Der Beitrag beschäftigt sich mit der Weigerung, eine Geschichte zu erzählen, wie sie in der Graphic Novel des philosophisch interessierten Zeichners Marc-Antoine Mathieu praktiziert wird. Am Beispiel des Anfangs und des Endes dieses Buches, dem der Verleger den Titel „Sens“ (= „Sinn“ bzw. „Richtung“) zugewiesen hat, wird im Rückgriff auf eine Methode, die als „Radikalisierung von Genauigkeit“ bzw. „Lektüre der Unverhältnismäßigkeit“ zu bezeichnen wäre, die Vielschichtigkeit von Wiederholungsstrukturen untersucht. Diese schaffen, so die These, eine Bedeutungsvielfalt, bei der sich die Leserschaft auf aktive Weise an der Konstitution von „Sinn“ wie „Richtung“ des Lesens beteiligen muss.

Two German musicians from the same generation—Richard Wagner (1813–1883) and Jacques Offenbach (1819–1880)—both sought success in Paris, the musical capital of the 19th century. In this vibrant city, Wagner admired the performances of Beethoven’s symphonies by the Société des Concerts du Conservatoire. Paris was also where Offenbach, a child prodigy, began to build his career. By the age of five, Offenbach had already displayed near-perfect mastery of the cello, and by 14, he arrived in Paris, where Jewish musicians could more freely pursue their careers. Despite early setbacks, Offenbach eventually found his place, securing a position in the orchestra of the Opéra-Comique, a major institution of French musical theater.

In contrast, Wagner’s Parisian experience was fraught with disappointment. After fleeing financial troubles in Riga, Wagner arrived in Paris in 1839, hoping to make a name for himself as an opera composer. However, his first concert in Paris was a failure, leaving Wagner disillusioned with the city. Despite this, Wagner’s time in Paris proved to be formative. He developed significant relationships with key figures like Giacomo Meyerbeer and Heinrich Heine, and he discovered the music of Hector Berlioz, which greatly influenced him. Wagner also completed important works during his Parisian years, including Rienzi and The Flying Dutchman.

While Offenbach embraced Paris as his home and rose to prominence there, Wagner left Paris with a deeper understanding of his artistic vision, which would later shape his concept of the Gesamtkunstwerk. Despite their different paths, both musicians were profoundly influenced by their time in Paris, which played a critical role in their respective careers and legacies.

Ortaya çıktığı andan itibaren farklı araştırma gündemi ve yöntemlerine sahip olduğu görülen tarihi coğrafya başta coğrafya disiplini olmak üzere diğer disiplinlerde cereyan eden gelişme ve değişimlere kayıtsız kalmamıştır. Belirli zaman ve zeminlerde bilimsel araştırma süreçlerindeki tartışmalarda, geliştirilen yöntem ve tekniklerden etkilenmiştir. Bu durum tarihi coğrafyacıların ürettikleri eserlere yansımıştır. Tarihi coğrafya alanında yapılan araştırmaların Bassin ve Berdoulay (2004) tarafından üç döneme ayrılarak değerlendirildiği görülür. 1900’lere kadar olan dönem ki bu zaman dilimi 1700’lerde başlayan ve uzun erimli klasik coğrafya dönemi olarak kabul edilir. İkincisi ise 1900-1950 arası dönem, üçüncüsü ise 1950’den başlayıp günümüze kadar olan süreçtir ki bu dönem çok daha hareketli ve dinamik bir yapıya sahiptir. Bu çalışma kapsamında da bahse konu tasnif üzerinde bazı kronolojik değişiklikler yapılarak, tarihi coğrafya gündemi ve yöntemleri ele alınmıştır. Öncelikle tarihi coğrafya araştırma yöntemleri izah edilmiş, sonrasında da Türkiye’deki tarihi coğrafyacıların takip ettikleri yöntemler bakımından uluslararası tarihi coğrafya araştırmalarında nerede konumlandıklarına ilişkin değerlendirmelerde bulunulmuştur. Sonuçta Türkiye’deki aktörlerin bölgesel coğrafya (idiografik) bakış açısı, geçmiş mekanın yeniden inşası, kaynak tanıtımı ve kullanımı, tarihi coğrafyanın teorik yapısına ilişkin eserler kaleme almak suretiyle Bassin ve Berdoulay (2004) tarafından belirtilen 1900-1950 yılları arasındaki tarihi coğrafya araştırma yöntemlerine büyük ölçüde karşılık gelen çalışmalar yaptığı tespit edilmiştir.

