<p><i>She Will Be: Literary Authorship and the Coming Woman in the Postbellum United States </i>argues that postbellum women writers deployed the figure of the Coming Woman, an archetype for the nation’s improved female future, to articulate expanded sociopolitical opportunities for women, interrogate prevailing standards of literary art, and validate their own literary pursuits. During the final decades of the nineteenth century, the American reading public became increasingly fascinated with identifying who the Coming Woman would be, what qualities she would possess, and how her arrival would alter the nation’s future. Such questions flooded US print culture in the decades between 1865 and 1900, demonstrating that the Coming Woman not only occupied a space between the antebellum True Woman and fin de siècle New Woman but also that she was a major feminine archetype in her own right.</p><p><br></p><p>Even so, existing scholarship on the Coming Woman tends either to identify the Coming Woman anachronistically as an early iteration of the New Woman or, when naming her directly, to overlook her complex function as both a harbinger and manifestation of manifold sociopolitical changes. These limited examinations elide the Coming Woman’s ubiquitous influence on postbellum literary culture, particularly in terms of the complex links Susan Coultrap-McQuin and Lawrence W. Levine have traced between middlebrow culture and postbellum national identity. <i>She Will Be</i> builds on recent scholarship by demonstrating how the American Coming Woman helped reshape notions of women’s literary authorship, modernity, and national identity in the late nineteenth century. By examining her literary life through four key middlebrow genres (<i>Bildungsroman</i>, sentimentality, utopianism, and regionalism), <i>She Will Be</i> reveals how female authors used the Coming Woman figure to imagine—and, indeed, write into being—an expanded vision for the US’s female future.</p>

En prenant en compte le contexte des nombreuses dépossessions, de l’arrachement et de l’invisibilisation des langues Autochtones, puis de l’imposition des langues coloniales dont la littérature des pensionnats témoigne avec force détail, cette thèse aménage une réflexion autour de la manière dont les autrices Autochtones contemporaines, qui écrivent en anglais ou en français (Virginia Pésémapéo Bordeleau, Kateri Akiwenzie-Damm, Marie-Andrée Gill, Leanne Betasamosake Simpson, Natasha Kanapé Fontaine et Cherie Dimaline), négocient avec le langage dans leurs œuvres. Plus spécifiquement, par une lecture au plus près des textes littéraires, cette thèse étudie la façon dont les écritures Autochtones sont des lieux de savoir profondément corporéïsés, situés et relationnels et, en tant que telles, elles donnent à penser les pouvoirs du langage en employant les moyens du littéraire. L’hypothèse formulée est donc que les littératures Autochtones actuelles élaborent des théories critiques du langage dans lesquelles le corps, la langue et le territoire (physique et métaphysique) sont intimement liés; le langage et sa conceptualisation par les écrivaines font ainsi se manifester une toile de relations que supporte la littérature par la création et la mise en présence de cette interconnexion entre le monde sensible et spirituel, entre les êtres humaines et les êtres autres qu’humaines. Bref, en appuyant les réflexions sur les épistémologies Autochtones (Kovach, Wilson, Ermine, Bazile, Sioui, Simpson, Bacon, Vizenor), cette thèse avance que, moins par un retour à des structures linguistiques que par le truchement d’une imagination poétique et narrative, les autrices à l’étude réclament les épistémologies et créent des théories du langage qui sont ramenées sur la scène de la présence littéraire. / Considering the context of multiple dispossessions, the extraction and invisibilization of Indigenous languages, and the subsequent imposition of colonial languages, which residential school literature recounts in great detail, this dissertation reflects on how contemporary Indigenous women writers, who write in English or in French (Virginia Pésémapéo Bordeleau, Kateri Akiwenzie-Damm, Marie-Andrée Gill, Leanne Betasamosake Simpson, Natasha Kanapé Fontaine and Cherie Dimaline), are attempting to (re)negotiate both Indigenous and colonial languages in their works. More specifically, through a close reading of selected texts, this thesis explores how Indigenous literatures are deeply embodied, situated, and relational places of knowledge and, as such, they convey the possibilities of language through their literary interventions. Thus, I argue that contemporary Indigenous literatures enable the creation of critical theories of language, in which body, language, and land (both physical and metaphysical) are intimately connected; language, and its conceptualization by women writers, enables a web of relations through writing that presents this interconnectedness between the sensible and spiritual worlds, and between human and other-than-human beings. Building on Indigenous epistemologies (Kovach, Wilson, Ermine, Bazile, Sioui, Simpson, Bacon, Vizenor), this thesis argues that through poetic and narrative imagination, which differs from a return to the linguistic structures of Indigenous languages, the creative writers explored in this dissertation are reclaiming epistemologies and creating theories of language by putting them at the forefront of their literary practices.

