Les trois oeuvres de notre corpus déclinent les données d'un vivre-ensemble tissé de solitude, d’une existence qui est coexistence. La solitude affecte des personnages qui constituent les témoins de l'humaine condition. L’oubli qui les hante est également solitude. Dès lors, la mémoire constitue l’antidote communautaire à une amnésie menaçante, et l’intertexte permet d’unir les solitudes par la matérialisation d'une communauté humaine aux prises avec l’altérité du réel. Cette communauté s'exprime de manière privilégiée dans ces trois récits qui donnent libre cours aux tensions et contradictions d'un réel toujours étranger à l'homme. Murakami, Auster et Quignard reflètent cette solitude communautaire dans des récits ouverts au dèmos qui accueillent cette altérité à laquelle le sacré et les mythes donnent voix. Chez les trois auteurs, c’est le problème de l'absolument autre et de sa traduction mythique qui permet de comprendre ce qui unit les hommes, mais aussi ce qui en eux – et dans le réel –, résiste à la socialité. Ce problème est donc éminemment communautaire. Présente dans les trois ouvrages, la musique, expression du génie humain, est également solitude. Elle traduit dans les oeuvres une présence/absence du souvenir, donne voix à l’indicible, renvoie à une moralité infinie, ou reste liée à l’animalité. Quant à la présence de l’auteur ou du narrateur dans les textes, le lecteur est confronté à trois manières différentes de donner voix à la communauté humaine, que ce soit par le deuil du lyrisme auctorial, en dotant au contraire sa voix d'une forte expressivité, ou à travers une voix narrative qui gagne en puissance au fil de l'ouvrage, illustrant ainsi l'engagement graduel du personnage dans le texte. La dimension historique, mémorielle et politique des communautés représentées, l’effort vers l’être-pour, qui constitue à la fois une théorisation du partage du sensible et une forme non militante de l’engagement personnel et collectif, sont également analysés dans ces trois oeuvres, qui mettent en évidence l’impossibilité d’une solitude non peuplée. / The three novels under scrutiny confront the very fact of existence as coexistence; they express solitude, considered as an unquestionable fact of life. Solitude affects characters who represent all mankind. The oblivion which haunts the protagonists is also an expression of solitude. Memory then becomes the common antidote to an impending amnesia, and intertextuality provides a way to bring solitudes together in a human community confronted to the strangeness of reality. Giving a voice to human community is the aim of these three contemporary novels, which express the tensions and contradictions of a reality filled with an undeniable otherness. Murakami, Auster and Quignard reflect on this common solitude in narratives that are open to that very strangeness, which is conveyed by mythology and the presence of sacred people or objects in the novels. For the three writers, it is the question of otherness and its mythical transcription that allows to understand what brings men together, and the things which, within people and reality, resist to socializing. Therefore, otherness must be considered as an eminently communal element in the novels. Music, an expression of human genius, is also a product of solitude. It expresses the presence/absence of things past, the unspeakable, refers to the infinity of morality, or else remains linked with animality. The reader is confronted to three different ways of expressing human community in the narratives, whether by accepting to give up one's lyricism, or on the contrary by using a very expressive style, or else by allowing the narrative voice to gather momentum throughout the text, to match the gradual social commitment of the protagonist. Therefore music, memory, the historical and political dimension of the depicted communities, the efforts of the characters towards involvement, a non-militant form of commitment, emphasize the fact that solitude, in these novels, is essentially communal.

Cystic fibrosis (CF) is a rare genetic disease caused by mutations in the cystic fibrosis transmembrane conductance regulator (CFTR), an epithelial anion channel expressed in several vital organs. Absence of functional CFTR results in imbalanced osmotic equilibrium and subsequent mucus build up in the lungs-which increases the risk of infection and eventually causes death. CFTR is an ATP-binding cassette (ABC) transporter family protein composed of two transmembrane domains (TMDs), two nucleotide binding domains (NBDs), and an unstructured regulatory domain. The most prevalent patient mutation is the deletion of F508 (F508del), making F508del CFTR the primary target for current FDA approved CF therapies. However, no experimental multi-domain F508del CFTR structure has been determined and few studies have modeled F508del using multi-domain WT CFTR structures. Here, we used cryo-EM density data and Rosetta comparative modeling (RosettaCM) to compare a F508del model with published experimental data on CFTR NBD1 thermodynamics. We then apply this modeling method to generate multi-domain WT and F508del CFTR structural models. These models demonstrate the destabilizing effects of F508del on NBD1 and the NBD1/TMD interface in both the inactive and active conformation of CFTR. Furthermore, we modeled F508del/R1070W and F508del bound to the CFTR corrector VX-809. Our models reveal the stabilizing effects of VX-809 on multi-domain models of F508del CFTR and pave the way for rational design of additional drugs that target F508del CFTR for treatment of CF.

