While subject-specific research shows that the use of picturebooks in foreign language lessons is beneficial to the acquisition of a foreign language as well as to the development of visual literacy, there is evidence that the use of picturebooks in German as a Foreign Language lessons in Sweden is being neglected. The main subject of this thesis is to offer suggestions as to how Antje Damm´s picturebook Der Besuch can be employed in German as a Foreign Language lessons in Sweden in order to uncover and discuss different responses to the alien by the main character. The philosophical background of this study is based on Bernhard Waldenfels´ notions of alienness and the event of responsivity. A central line of argument is that the plural character of our experiences determines how the alien is perceived. Bettina Schröder´s work Bild(er)leser wissen mehr! Das Bil-derbuch als Vermittler von “Visual Literacy”: Eine Aufgabe für die Kinder- und Jugendbibliotheksarbeit? is not only decisive for the analysis of the visual elements of the picturebook but also for the design of a questionnaire that enables the thematic exploration of Damm´s picturebook during German as a Foreign Language lessons. By separately analysing the visual and the verbal elements of the picturebook as well as their relationship, the result of the first part of this work points out four approaches to the alien by the main character: isolation, elimination, ignoration (Weghören) and hospitality. Furthermore, the thematic analysis of Der Besuch makes it evident that picture and text tell the same story in their own specific and autonomous way. Based on the results of the first part, the findings of the second part suggest a guideline as how Damm´s picturebook can be used in German as a Foreign Language lessons. A three-phased model presents a set of example questions designed to enable the meticulous exploration of the theme when working with the picturebook.

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Das üppige Spektrum der künstlerischen Methoden von Marina Abramović, Nikolaus Lang und Lothar Baumgarten in ihren Herangehensweisen an die Fremde reicht von spiritueller Kommunikation über Materialexperimente zu skeptischen Worten an der Wand. In drei Kapiteln über die Künstler werden die verschiedenen inhaltlichen Ebenen der Werke und ihre Bezüge zur eigenen und zu fremden Kulturen untersucht. In den Schlussbetrachtungen werden die Strategien der künstlerischen Annäherungen an die Fremde miteinander verglichen. – Nikolaus Lang arbeitete in Japan abseits urbaner Zentren. Er bedachte Objekte von den Rändern der Zivilisation mit „Ritualen der Achtsamkeit“ und fügte sie ein in seine „Japanischen Landschaften“. In Australien spürte er zuerst einer historischen Ockerkarawane der Aborigines nach und bearbeitete dann das Gebiet der Flinders Ranges in Südaustralien in mehreren Dimensionen. Seine Arbeiten enthalten die Schichtungen von Zeit und Raum und mit seinem Werkkomplex „Nunga und Goonya“ fand er eine ganz eigene Art und Weise, „das Land zu erzählen“. – Für Marina Abramović wurde die australische Wüste zu einem „Ort der Transformation“, ihre Erfahrungen dort und ihre Einblicke in den tibetischen Buddhismus nahm die Künstlerin in den Performancezyklus „Nightsea Crossing“ auf. Während ihres „Great Wall Walk“, ihrer Begehung der Chinesischen Mauer, erfuhr sie in besonderer Weise die „Energien der Erde“ und versuchte, diese mittels der „Transitory Objects“ ihrem Publikum erfahrbar zu machen. Ihren Körper mit seinen Energielinien wiederum stellte sie großen Würgeschlangen als „Erde“ in ihrer Performancereihe „Dragon Heads“ zur Verfügung. Tibetische Lamas und Aborigines lud sie für mehrere Werke zur Zusammenarbeit ein, sie fungierten dort als Träger spiritueller Kräfte. – Ein Schlüsselerlebnis in Leben und Werk von Lothar Baumgarten war sein 18-monatiger Aufenthalt bei den Yanomami am oberen Orinoco. Handelten seine davor entstandenen Arbeiten von westlichen Vorstellungen von der Fremde, so thematisierte er nun erlebte Nähe und unüberbrückbare Distanz, zuerst in seiner Anthologie „Die Namen der Bäume.“. Mehrere Arbeiten handelten von schriftlosen Kulturen und mit „Accès aux Quais“ eröffnete er in der Pariser Metro Gleise zu verdrängten Kontinenten. Gegenstand von „Carbon“ waren historische Schichtungen und Prozesse der Landnahme in Nordamerika. – In den Schlussbetrachtungen wird die Auseinandersetzung der drei Künstler mit der Fremde in systematischer Weise zusammengefasst und verglichen. Ergebnis dieser Untersuchung ist die Formulierung gemeinsamer Themen und Handlungsweisen, trotz aller Unterschiede der künstlerischen Ausdrucksformen: Von Vertrautem ausgehen - Vorstellungen von der Fremde / Erkundung und Orientierung / Sammeln und Ordnen / Mythen und Rituale / Die fremden Menschen - Begegnung und Zusammenarbeit.

This diploma thesis deals with the genre of intercultural children's literature and the literature for young adults on the example of the analysis of current German works. The used method is a combination of structural analysis of compositional, language and thematic component of the works, content analysis and the theory of reader-response criticism. Based on the analysis of four works, the genre of intercultural literature is defined in the relation with the themes of home, homeland and cultural identity. Home is defined not only as a physical space to live but also in the spiritual sense of the word represented by the family relationships, which mean safety and security to the figures. Homeland is perceived as an extended paralell to home. It is a space which is close to the figures and they can easily understand the relations here. Home and homeland both influence the concept of identity, environment being the most important aspect of it. The figures are in conflict of their roles being assigned to them by their environment and the way they define themselves. If the figures have to choose between their home and homeland, they choose their home in the spiritual sense - their family. If the family fails to fulfil its role, they search for the comfort in their homeland.

<p>On account of their practically unchallenged status as guardians of objective knowledge, dictionaries are influential elements of societal discourses. They are thus an authoritarian producer and reproducer of societal norms and ideas, and as an interesting object of investigation in critical lexicography consequently lend themselves to the investigation of authoritarian and normalising societal discourses on specific themes. However, dictionaries have to date only been used as primary sources for critical analysis on rare occasions. This study is an attempt at a corrective which explores the presentation of Islam in three editions of the Duden German Universal Dictionary (<em>Deutsches Universalwörterbuch</em>).</p><p>The dictionaries studied present Islam to all intents and purposes as the Other. Christianity is established as a norm and the Self, and the Christian way of practising religion is depicted as prototypical for all other religions. However, the emphasis on Christianity and the exclusion of Islam also has a positive effect on the portrayal of Islam, as old prejudices on the alleged brutality of Islam are thus not reproduced.</p>

On account of their practically unchallenged status as guardians of objective knowledge, dictionaries are influential elements of societal discourses. They are thus an authoritarian producer and reproducer of societal norms and ideas, and as an interesting object of investigation in critical lexicography consequently lend themselves to the investigation of authoritarian and normalising societal discourses on specific themes. However, dictionaries have to date only been used as primary sources for critical analysis on rare occasions. This study is an attempt at a corrective which explores the presentation of Islam in three editions of the Duden German Universal Dictionary (Deutsches Universalwörterbuch). The dictionaries studied present Islam to all intents and purposes as the Other. Christianity is established as a norm and the Self, and the Christian way of practising religion is depicted as prototypical for all other religions. However, the emphasis on Christianity and the exclusion of Islam also has a positive effect on the portrayal of Islam, as old prejudices on the alleged brutality of Islam are thus not reproduced.