Initiativen wie bspw. literaturlinguistik. de bemühen sich seit Langem darum, die Kluft zwischen Literatur- und Sprachwissenschaft zu überbrücken, indem man in übergreifenden Fragestellungen zeigt, dass die je verschiedenen Perspektiven auf den gemeinsamen Gegenstand sehr fruchtbar sein können. Relativ unverdächtig erscheinen in der aktuellen Diskussion die Konzepte des Autorenstils und damit die Frage nach Autorschaft; bzw. auf performativer und auf Textebene des Erzählers, wenn man sich auf eine basale Terminologie verständigt (z.B. die von Genette 2010) und einzelne Aspekte aus dem jeweiligen Fachbereich so betont, dass Analyseergebnisse im je an deren für Interpretationen fruchtbar gemacht werden können. Das ist der eine Brückenschlag, den dieser Beitrag versucht. Der zweite betrifft den auch in den Schulen ausgetragenen Konflikt zwischen naturwissenschaftlichen und geisteswissenschaftlichen Fächern, der im Prozess der „Digitalisierung' auch in Bereiche dringt, die vorher als Domänen klar voneinander abgegrenzt waren. Der Artikel wird ein Schlaglicht auf den Einsatz von korpuslinguistischen Methoden in der Literaturanalyse setzen (Kap. 2.2) und einen sehr knappen Forschungseinblick in die Forensische Linguistik bieten (Kap. 2.3 und 3). Der Schwerpunkt (Kap. 4) allerdings wird auf der Beschreibung von Tools (und eines Workflows) liegen, die praktisch im Deutschunterricht verwendet werden können. Diese werden am Beispiel der Hypothesengenerierung für die Interpretation von Goethes FaM.9r-Dramen vorgestellt.

Seit einigen Jahre fällt eine Fülle an verschiedenen multimedialen Veröffentlichungen zum Thema Sterben auf, die einen Zusammenhang von Sterben und Erzählen offensichtlich machen, den ich in dieser Arbeit näher erforscht habe. Das Erzählen als eine kulturelle Praktik übernimmt in den von mir untersuchten Veröffentlichungen die Funktion einer ästhetisch-ethischen Sorge und kann als Form zeitgenössischer Sterbekunst betrachtet werden. Es eröffnet einen Raum für ethisches Handeln, um die eigene Haltung zum Sterbeprozess zu eruieren, um diesen selbstbestimmt zu gestalten und abschließend ästhetisch als ein ‚gutes Sterben‘ zu formulieren. Die Fülle der verschiedenen Veröffentlichungen zum Thema Sterben – von diaristischen Selbstreflexionen über fiktionale Sterbenarrative hin zu populärwissenschaftlichen Publikationen von Palliativmediziner*innen – drückt sich sowohl in der Wahl verschiedener Medien als auch in den unterschiedlichen Perspektiven auf den Sterbeprozess aus. Ich spreche demzufolge von einer Polyphonie, die sowohl Sterbende als auch diejenigen zu Wort kommen lässt, die Sterbende begleiten. Die Polyphonie hebt im Bachtin’schen Sinne nicht nur die Bedeutung der ‚Anderen‘ hervor, sondern bringt auch ‚fremde Stimmen‘ zu Gehör. So werden Uneindeutigkeiten, Asymmetrien oder auch Sehnsüchte formulierbar, die Sterbeprozesse heute maßgeblich bestimmen und nicht zuletzt in den ethischen Debatten zu Sterbebegleitung/-hilfe evident werden. Die Polyphonie öffnet dabei im besonderen Maße den Blick auf die Pflege, die so eine neue Sichtbarkeit erfährt. Die Veröffentlichungen artikulieren nämlich verschiedene Formen der Sorge, die nicht nur die konkreten Maßnahmen von Sterbebegleitung und/oder Sterbehilfe meinen. Vielmehr wird auch eine im Foucault‘schen Sinne Idee der Selbstsorge formuliert. Das polyphone Erzählen artikuliert demnach einen Raum der Sorge selbst, in dem Sterben als Form der Gemeinschaftung und Solidarität zwischen Sterblichen erscheint. / Recent years have seen an abundance of varied publications about dying, manifesting the relationship between dying and narration. In my work I argue that in these publications, narrating as a cultural practice articulates an aesthetic-ethical concern to communicate the process of dying not only from a dying person’s perspective but also from that of those accompanying death. Thus, these narratives of dying can be seen as a contemporary form of an “art of dying.” The act of narrating opens up a space for ethical transactions in which one’s own position toward the process of dying can be plumbed; in turn, one is able to determine one’s own process of dying and, finally, aesthetically formulate the process as a “good death.” Today’s plethora of publications on dying – from diaristic self-reflections to fictional narratives to popular scientific publications by doctors in the field of palliative medicine – not only manifest the many types of media in which the narratives are formulated but also convey the many perspectives on the process of dying itself. I therefore speak of a polyphony, which raises the voices of those dying and of those accompanying a dying person. This polyphony accentuates the importance of the “other” and elevates “outsider voices.” The narratives articulate the ambiguities and asymmetries, but also desires, that largely shape dying today and that become evident in the ethical debates about euthanasia and assisted suicide. Contemporary narratives of dying show that the idea of care is of great importance today. Care, however, is articulated not only in questions of how the dying can be cared for — in the sense of palliative care or assisted suicide — but also in the Foucauldian sense of “care for the self,” meaning self-awareness and concern about oneself. To this extent, these polyphonic narratives articulate a space of concern and care, in which the process of dying requires and builds community and becomes a form of solidarity between mortals.