Die Geschichte der ‚unschuldig verfolgten Frau‘ wurde im Mittelalter und darüber hinaus vielfach tradiert. Die Erzählung der ‚Leipziger Kleinepikhandschrift‘ Ms 1279 aus dem 15. Jahrhundert liefert eine Variante, die Crescentia als Heilige und Ärztin stilisiert. Integriert in eine literarische Sammelhandschrift vermittelt die Erzählung Handlungsanleitung auf der Ebene des sensus moralis'.:1. Einleitung 11 1.1. Erzählstoff 11 1.2 Inhalt 14 1.3 Überlieferung 16 1.4 Ms 1279 aus der Universitätsbibliothek Leipzig 18 1.5 Sprache 25 2. Textabdruck und Übersetzung 29 3. Zum Verständnis 71 4. Literaturverzeichnis 91 4.1 Quellen 91 4.2 Forschung 93

Der Bereich von Sterben, Tod und Trauer gehört als indirekte oder auch direkte Todeswirklichkeit zum Alltag von Vor- und Grundschulkindern. Seit den 1990er Jahren finden diese Themen zunehmend Eingang in die deutschsprachigen Bilderbücher und werden dort anhand verschiedener literarästhetischer Erzählstrategien auf der Text- sowie Bildebene und deren Wechselverhältnis diskutiert. Die vorliegende Untersuchung ordnet das Primärtextkorpus deutschsprachiger Bilderbücher zu Sterben, Tod und Trauer anhand eines untersuchungseigenen inhaltsbezogenen Rubrikenmodelles. Der für die qualitative Beurteilung der untersuchten Bilderbücher entwickelte Katalog von Analysekriterien berücksichtigt sowohl gattungsspezifische Forschungsarbeiten als auch Studien zum Verhältnis von Kind und Tod. Um in den Bilderbüchern tabuisierte, kanonisierte und innovative Erzählstrategien von Tod und Trauer nicht nur herauszuarbeiten, sondern auch komparatistisch in einen europäischen Kontext einzuordnen, wird der Untersuchung deutschsprachiger Bilderbücher die Diskussion der Entwicklung des Themenfeldes im schwedischen Bilderbuch gegenüber gestellt. Das Innovationspotenzial, das ausgewählte seit den 1970er Jahren veröffentlichte schwedische Bilderbücher für die Entwicklung des Themenbereiches Tod und Trauer im deutschsprachigen Bilderbuchmarkt besitzen, wird insbesondere in den Grenzbereichen zwischen tradierten sowie innovativen Erzählstrategien deutlich. Sowohl in den zusammenfassenden Betrachtungen der einzelnen inhaltsbezogenen Unterrubriken, die das deutschsprachige sowie schwedische Primärtextkorpus gliedern, als auch in den einzelanalytischen Abschnitten werden bestehende Kanonisierungs- sowie Tabuisierungstendenzen in Bezug auf die Darstellung einzelner Themenaspekte von Tod und Trauer deutlich, wenngleich diese zunehmend in Auflösung begriffen und in einigen Unterrubriken stärker ausgeprägt sind als in anderen. / Dying, death and grief are a direct or indirect part of the reality of preschool and primary school children. Since the 1990s, these topics increasingly find their way into German picture books, where they are discussed using different literary-aesthetic narrative strategies through text and images as well as their interrelationship. The present study maps the primary text corpus of German picture books on dying, death and grief by means of a research-based content-related category model. The catalogue of analytic criteria developed for the qualitative assessment of the examined picture books takes into account both genre-specific research and studies on the attitudes of children toward death. In order not only to elaborate on tabooed, canonized and innovative narrative strategies of death and grief in picture books, but also to place them in a comparative European context, the study of German picture books is set against the discussion of the development of these topics in Swedish picture books. The innovation potential, which selected Swedish picture books published since the 1970s contain for the development of the theme of death and grief in the German picture book market, becomes particularly evident in the border areas between traditional and innovative narrative strategies. Both in the summary of the individual content-related subcategories, which classify the German and Swedish primary text corpuses, as well as in the individual analytic sections, existing tendencies to canonize or taboo with regard to the representation of individual aspects of death and grief become clear, though they are in a process of disintegration and are more pronounced in some subcategories than in others.

