TURNING PAGES is an annual journal of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, poetry, and drama, as well as in drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university. TURNING PAGES can be read in both ways, literally and metaphorically, implying that we need to turn the pages, that we need to demonstrate that literature has something to say and that it can also be interventionist as it shows how we can use our own imagination for the better. Therefore, TURNING PAGES will make readers not only literally browse through a variety of texts and turn pages, but it also seeks to reflect situations, events, experiences, or emotions that turn the page for individuals, or groups of people. The third issue of TURNING PAGES is about facing and overcoming personal struggles as well as the challenges of the present time by venturing out into public life again, after months of isolation and standstill. A range of contributions by professional and published authors such as Shanta Acharya, Ranu Uniyal, Andreas Gloge and Tobias Schlosser, but also a selection of pictures by photographers such as Natalie Bleyl and Martina Gloge enhances and complements the multifaceted textual and graphic pieces by students and first-time writers.

Some proverbs, idioms, nominal compounds, and slogans duplicate in form and meaning between several languages. An example of these between German and English is Liebe auf den ersten Blick and “love at first sight” (Flippo, 2009), whereas, an example between Kiswahili and English is uchaguzi ulio huru na haki and “free and fair election.” Duplication of these strings of words between languages that are as different in descent and typology as Kiswahili and English is irregular. On this ground, Kiswahili academies and a number of experts of Kiswahili assumed – prior to the present study – that the Kiswahili versions of the expressions are the derivatives from their English congruent counterparts. The assumption nonetheless lacked empirical evidence and also discounted other potential causes of the phenomenon, i.e. analogical extension, nativism and cognitive metaphoricalization (Makkai, 1972; Land, 1974; Lakoff & Johnson, 1980b; Ruhlen, 1987; Lakoff, 1987; Gleitman and Newport, 1995). Out of this background, we assumed an academic obligation of empirically investigating what causes this formal and semantic duplication of strings of words (multiword expressions) between English and Kiswahili to a degree beyond chance expectations. In this endeavour, we employed checklist to 24, interview to 43, online questionnaire to 102, translation test to 47 and translationality test to 8 respondents. Online questionnaire respondents were from 21 regions of Tanzania, whereas, those of the rest of the tools were from Zanzibar, Dar es Salaam, Pwani, Lindi, Dodoma and Kigoma. Complementarily, we analysed the Chemnitz Corpus of Swahili (CCS), the Helsinki Swahili Corpus (HSC), and the Corpus of Contemporary American English (COCA) for clues on the sources and trends of expressions exhibiting this characteristic between Kiswahili and English. Furthermore, we reviewed the Bible, dictionaries, encyclopaedia, books, articles, expressions lists, wikis, and phrase books in pursuit of etymologies, and histories of concepts underlying the focus expressions. Our analysis shows that most of the Kiswahili versions of the focus expressions are the function of loan translation and rendition from English. We found that economic, political and technological changes, mostly induced by liberalization policy of the 1990s in Tanzania, created lexical gaps in Kiswahili that needed to be filled. We discovered that Kiswahili, among other means, fill such gaps through loan translation and loan rendition of English phrases. Prototypical examples of notions whose English labels Kiswahili has translated word for word are such as “human rights”, “free and fair election”, “the World Cup” and “multiparty democracy”. We can conclude that Kiswahili finds it easier and economical to translate the existing English labels for imported notions rather than innovating original labels for the concepts. Even so, our analysis revealed that a few of the Kiswahili duplicate multiword expressions might be a function of nativism, cognitive metaphoricalization and analogy phenomena. We, for instance, observed that formulation of figurative meanings follow more or less similar pattern across human languages – the secondary meanings deriving from source domains. As long as the source domains are common in many human\'s environment, we found it plausible for certain multiword expressions to spontaneously duplicate between several human languages. Academically, our study has demonstrated how multiword expressions, which duplicate between several languages, can be studied using primary data, corpora, documentary review and observation. In particular, the study has designed a framework for studying sources of the expressions and even terminologies for describing the phenomenon. What\'s more, the study has collected a number of expressions that duplicate between Kiswahili and English languages, which other researchers can use in similar studies.