Digital transformation in education for sub-Saharan Africa is a long-argued concept among scholars. The stark digital divide between the global north and south is a reality perpetuating inherent colonial legacies in higher education. The impact on teacher education creates incessant traditional modes of pedagogical practices, retarding the citizenry’s full participation in the global 21st-century information economy. This paper presents a novel approach by converging two theories, the capability approach and the agency theory, for the multifaceted digital transformational hindrances peculiar to South Africa. We do this by focusing on the major tenets of the capability approach and converging them with those of the agency theory in relation to transformed teacher training programs. By examining best practices and innovative approaches, we present possible alternatives for the sustainable development of digital pedagogies in preservice teacher training. The paper recommends a context-based approach to digital technologies integration in higher education teacher training programs for sub-Saharan Africa and that the relationship between individual agency and social systems be viewed as critical when charting developmental programs.

The Battle of Vienna, at Kahlenberg Mountain, ended on 12 September 1683, in the victory against the Ottoman forces which had besieged the city for two months. The victors were the Holy Roman Empire (notionally led by the Habsburg king) and the Polish–Lithuanian Commonwealth, under the command of King Jan III Sobieski. The swift European literary reactions to this specific historical event include a book (1683) of more than 120 pages by the Jewish author active in Livorno/Amsterdam, Josseph Penso de la Vega: Los triumphos del Aguila y eclipses de la Luna / que en reverente panegirico consagra al Invicto Rey de Polonia Don Josseph de la Vega, por la memorable victoria que alcanço contra la Potencia Ottomana su valor, librando de su formidable sitio a Vyena. Amsterdam: Jahacob de Cordova.[1]The work, which has not yet been the object of sustained analysis, is significant for reconstructing, not only the reaction to the specific historical event and its perception byHispano-Jewish or Western Sephardi readers, but also for an understanding of Penso de la Vega’s thought, aesthetic and practices of composing his literary works, and, by extension, something about the state of Sephardi culture at that time and place.

Isamu Noguchi's Garden Elements (1958), a two-piece granite sculpture, epitomizes the intersection of art, culture, and institutional memory. Initially exhibited at New York’s Stable Gallery, the piece was installed at The New School for Social Research in a newly designed courtyard, becoming a hallmark of the university’s cultural and academic milieu for over three decades. In 1990, Garden Elements was controversially sold for USD 1.2 million amidst a period of shifting cultural values and the school’s expansion efforts. This sale, coinciding with rising U.S. anti-Japanese sentiment of the 1980s, raises questions about deaccessioning policies, site-specific art, and the role of cultural memory.

The sculpture, reflecting Noguchi’s synthesis of abstraction and Japanese heritage, was emblematic of The New School’s ethos, hosting exhibitions and performances and symbolizing the institution’s integration of modernist art. Its removal paralleled broader cultural disputes, including the sale of Thomas Hart Benton’s America Today mural and debates over federal art funding tied to the NEA. The absence of Garden Elements remains conspicuous in The New School’s redesigned courtyard, highlighting the enduring tension between preserving cultural artifacts and adapting to institutional change. This analysis situates Noguchi’s work within a narrative of art, politics, and the challenges of maintaining public art legacies.