Vorliegende Dissertation greift in zeitgenössische Debatten queerer und feministischer Politiken durch die Analyse von Gegenwartsliteratur ein. Hatte die zweiten Frauenbewegung vertreten, dass im Zentrum politischer Veränderungen stets persönliche Veränderungen stehen, nutzt die Arbeit mit diesem Ausgangspunkt ein scheinbar anachronistisches Paradigma, um solche Narrative zu kritisieren, die Queerness sowie queere Politik und Theorie im Präsens, lesbischen Feminismus dagegen in der Vergangenheit positionieren wollen. These ist dagegen, dass die utopischen Impulse des lesbischen Feminismus der zweiten Frauenbewegung sich mit aktueller queerer Politik überschneiden und dass beide auf zu differenzierende Art Praktiken und Konzepte von Intimität in den Vordergrund stellen, die auf soziale Transformationen in größerem Maßstab verweisen. Die Erkundung der komplexen Weisen, in denen Politik durch Intimität praktiziert wird, erfolgt hier am Beispiel der Figur der Lesbe in der zeitgenössischen Anglo-Amerikanischen Literatur, speziell in Auseinandersetzung mit der Literatur der kanadischen Schriftstellerin Ann-Marie MacDonald. Mit Figur oder Trope der Lesbe im Zentrum der Analyse ist ein spezifischer historischer und politischer Kontext signalisiert. Die Lesbe sowie lesbian existence als eine feministische Praxis bieten einen produktiven Ausgangspunkt, weil beide im Lauf der Zeit oft und teils simultan als das Abjekt oder das idealisierte Objekt von sexueller und Genderpolitik konstruiert worden sind. Darüber hinaus markiert lesbischer Feminismus einen bestimmten zeitlichen Ort sowie eine politische Funktion und besetzt einen bestimmten Platz im feministischen und queeren Imaginären. Aufgabe der Dissertation ist es, die Potentiale herauszuarbeiten, die heute noch immer von der Figur der Lesbe und vom lesbischem Feminismus ausgehen, ohne dabei deren teils unbequeme Beziehung zum beachtlichen Einfluss der Queer Theory aus den Augen zu verlieren. / This dissertation intervenes in contemporary debates in queer and feminist politics through an analysis of literary fiction. Taking as its point of departure the second-wave feminist claim that personal and intimate transformation are at the heart of political transformation, it uses a seemingly anachronistic paradigm to critique linear narratives that position queerness and queer politics and theory in the present and lesbian feminism in the past. It argues that the utopian impulses of second-wave lesbian feminism overlap with those of contemporary queer politics, and claims that both foreground practices and conceptions of intimacy that prefigure broader social change. Exploring the ways in which politics are enacted via intimacy, this dissertation takes as its object of study the figure of the lesbian in contemporary Anglo-American literature, specifically engaging with the fiction of Canadian writer Ann-Marie MacDonald. Situating the figure of the lesbian at the centre of this analysis signals a specific historical, political, and social context. The lesbian, as a figure or trope, or lesbian existence, as a way of doing feminism, offers a productive point of departure for such considerations because both have, over time, been variously and often simultaneously constructed as either the abject or idealized object of sexual and gender politics. Lesbian feminism signals a specific temporal location and political function and holds a particular space in the feminist and queer imaginary. While exploring both the influence of queer theory and politics in the political and theoretical structures of sexuality, and the unprecedented mainstreaming both of (certain versions of) non-heterosexuality and (certain versions of) feminism, this dissertation’s project is to consider the possibilities still generated by the figure of the lesbian and lesbian feminism, while considering its sometimes-uncomfortable relationship to the considerable influence of queer theory.

This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.

