.
Playful actions mimic actions, but at the same time, deny the meaning of the mimicked actions. The self-referential message "This is play", included by all playful actions, is constitutive for the play-situation: if play is not signified as play it is not play.
Das Phänomen der Intertextualität im Medium Film on Apple Books
Proceeding from an elaboration of Bateson's theory, the paper will consider the possibility of its application on games, focusing on forms that are used by single player computer games to include metacommunication in the gaming process. These games, due to the lack of communication and communication partners, either fictionalize the act of metacommunication or establish a situation of parasocial interaction a concept derived from TV-theory to describe programs that simulate direct address of the spectators.
Analyses of exemplary computer games will illustrate the theoretical premises. The metaphor refers to the end of a medium whose messages were indexical signs causally related to the objects they refer to, a medium about which R. Barthes has said that "it never lies. However, if the loss of the referent is the distinctive feature of traditional photography, the "death of photography" is as old as the "crisis of representation," and the history of photography has seen many forms and modalities of this death, e.
Many deaths of photography are due to self-reference, since photographic self-reference is a form of the loss of the referent in photography. The camera in the picture, the photo in the photo mise en abyme , or the deliberately distorted photo are forms of pictorial representation which result in hiding the photographic referent. The paper examines various forms of such losses of the photographic referent from the 19th to the 21st century and concludes with reference to Peirce's theory of indexicality and iconicity that whereas the now-defunct classical photography used to produce indexical signs, the postphotographic art of Concrete Photography has arrived at photos which can be described as genuninely self-referential icons.
However not all various types increase similarly. While we find more and more meta-media, e.
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The most common phenomenon of self-reference is self-promotion. The rise of self-promotion can be explained with the economical intentions of media companies: Enforced competition constrains the use of self-promotion for announcement, image-building, creating audience-flow and - in the long run - for being successful in the media industry. Therefore self-promotion has become a crucial instrument of media marketing and has been evolving various forms.
In the theoretical part of our presentation we focus on self-reference in traditional mass media such as newspapers, magazines, radio and TV, arguing from a media economics point of view. We analyze the intentions of media companies to facilitate self-promotion and present empirical results of program analysis of German-speaking TV-programs.
Gloria Withalm: The Self-Reflexive Screen: Outlines of a Comprehensive Model The long list of examples shows that the filmic reference to itself as medium is as old as the medium itself, and can be found in every genre. In order to deal with the topic in a comprehensive way, a model has to be developed which is able to cover the entire range of observable textual strategies and practices and relate them to the double nature of film as a sign system and as a socio-cultural system.
Based on the socio-semiotics of Ferruccio Rossi-Landi, a possible model looks at the medium film as a whole along the main phases of the fundamental cycle production - exchange or distribution - consumption or reception , as well as at the product film. Apart from the well-documented self-referential procedures of film-within-film or rather filming-within-film , film citation and allusion, or people watching movies, there is a particular group of movies which transcends these forms of self-referentiality: self-reflexive movies that at certain moments of the discourse focus on themselves.
An Exploration of the Limits of the Transmedial Field "Metareferentiality" Among the many variants of self-reference, meta-reference is no doubt one of the most interesting ones. This is not only true with an eye to contemporary media, where meta-phenomena have become almost ubiquitous, but also from a systematic point of view. For meta-reference can be found in so many media that one may ask whether this obviously transmedial phenomenon actually extends to all media.
This is the question I will try to answer with reference to a medium that at first sight seems marginal, if not downright inappropriate, in this context, namely Western instrumental art music. Indeed, in an exploration of the limits of the transmedial 'meta-field' instrumental music appears to be a medium that among all media is arguably the most self-referential one - as long as self-reference remains within the domain of repetition, variation and other forms of similarities and contrasts -, but seems especially problematic when it comes to meta-reference.
Starting from a definition of meta-reference as opposed to other forms of self-reference, I will present some typological tools for a comparative analysis of meta-reference, tools that are modelled on metafiction as one of the core-media in this field. On this basis I will then discuss to what extent the concept and important typological forms of meta-reference are applicable to instrumental music. My thesis is that under certain conditions Western instrumental music of the past few centuries can indeed approach the condition of meta-reference and thus be located within the 'meta-field', albeit at its margins only, since this medium has more difficulties than others in fulfilling essential 'meta-conditions' and can do so only to a limited and often debatable extent which does not cover all the 'meta-forms' that are possible in metafiction.
Examples of potential 'meta-music' discussed in my contribution will include compositions by Friedrich Gulda, Johannes Brahms and - as a particularly intriguing case study - J. Fernando Andacht andacht superig. He has published works on popular culture, representations of the nation stamps, iconography , literature, cinema and television. A specific area of interest is the semiotic model of C. Peirce, and its applications to media studies.
He has published over a hundred articles in journals of Europe, United States, China, and Latin America, and eight books. Since , he has been studying the representation of reality in Brazilian contemporary documentaries and TV reality shows. Nina Bishara nina. Her research interests include self-reference in the media, text-picture studies as well as language and the internet.
Joan Kristin Bleicher joan. Schwerpunkt: Fernsehen in der Bundesrepublik Deutschland". Poetik eines narrativen Erkenntnissystems.