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We present a case study as part of a work-in-progress project about multimodal sentiment analysis on historic German plays, taking Emilia Galotti by G. E. Lessing as our initial use case. We analyze the textual version and an audio version (audiobook). We focus on ready-to-use sentiment analysis methods: For the textual component, we implement a naive lexicon-based approach and another approach that enhances the lexicon by means of several NLP methods. For the audio analysis, we use the free version of the Vokaturi tool. We compare the results of all approaches and evaluate them against the annotations of a human expert, which serves as a gold standard. For our use case, we can show that audio and text sentiment analysis behave very differently: textual sentiment analysis tends to predict sentiment as rather negative and audio sentiment as rather positive. Compared to the gold standard, the textual sentiment analysis achieves accuracies of 56% while the accuracy for audio sentiment analysis is only 32%. We discuss possible reasons for these mediocre results and give an outlook on further steps we want to pursue in the context of multimodal sentiment analysis on historic plays.

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In this work, we present a workflow for semi-automatic extraction of geo-references and motion events from the book 'The Travels of Marco Polo'. These are then used to create 3D renderings of the space and movement which allows readers to visually trace Marco Polo's route themselves to provide the exprience of the entirety of the journey

<p dir="ltr">This dissertation is a Black feminist qualitative inquiry of the interconnections between Black women, literary activity, community, activism, and restoration and healing. In the 1970s and 1980s, the Black Women’s Literary Renaissance and the Black feminist movement converged to create one of the richest periods in Black women’s history. Black women came together in community, through the text, and through various literary spaces–often despite or even because of their differences–to build an archive that articulates a multivocal Black women’s standpoint which many believed to be monotonously singular. During this period, for example, Black women writer-activists wrote more novels, plays, and poetry in these two decades than in any period prior while also establishing new literary traditions. These traditions included the recovery of previously published yet out of print Black women writers, the development of the Black Women Anthology era, the creation of Black women writer-activist collectives, the founding of bookstores, as well as the development of Black Women’s Studies and Black feminist literary criticism in the academy. In the dissertation, these traditions are intrinsically tied to the articulation and definition of the theoretical concept of literary kinship. Conceptually, relationally, and materially literary kinship is the connection generated by the intergenerational literary activity between Black women and girls. In the dissertation, I use literary activity in slightly different ways including to denote community-engaged oral practices, publication, relationships defined around literary sites, and the practice of reading. Literary kinship provides access to community based on and derived from a connection to the literary that is often marked by intergenerational activity. I argue that Black women writer-activists during the period of the BWLR articulate and define literary kinship as a practice of communal restoration and healing for individuals and the collective.</p><p dir="ltr">Literary kinship is explored in four interrelated, yet distinct ways in the dissertation. In chapter two, literary kinship is located in and operationalized through Black women’s literary kinship “networks” founded during the Black Women’s Literary Renaissance. In chapter three, the focus is on the Black Women’s Anthology era that begins in 1970 and becomes a pipeline for the development of the interdisciplinary field of Black Women’s Studies in the 1980s. The fourth and fifth chapters shift the impact of the Black Women’s Literary Renaissance to the 21st century and examines how literary kinship is rearticulated or re-visioned a generation later. The fourth chapter, in this vein, uses autoethnography and literary analysis to illuminate the interconnections between Black girlhood, geography, and my concept of literary kinship. The chapter explores my experience of literary kinship at the kitchen table, in public libraries, and in secondary and higher education as transformative opportunities that fostered my love for reading, engaging in literary community, and developing reading as a restorative and healing practice. In the final chapter, the rapid reemergence of Black women booksellers and their bookstores in the last five years (2018-2023) become integral to a contemporary rearticulation of literary kinship.</p><p dir="ltr">The Black Women’s Literary Renaissance is a significant period of literary output by Black women writer-activists that has had intergenerational impact in the lives of Black women. During the Renaissance, Black women writer-activists were catalysts for critical and necessary literary interventions, strategies, and methods that supported their sociopolitical activism, the development of a rich Black feminist and literary archive, and that manifested community functional practices of restoration and healing. Black women’s articulation, definition, and utilization of literary kinship in the 20th and 21st centuries has supported their literary labors as activists, as intellectuals, and as community members, and is therefore a practice of community restoration and healing.</p>