This thesis discusses the ideals of behaviour which sought to govern family life and which were common currency in England and northern Europe, how they were constructed, and how the late medieval gentry and nobility interacted with them. Hagiography, sermons, and courtesy literature all explicitly sought to influence the views and behaviour of their audiences, whilst the letter collections of the Pastons, Plumptons, Stonors, Celys, and Armburghs offer an insight into the self-perceptions of the recipients of this didactic material. Much of this material has been studied, but it did not exist in a vacuum. Images in books, often marking key moments in a typical life-cycle, supported, extended, even contradicted the notions inculcated by these texts, were increasingly relevant to later medieval daily lives, and both influenced their audience and were used by their audience as a form of self-fashioning. The five chapters of this thesis each explore a different aspect of the medieval lifecycle. Chapters One and Two take the foundation of the household, marriage, as their starting point, discussing courtship and the ideal marriage ceremony, as well as the attributes and behaviour of the ideal spouse. Chapter Three turns to how this household operated on a wider scale, demonstrating how lords were caught between Christ's example and the pressures of lavish lay display when building networks of friendship. Chapter Four considers the genesis of a new generation: how images and texts conveyed sometimes different notions of the ideal mother and father, the location of the household as a place of learning, and the importance of models when shaping the development of the ideal child. Lastly, Chapter Five investigates the end of the lifecycle, death, and how images and texts worked together to propound the central medieval idea of a 'good death'. Consideration is given throughout this thesis to how the norms of behaviour communicated by texts and images may be studied.

De la fin du XIXe siècle aux premières décennies du XXe siècle, la Corée connaît un engouement sans précédent pour la découverte de l’Occident. L’acte de traduire en Corée fut un véritable acte d’accueil dans un pays à l’histoire complexe, en recherche d’identité culturelle voire nationale. Si l’on devait dessiner une frise imaginaire de l’histoire littéraire coréenne, nous serions interpellés par une sorte d’ellipse temporelle entre le passage de la littérature ancienne à la littérature moderne et contemporaine. En effet, sans l’introduction d’œuvres étrangères notamment françaises en Corée, et donc sans la traduction-création, la littérature moderne aurait probablement émergé difficilement. C’est donc grâce au transfert culturel d’une littérature européenne dite classique que la littérature moderne s’est façonnée dans le paysage littéraire coréen, résultat fulgurant d’un besoin d’évolution impulsé par un désir fort de rattraper et réveiller les esprits d’un peuple longtemps bridé par une conjoncture géopolitique particulière. La littérature en traduction de cette période est le point culminant d’une pensée littéraire, d’une notion sur la littérature elle-même qui, du système d’écriture jusqu’au transfert terminologique, n’a cessé de questionner ce qu’est la littérature. Cette étude propose de retracer ces enjeux à la fois comparatifs, historiques et littéraires par le biais des œuvres romanesques françaises du XIXe siècle en traduction publiées dans les revues et dans un journal et d’examiner, des versions des Misérables à celles du Comte de Monte-Cristo, un ensemble de romans français en traduction qui tous participent à l’acte de lire, traduire, écrire. / From the late nineteenth century to the first decades of the twentieth century Korea experienced an unprecedented craze for the discovery of Western culture. The act of translating in Korea was a real act of welcome in a country with a complex history and in search of a cultural or even a national identity. If we were to draw an imaginary frieze of Korean literary history, we would be challenged by a sort of temporal ellipse between the passage from ancient literature to modern and contemporary literature. Because, in fact, without the introduction of foreign works, especially French ones into Korea, and therefore without the process of translation-creation, modern Korean literature would most likely only have emerged with considerable difficulty. It is therefore thanks to the cultural transfer of classical European literature that modern literature has shaped itself in the Korean literary landscape, a result of a need for evolution driven by a strong desire to catch up and awaken the spirits of a people long constrained by a particular geopolitical situation. The translation literature of this period is the culmination of a literary idea, a notion about literature itself, which, from the writing system to terminological transfer, has constantly questioned what literature is. This study proposes to trace these issues - at once comparative, historical and literary - through translations of French fictional works of the nineteenth century published in magazines and in newspapers and to compare versions of “Les Misérables”, and those of “Le Comte de Monte-Cristo”, French novels in translation that all entail the act of reading, translating, writing.

Der Vortrag verfolgt die Geschichte und rhetorischen Funktionalisierungen des Seneca-Zitats, dass es nicht darauf ankomme, wer spricht, sondern allein darauf, was gesagt werde, von der Spätantike bis ins Spätmittelalter. Das Zitat erweist sich als polyfunktional: Geistlichen dient es zur Absicherung gegenüber der Gemeinde, Akademikern hilft es in Fällen anonymer Überlieferung - sogar eine Frau, die über das Waffenhandwerk publiziert, lenkt damit von sich als Verfasserin ab.