Ace in the Hole (1951) pings the dawn of the media scandal age on the radar of the American cultural landscape. A product of the raw mind of Billy Wilder, whose life story up to that time spanned two continents and two world wars, the film satirizes and weeps over the human tendency to commodify tragedy. Wilder, an ex-gigolo who returned to Europe after success as a comedic screenwriter and director at Paramount Pictures, found his old-world cynicism bolstered by the discovery of the Nazi death camps where his fellow Jews died en masse (Madsen 23, 25, 13-14). He funneled his post-war experiences producing Allied propaganda films like Death Mills (1945) into the narrative of the mad tabloid journalist Chuck Tatum, willing to do anything for a shot at career redemption. Tatum, embodied by the volcanic Kirk Douglas, and the media frenzy he constructs around a man trapped in a mine shaft fit what Hunter S. Thompson called ‘the main nerve of the American dream’ (191). This mythical ‘big carnival’ of American greed and sentimentality also echoes the genocide of its New Mexico landscape, with Wilder using the character of Leo Minosa as a morally good mirror to the complicated, self-selling Tatum. The cultural syllogisms within the film itself – Germany opposite America, Tatum opposite Minosa – reflect the biographical-psychological syllogism Wilder creates between himself and the bombastic showman Tatum. Though Wilder’s film does not explicitly deal with race, its critique of the war opens doors to a critique of America’s Indian Wars and provides a lens on genocidal spectacles to come; I briefly touch on this in a concluding discussion of Wilderian media tactics in this year’s Russia-Ukraine War.

This research paper examines the psychological and impact of border partition as depicted in Akhtaruzzaman Elias's novels, Chilekothar Sepai (“The Soldier in an Attic”, 1986), Khwabnama (“Dream Epic”, 1996), and Anyo Gharey Anyo Swar (“In Another Room, Another Voice”, 1976). By analyzing the language of dreams in these works, the study aims to understand the profound psychological experiences of the characters and their responses to the trauma caused by the division of borders. This paper provides a historical and socio-political context, explores the symbolism and themes present in the characters' dreams, and delves into the psychological consequences of trauma, displacement, identity crisis, and cultural loss. In this article, using trauma theory to explore how the characters' fragmented narratives and struggles with memory contribute to their psychological experiences of trauma and the challenges they face in navigating their post-partition realities.

This article explores the cinematic adaptation of Kurban Said’s novel Ali and Nino, directed by Asif Kapadia and released on October 27, 2016. Leaving Baku during the Russian Bolshevik occupation in 1920, Said’s novel mirrors his unique dual association with both German and Azerbaijani literary traditions. The film brings to life the bi-ethnic love story of Nino Kipiani, a Christian Georgian girl, and Ali, a Muslim Azerbaijani, set against the political turmoil surrounding Azerbaijani independence from the Russian Empire during World War I. This article thoroughly examines the characters’ utopian quest for freedom, love, and family amidst these historical upheavals. It discusses the concept of utopia as an idealized vision of society and critically analyses how the film portrays the characters’ relentless pursuit of their lofty dreams despite the severe political constraints they face. Moreover, the article explores the significant impact of the Bolshevik occupation on the utopian dreams of love, modern multiculturalism, and freedom depicted in Ali and Nino. By closely examining the film, the article reveals how these historical challenges shape the characters’ lives and their aspirations for a better future. It highlights the enduring struggle between personal desires and political realities, showcasing how the characters navigate their complex world while striving to maintain their cultural identities and personal convictions. In doing so, the film not only presents a poignant love story but also offers a profound commentary on the broader social and political issues of the time. The analysis underscores the timeless relevance of these themes, demonstrating how the pursuit of utopia, though fraught with obstacles, remains a powerful and enduring human effort. Through its exploration of these multifaceted themes, the article provides a deeper understanding the novel’s cinematic adaptation, emphasizing the enduring power of love and freedom in the face of adversity.