Die vorliegende Studie beschäftigt sich mit dem Phänomen der zeitgenössischen kanadischen Geistergeschichten. Ausgangspunkt ist die außergewöhnlich hohe Anzahl an veröffentlichten Geistergeschichten, die es um bzw. seit Anfang der Jahrtausendwende gab. Die Besonderheit liegt darin, das Kanada gemäß seines Selbstverständnisses ein „matter-of-fact-country“ ist, das im Gegensatz zu seinem südlichen Nachbarn, den USA, weder Gründungsmythen noch eine reichhaltige Tradition an Schauerliteratur vorweisen kann. Dieses Phänomen wird unter einer ästhetisch-ontologischen Perspektive untersucht. Mithilfe romantischer Philosophie (v.a. Friedrich J. W. Schelling), aber auch zeitgenössischen philosophischen Ansätzen sowie traditionellen Mythen kann erklärt werden, dass die Aufklärung und der damit einhergehenden rationalen rationalen Weltsicht, die nicht zuletzt die Kolonialgeschichte bestimmte, in sich begrenzt ist – schließlich kreiert die Aufklärung selbst einen neuen Mythos: nämlich den von ihrer Allmacht. In dieser Arbeit wird dargelegt, dass es ein menschliches Bestreben ist die Welt eben nicht nur rational und logisch zu betrachten. In diesem Sinne verstehen sich, so die These, die Geistergeschichten als ein längst überfälliges Gegenspiel zum rationalistischen Selbstverständnis der kanadischen Kultur. In diesem Zusammenhang setzt sich die Arbeit mit theoretischen Ansätzen wie der Schauerliteratur und des Magischen Realismus kritisch auseinander und schlägt vor eine pantheistische Lesart zu entwickeln (pantheistisch, da in den Geschichten alle übersinnlichen Kräfte der Welt immanent sind). Diese Studie zeigt, dass die Geister andere Semantiken aufweisen als bei der konventionellen Schauerliteratur: Wo in klassischer Schauerliteratur die Geister eine Bedrohung darstellen, werden sie in den zeitgenössischen kanadischen Geistergeschichten als der Erde zugehörig aufgefasst. Es handelt sich also um eine lebensbejahende Form der Einschreibung von Magie in die (Lebens-)Welt, die zugleich dem menschlichen Bedürfnis nachkommt die Welt über Mythen – und keine rationale Sicht – zu erklären. Unter Betrachtung dieser Prämissen werden folgende Geistergeschichten untersucht: Tomson Highways „Kiss of the Fur Queen“ (1998), Eden Robinsons „Monkey Beach“ (2000), Kenneth J. Harveys „The Town that Forgot How to Breathe“ (2004), Joseph Boydens „Three Day Road“ (2005) und David Chariandys „Soucouyant“ (2007).

Der Band fasst die Ergebnisse einer 2010 an der Universität Tübingen unter dem Titel „Literarisches Übersetzen: Texte, Autoren, Räume, Medien“ veranstalteten Ringvorlesung zusammen. Handelt es sich bei Claudia Dathe, Renata Makarska und Schamma Schahadat um dem slavischen Raum verbundene Herausgeberinnen, so verwundert nicht, dass Beiträgen aus dem Bereich der Slavistik der meiste Platz gewährt wird. Auf sie folgen die Romanistik, die Anglistik sowie die Sinologie und Rechtswissenschaft. Das Verhältnis von Theorie und Praxis ist ausgewogen. Sechs der zwölf Autoren sind selbst als Übersetzer tätig und widmen sich Fallbeispielen bzw. praktischen Problemen des Übersetzens.

Thomas G. Winner (1917 in Prag geboren; ab 1939 in den USA; 2004 in Cambridge, Massachusetts gestorben) zählte zu den wichtigsten Vertretern der Semiotik in Amerika, gründete er doch an der Brown University das erste Semiotik-Zentrum der Vereinigten Staaten (Research Center for Semiotic Studies).1 Sein nicht minder großes, mit zunehmendem Alter noch wachsendes Interesse galt der tschechischen Avantgarde und dem Prager Strukturalismus,2 dem er in vorliegender Arbeit nicht nur auf inhaltlicher Ebene, sondern auch von seinem methodologischen Zugang her verpflichtet ist. Davon legt bereits ein kurzer Blick in die beigegebene Bibliographie (pp. 179–193) beredtes Zeugnis ab, in der neben Karel Teige, „the Breton of Czechoslovakia“ (p. 18), Roman Jakobson – er zählte zu Winners Lehrern, Freunden (p. 9) und seit 1975 auch Untersuchungsgegenständen – und Jan Mukařovský die am prominentesten vertretenen Autoren sind.

TURNING PAGES is an annual magazine of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, and poetry, as well as in play excerpts, drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university.