La petite métallurgie du cuivre – laiton, bronze, plaqué, dorure, argenture – et la quincaillerie fine associée sont, en France, après la Guerre de Sept Ans jusqu’à la veille de la Révolution, de 1765 à 1790 environ, un secteur de l’économie du luxe à la pointe de l’innovation et très concurrentiel, capable de rivaliser avec l’Angleterre, une nation jusque là tenue comme « invincible ». Une première série de travaux en micro-histoire a aidé à redresser l’image de la « révolution » industrielle, mais la vision hiérarchisée des relations entre les différents acteurs subsistant, profitait à certains (gros merciers et entrepreneurs ; techniciens) au détriment d’autres. Au fil des recherches, s’est dégagée une vision plus complexe du milieu parisien de la curiosité, démontrant que les acteurs principaux, les merciers, étaient en général entourés de nombreux correspondants associés à leurs affaires et qui n’étaient pas de simples exécutants. Il fallait en retrouver trace par un dépouillement systématique des archives de Paris et de Londres.A la lumière des sources nous avons poussé les portes d’ateliers d’artisans-fabricants parisiens, découvrant leurs mises en scène de la technique et l’expression d’une pensée technologique : les équipements et les outils matérialisant leurs capacités à s’organiser ; les matières et matériaux, affichant leurs capacités à diversifier les nouveaux alliages et à en affiner les qualités ; les nombreux modèles affichant des intentions de décliner des gammes d’objets et de jouer sur les complémentarités entre métiers; les techniques de finition par jeux d’éclats, imitations, raffinement prouvant leurs implications dans une quête de la perfection.Mais la technicité et la spécialisation exigent de la sous-traitance, donc le recours à d’autres métiers et réseaux. Or, les contraintes corporatives à Paris à l’époque interdisent à l’artisan de vendre ce qu’il ne fabrique pas. Son corollaire est le privilège marchand de vendre tout ce qu’on n’a pas fabriqué, une prérogative qui donne à ce Corps l’ascendance sur les autres. Notre dépouillement de grosses affaires commerciales à Paris mais aussi à Londres démontre que le secteur du luxe prospère grâce à l’économie marchande et à la dynamique basée sur la multiplicité des métiers et des cultures. Cette dynamique est d’autant activée par la polyvalence de certains intermédiaires, dont la minorité de marchands juifs de Londres. Les archives de faillite confirment que les communications entre les marchands parisiens et les membres de ce réseau ont été porteuses de savoirs technologiques pratiques et que l’histoire de la technologie est inscrite dans ces alliances. / In between the end of the Seven Year War and the beginning of the Revolution, from 1765 to 1790, the French hardware trade and the “toy” industry - brass, bronze, plating, gilding, silvering - emerged as one of the most innovative and competitive luxury sector, able to compete with its English counterpart still held as the “hero” in the history of the industrial “revolution”. As a result of many new inquiries and reassessment of the subject through micro-history approaches, inherited historiography has been revised. Yet, a hierarchical vision of relationships among its actors (mercers, producers, and technicians alike) still prevails, leaving apart and undetected some more modest and seemingly ordinary people. As a result of additional recent studies, a new and more complex perception of the Parisian context has demonstrated that the main actors of this achievement usually worked in close association with a number of people that were far from being mere “hands”. Archival resources in Paris and London had to be explored much thoroughly.Perusing through the sources has led us first to visit craftsmen’s workshops and discover “the technique” which reflects the emergence of technological thought : the equipment and tools materialising their capacity to devise and organise the job ; products and materials including new alloys showing their ability to diversify and to refine ; numerous models testifying to their plan to increase the ranges of product relying on analogies and complementarities between trades; finishing and decorating through brilliance, imitations, refinements, proved that their quest for perfection was one of their ultimate challenge.But technique and specialisation mean expansion therefore sub-contracting, that is recruiting other trades and networks. Yet, under the Parisian corporative regulations, a craftsman is denied the right to sell what he does not produce himself, the corollary being that a merchant is allowed under that rule to sell whatever he does not make. This gives him predominance over artisans. Our study of significant mercers’ businesses in Paris and in London demonstrates that the luxury sector has been stimulated by trade and that it involved many arts and crafts; that under this impulse, though originating in France mainly Paris, it went beyond frontiers through different countries one of which being Great Britain, the economy of which was prospering; that the boost was reinforced by the involvement of networks of multi-skilled actors, among them the minority of Jewish traders from London.Thus, progress in historical research has led to the conclusion that between Parisian merchants and the members of this particular network, exchanges involved technology concerns and that, as a result of these alliances, technology had been greatly promoted.