Zwischen 1989 und 2009 zeichneten, malten, dichteten und druckten die beiden Künstler Andreas Dress (geb. 1943 in Sebnitz) und Claus Weidensdorfer (geb. 1931 in Coswig) einen „Deutschen Hausschatz“, ein Künstlerbuch mit 19 Radierungen in 16 Exemplaren. Mit ungebremster Phantasie und künstlerischer Leidenschaft verwandelten sie im kreativen Hick-Hack Märchenmotive der Gebrüder Grimm und Hans Christian Andersens in eigenständige Kunstwerke. Fast jedes der Blätter aus den 16 Exemplaren wurde übermalt, und wenn der Platz für neue Bilder und Texte nicht ausreichte, dann wurde er gesucht und gefunden, um die Ecke weitergedichtet.

Zwischen 1989 und 2009 zeichneten, malten, dichteten und druckten die beiden Künstler Andreas Dress (geb. 1943 in Sebnitz) und Claus Weidensdorfer (geb. 1931 in Coswig) einen „Deutschen Hausschatz“, ein Künstlerbuch mit 19 Radierungen in 16 Exemplaren. Mit ungebremster Phantasie und künstlerischer Leidenschaft verwandelten sie im kreativen Hick-Hack Märchenmotive der Gebrüder Grimm und Hans Christian Andersens in eigenständige Kunstwerke. Fast jedes der Blätter aus den 16 Exemplaren wurde übermalt, und wenn der Platz für neue Bilder und Texte nicht ausreichte, dann wurde er gesucht und gefunden, um die Ecke weitergedichtet.

The present work attempts to highlight the difference in perception among the audience in digital and analog arenas by comparing the play Offending the Audience by Peter Handke, the filmed staged version thereof, directed by Claus Peymann in 1966 and the video performance #allesdichtmachen (2021). The aim is to discern in what respects these works are similar, where they diverge and whether there is a lowest common denominator, which makes a particular aesthetic representation of the content relevant to the audience. Furthermore the question is raised whether, and how, a new sense of responsibility for the creators and audiences arises from new habits of reception. Can the digital consumer provide a significant opportunity for live theatre, struggling in the shadow of the Covid-19 crises, by helping it regain its role as a brilliant entertainer, important custodian and mediator of arts and culture? / Die vorliegende Arbeit versucht mittels Gegenüberstellung der Publikumsbeschimpfung von Peter Handke bzw. dessen szenischer Umsetzung durch Claus Peymann aus dem Jahre 1966 und der Video-Kunstaktion #allesdichtmachen (2021) aufzuzeigen, welche Erlebnisräume der analogen und digitalen Rezeption entspringen. Hierbei gilt es herauszuarbeiten, wie sich diese unterscheiden, worin sie sich gleichen und ob es einen kleinsten gemeinsamen Nenner gibt, der die ästhetische Spiegelung des Inhalts/Contents zu einem Auftritt von Relevanz werden lässt. Im Zuge dessen soll auch erörtert werden, inwiefern oder ob den Rezipienten bzw. Theatermachern aus veränderten Rezeptionsgewohnheiten eine Verantwortlichkeit erwächst und ob der digitalisierte Teilnehmer in weiterer Konsequenz eine Chance für das Live-Theater darstellt, das im Schatten der Covid-19-Krise versuchen muss, die von ihm verlorene Pole-Position als kultureller Verwalter, pädagogischer Vermittler und genialer Unterhalter zurückzuerobern.