Some proverbs, idioms, nominal compounds, and slogans duplicate in form and meaning between several languages. An example of these between German and English is Liebe auf den ersten Blick and “love at first sight” (Flippo, 2009), whereas, an example between Kiswahili and English is uchaguzi ulio huru na haki and “free and fair election.” Duplication of these strings of words between languages that are as different in descent and typology as Kiswahili and English is irregular. On this ground, Kiswahili academies and a number of experts of Kiswahili assumed – prior to the present study – that the Kiswahili versions of the expressions are the derivatives from their English congruent counterparts. The assumption nonetheless lacked empirical evidence and also discounted other potential causes of the phenomenon, i.e. analogical extension, nativism and cognitive metaphoricalization (Makkai, 1972; Land, 1974; Lakoff & Johnson, 1980b; Ruhlen, 1987; Lakoff, 1987; Gleitman and Newport, 1995). Out of this background, we assumed an academic obligation of empirically investigating what causes this formal and semantic duplication of strings of words (multiword expressions) between English and Kiswahili to a degree beyond chance expectations. In this endeavour, we employed checklist to 24, interview to 43, online questionnaire to 102, translation test to 47 and translationality test to 8 respondents. Online questionnaire respondents were from 21 regions of Tanzania, whereas, those of the rest of the tools were from Zanzibar, Dar es Salaam, Pwani, Lindi, Dodoma and Kigoma. Complementarily, we analysed the Chemnitz Corpus of Swahili (CCS), the Helsinki Swahili Corpus (HSC), and the Corpus of Contemporary American English (COCA) for clues on the sources and trends of expressions exhibiting this characteristic between Kiswahili and English. Furthermore, we reviewed the Bible, dictionaries, encyclopaedia, books, articles, expressions lists, wikis, and phrase books in pursuit of etymologies, and histories of concepts underlying the focus expressions. Our analysis shows that most of the Kiswahili versions of the focus expressions are the function of loan translation and rendition from English. We found that economic, political and technological changes, mostly induced by liberalization policy of the 1990s in Tanzania, created lexical gaps in Kiswahili that needed to be filled. We discovered that Kiswahili, among other means, fill such gaps through loan translation and loan rendition of English phrases. Prototypical examples of notions whose English labels Kiswahili has translated word for word are such as “human rights”, “free and fair election”, “the World Cup” and “multiparty democracy”. We can conclude that Kiswahili finds it easier and economical to translate the existing English labels for imported notions rather than innovating original labels for the concepts. Even so, our analysis revealed that a few of the Kiswahili duplicate multiword expressions might be a function of nativism, cognitive metaphoricalization and analogy phenomena. We, for instance, observed that formulation of figurative meanings follow more or less similar pattern across human languages – the secondary meanings deriving from source domains. As long as the source domains are common in many human\'s environment, we found it plausible for certain multiword expressions to spontaneously duplicate between several human languages. Academically, our study has demonstrated how multiword expressions, which duplicate between several languages, can be studied using primary data, corpora, documentary review and observation. In particular, the study has designed a framework for studying sources of the expressions and even terminologies for describing the phenomenon. What\'s more, the study has collected a number of expressions that duplicate between Kiswahili and English languages, which other researchers can use in similar studies.