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Abstract Introduction: This master’s thesis examines how narrative development is socialized in Swedish letters and postcards to Santa Claus. The letters are from the previously unanalyzed archive collection Letters to Santa, and the years between 1960s and 1970s have been analyzed. A part of the collection consists of work materials and letters written to Santa Claus by Swedish children and adults. The collection was coordinated by the organizationPosttomten which was led by Elsa Holst.Method: The study uses a narrative and socialization analysis. Which is combined with an observation of the areas where the organization was active during the 1960s and 1970s. Analysis: The thesis has studied six volumes with Swedish letters and work materials from the 1960s and 1970s from Postmuseums archive, newspaper articles from the same time period, Posthuset on Skansen and Östra Varvsgatan 4 in Djurgårdsstaden Stockholm where the organization was active. This subjects have also beenobserved and discussed in the analysis. The theories narrative and socialization are used to explain how the sender perceives Santa Claus, what general rules they use in their letters, how they write to get in contact with him, how he is used by the organization, individuals, and other groups.Results: Why someone are using or want to contact Santa Claus depends on what they want to achieve. Adults want to help or learn thier child the basic structures and general rules to write a letter or a postcard to Santa Claus. This is a way for adults to keep the lie of Santa Claus alive for thier children. Some adults even thank the people behind Posttomten for thier work, in the letters. The child on the other hand. They write their letters or postcards to get Christmas presents. Tell him that they have been kind. Admiting mistakes and remind Santa Claus about their existence so that he does not forget them. The letters and postcards are also a way to get an answer if Santa really exists. Different groups also use Santa Claus in the media to improve their own reputation. For example the organization behind Posttomten and the Swedish Post Office use Santa Claus to tell everybody about thier own organization. For instance, to tell about what company they are, give proof that Santa Claus exists and to give the organization a better reputation. Conclusion: The letters and postcards, news articles, work materials and the two observations. They expose a narrative and socialization, that gives Santa Claus many different sides. For example where does he live? What is his name? What does he look like? His personality? These are important elements in making Santa to a real person when Posttomten and Santa Claus are perceived as the same person. The natural way is namely to give Elsa Holst the title as the real Santa Claus. This because she fits in the social expectation and ideal to the narrative that Santa Claus has been given. With the help from parents, the Swedish post office, media and teachers itbecomes possible to make the conclusion that they made it possible for everybody to discover that Santa Claus was Elsa Holst. The effect of knowing that Elsa Holst was Santa Claus made it easier for the organization to get assistance and a positive opinion about Santa Claus, When she died it becomes clear that the organization was depended on Elsa Holst too much. Because no one else was ready to take over the role as Santa Claus or the leadership in the organization all the work was ended. The Swedish post office took the control over Santa Claus. The result lead to a negative backlash in the Swedish community because the narrative, the ideals and the tradition did not fit in the Swedish post office organization. That could had been the end but it did not stop the organization and Posttomten to continue their work in a new place in the beginning of the 1980s. This is a two years master's thesis in Archival science.

Les clauses de fin de contrat illustrent l’importance de la liberté contractuelle. La pratique s’est emparée de cette période de l’« après-Contrat » sous le contrôle de la jurisprudence, dans le relatif désintérêt du législateur.Les fins du contrat sont diverses. La fin peut être retardée par le biais de la prorogation du contrat. La fin peut être prématurée : elle peut être une fin brutale et définitive par le biais de la clause résolutoire, la continuité de ce qui était par l’arrivée du terme extinctif, ou encore la venue de quelque chose de nouveau par le biais d’une clause de caducité. La fin peut n’être qu’un passage vers un autre contrat par le biais de la reconduction. Il en ressort un flou théorique nécessitant une construction juridique. Il peut être proposé de scinder le temps de l’après-Contrat en trois temps. Le premier temps, les parties satisfaites de leur relation vont chercher à la faire perdurer. Les clauses de fin de contrat ont alors pour finalité la préservation de la pérennité du lien contractuel entre les parties. La deuxième période porte sur les modes d’extinction du contrat. La sortie de la relation contractuelle est devenue un enjeu important nécessitant le recours à différents mécanismes juridiques tels que la clause de dédit, la condition résolutoire ou encore la clause résolutoire.La troisième période peut être désignée comme la période de liquidation du passé contractuel comprenant deux séries de clauses : celles liquidant le passé contractuel (notamment la clause de non-Concurrence et la clause de confidentialité) et celle s’intéressant à l’avenir post-Contractuel. La fin du contrat doit être distinguée de la clôture de la relation contractuelle désignant la cessation de toutes les obligations post-Contractuelles et de leurs conséquences. Ainsi loin d’être secondaires, ces clauses de fin de contrat composant la période de l’après-Contrat sont fondamentales pour toute relation d’affaires continue. / End-Of-Contract clauses illustrate the significance of contractual freedom. Practice took hold of this “post-Contractual” period under the control of established precedents, in the relative disinterest of lawmakers.The types of contractual ends are diverse. The end may be delayed by means of prolongation of the contract. The end may come prematurely: it may come suddenly and definitively by means of a termination clause, the continuity of that which was by the arrival of the extinctive term, or the arrival of something new by means of a sunset clause. The end may only be a passage to another contract by means of renewal. This results in a lack of theoretical clarity that requires a legal structure. It may be proposed to divide the post-Contractual period into three parts. In the first part, parties satisfied with their relationship will seek to have it continue. The end-Of-Contract clauses thus serve the purpose of preserving the durability of the contractual bond between the parties. The second part involves the manner of termination the contract. Closing the contractual relationship has become an important matter that requires resorting to different legal mechanisms such as the forfeiture clause, the termination condition or the termination clause.The third part may be referred to as the period of liquidation of the contractual past including two series of clauses: those liquidating the contractual past (notably the clause of non-Competition and the clause of confidentiality) and those concerning the post-Contractual future. The end of the contract must be distinguished from the close of the contractual relationship designating the cessation of all post-Contractual obligations and their consequences. Thus, far from being secondary, these end-Of-Contract clauses affecting the post-Contractual period are fundamental for any ongoing business relationship.