Die Dissertation untersucht Samuel Taylor Coleridges Praxis der Selbstredaktion in den Jahren von 1814 bis 1818 und beleuchtet dabei die zentrale Rolle, die William Wordsworths The Excursion, 1814 als Teil von The Recluse erschienen, in der Herausbildung von Coleridges Œuvre einnimmt. Die Arbeit entwickelt ihre zentrale These zu Coleridges Überarbeitungspraxis durch eine detaillierte Analyse der Verfahren, über die Coleridge aufhörte, durch Wordsworth zu sprechen. Ich beziehe mich dabei in erster Linie auf die Überarbeitungen von Biographia Literaria (1817), Sibylline Leaves (1817) und dem 1818 erschienenen rifacciamento zu dem Periodikum The Friend, das ursprünglich 1809–1810 publiziert worden war. Vor dem Hintergrund von Coleridges in den 1790er- und 1800er-Jahren neu aufgekommener und sich später weiterentwickelnder Rezeption von Immanuel Kants kritischer Philosophie werde ich argumentieren, dass sich die „radikale Differenz“ zwischen Coleridge und Wordsworth, die seit den Lyrical Ballads (1798) und dem „Preface“ (1800) bestand, weiter verstärkte, nachdem es Wordsworth nicht gelungen war, das groß angelegte Konzept eines „first genuine philosophical poem“ – The Recluse – zu vollenden. Insbesondere nachdem Coleridge 1807 The Prelude gehört hatte, enttäuschte The Excursion nach den Maßstäben seiner „vergleichenden Kritik“ seine lang gehegten Erwartungen. Während sein organisches Weltbild einen aktiven Geist kannte, der nach universaler „Wahrheit“ sowohl durch innere synthetisierende Kräfte als auch empirische Naturgesetze strebt, gründete sich Wordsworths Gedicht auf ein obskur-labiles Fundament zwischen Außenwelt und Selbst. Coleridges aus seinen eigenen Theorien zu Sprache und Einbildungskraft erwachsene Enttäuschung über The Excursion und die nachfolgende Loslösung von Wordsworth und ihrem gemeinsamen Werk verschafften ihm letztendlich die notwendige Autonomie, die einerseits einen nüchternen Blick auf die eigene Vergangenheit und andererseits eine dialogische Freundschaft zu Wordsworth ermöglichten, innerhalb derer Coleridge die Bedeutsamkeit erkannte, zu einem Freund zu sprechen. / This thesis is an examination of Samuel Taylor Coleridge’s revisionary activity from 1814 to 1818, considering the integral role of William Wordsworth’s The Excursion, published as part of The Recluse in 1814, on Coleridge’s conception of his discrete oeuvre. It is via a detailed analysis of the way Coleridge ceased to speak “through” Wordsworth that this thesis unfolds its principal argument on Coleridge’s revisionary activity. I principally consider the revisions at work in the Biographia Literaria (1817), Sibylline Leaves (1817) and the 1818 rifacciamento to The Friend (the periodical originally issued in 1809-1810). Taking into account Coleridge’s newly-emerging and subsequently evolving responses to Immanuel Kant’s critical philosophy in the 1790s and 1800s, I will argue that the already-existing “radical Difference” between Coleridge and Wordsworth ever since the Lyrical Ballads (1798) and the “Preface” (1800) further intensified following Wordsworth’s failure to bring their grand scheme for a “first genuine philosophical poem”, The Recluse, into completion. Especially after The Prelude Coleridge heard in 1807, The Excursion by means of his “comparative censure” fell short of meeting the long-cherished expectations. Whereas Coleridge’s organic view of the world involved the recognition of an active mind seeking universal “Truth” through the inner synthetic faculties as well as the empirical laws in nature, Wordsworth’s poem was founded upon an obscurely precarious ground between the phenomenal world and the inner self. Ultimately, Coleridge’s disappointment with The Excursion on the basis of his theories on language and imagination, and the ensuing detachment from Wordsworth and their joint oeuvre gave him the autonomy to revise his past works in a way that ensured formation of a more sober relationship with his own past and a dialogic friendship with Wordsworth in which Coleridge came to realise the importance of speaking to a friend.

Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.

The focus of fighting tyranny and the justifications of the consecutive wars in fantasy literature for children and young adults play a noteworthy role in the intertwinement of literature and its educational potential. This genre is filled with numerous images of violence, in particular different scenarios of war and its justifications. In the books war constitutes the final battle between good and evil, and thus manifests the protagonists’ ultimate moral decisions between these two forces. The following books constitute the corpus: C. S. Lewis’s The Chronicles of Narnia (1950-56), Susan Cooper’s The Dark Is Rising Sequence (1965-77), Philip Pullman’s His Dark Materials (1995-2000), J. K. Rowling’s Harry Potter series (1997-2007), Christopher Paolini’s Inheritance Cycle (2002-11), Amanda Hemingway’s Sangreal Trilogy (2005-07), and P. C. Cast and Kristin Cast’s House of Night novels (2007-2014). Although not all the books feature wars, all display justifications for war and the imperative to fight tyranny. Located within an intersection of diverse critical theories, my thesis engages literary texts in order to reflect on their capacity to negotiate, challenge, subvert, and perpetuate values and power structures. Motif analysis forms the centre of this analysis. I deploy a varied approach to literary analysis, relying upon literary and cultural theories (especially theories of ideology) to understand the realizations of the different motifs. Through issues of character construction, (political) authority, religion, and the construction of difference, the reader learns much about the culture and values of the respective world. Furthermore, this analysis invites the reader to find parallels between the fabricated world and the real world, and thus transfer what s/he has learned from the texts his/her own world. Engaging in such a reading ensures the drawing of direct connections between the reality constructed in the books on the one hand, and politics, the construction of difference, religion, and just war theory in the reader’s world on the other. The content analysis leads to broader cultural messages, which comprise assumptions about gender, power, ethnicity, religion, and morality. This methodology emphasizes the relevance as well as the complexity of the books and their educative potential, and facilitates the analysis of the books as tools for the defence and perpetuation of Western values and culture.