Anadolu üzerine ilk folklorik ve diyalektik çalışmalar Avrupalı araştırmacılar tarafından başlatılmış; Maksimov, Kunos, Giese, Kowalski, Räsänen gibi Batılı bilim insanları bu konuda çalışmalar yapmışlardır. Yerli araştırmacıların çalışmalarını Osmanlının son dönemlerine tarihlendirmek mümkünken Cumhuriyet sonrası dönemde bu çalışmaların hız kazandığı söylenebilir. “Anadolu’da Kullanılan Sözlerin Birazı” adlı çalışma da Osmanlının son döneminde yapılmış ilgi çekici çalışmalardan biridir. Çalışmanın sahibi Hafız Hasan Hulusi 108 adet sözcüğü bölgenin gramatikal özelliklerini de vererek kayda geçmiştir. Eserin müellifi hakkında elimizde herhangi bir bilgi bulunmamakla birlikte, eserden elde edilen söz varlığı ve dil verilerine göre çalışmanın Denizli yöresinde yapıldığı anlaşılmaktadır. Hafız Hasan Hulusi Türk diline gönül vermiş, Türk dilini savunan bilinçli bir entelektüeldir. Dinî ve ilmî bilimlere hakim olduğu, Batı dillerinden Rusça, Fransızca ve Almancayı bildiği görülür. Erken dönem diyalektoloji çalışmaları arasında ilk sırayı alacak olan bu eser müellifin “üstād-ı faziletmendimiz” dediği bir sözlükçünün talebi doğrultusunda el yazısıyla kaleme alınmıştır. Sözcükleri alfabetik sıraya göre bir deftere kaydeden Hafız Hasan Hulusi çalışmasının bir bölümünü yörenin fiil çekimlerine ayırmıştır. Çalışma şimdilik erken dönem derleme çalışmalarında küçük bir bölgenin gramer özelliklerini de barındırması yönüyle ilktir.

Based on more than two decades of on-site fieldwork comprised of extensive phenomenological experiences and detailed empiric inquiries with both producers and consumers of Japanese popular culture and, distinctively, of the Japanese all-female musical theater Takarazuka Revue Company’s performances as well as of comprehensive archival literature research, this paper aims at hermeneutically elucidating the underlying mechanisms within the dramaturgic conglomerate, conveying and inspiring “change”, both textually and contextually, as an inescapable force constantly pushing history forward, by means of critically investigating Takarazuka Revue’s interpretation of Giuseppe Verdi’s opera Aida (1871): while A Song for Kingdoms’s initial version in 2003 emphasized the important of peace on the background of unprecedented public debates on the function of the “self-defense forces”, its re-iteration in 2015 re-calibrated the narrative line by bringing into foreground the role played by individual choices and responsibility and following 2014’s glamorous celebration of 100 years since Takarazuka Revue’s foundation in 1914. The key-element in this endeavor is the redefinition of “war and peace” as solely two further parameters in the flow of historically driven “change” which itself is conceptualized as a self-aware choice, empowering the late-modern individual to dare powerful transformations as part of a greater whole, liberating him-/herself from the constraints of an existence in the shadows of mindless consumerism and “quiet desperation”.

Systemic covert and overt inherent ethno-religious structures remain deeply entrenched in the ideological configuration of the Nigerian state. I argue that the process of ethnic and religious gaslighting encompassing pre-colonial, colonial and postcolonial socio-economic, cultural and political relations between the ruled and the rulers have had a pathologising impact, the roots of which are deeply entrenched in historical relations of class struggle and failed multiculturalism.

This paper presents a path dependency framework for comprehending how ethnic and religious markers are sustained through process tracing, which generates a causal mechanism of contemporary socio-political relations and the importance of ethno-religious gaslighting in Nigeria.

This paper offers a theoretically driven discussion which examines two questions: (1) What is ethno-religious gaslighting? (2) How are ethno-religious structures sustained and maintained?

Memory, remembering and forgetting are closely intertwined on both an individual and a collective level. Remembering is a process, and memories are the result, memory is the ability or the means of building a changing pattern. Memory cannot be observed directly, only through the observation of concrete acts of remembering in specific sociocultural contexts can we make assumptions about the memory’s nature and functioning. Memories are not objective reflections of past images. Rather, they are subjective reconstructions of past perceptions. Remembering is conceived as a present act of recollecting available data that were stored in the past. Versions of the past change in accordance with the constantly changing present situation. That is why, individual and collective memories never mirror the past, but rather they serve as an indication of the past for the person recalling the past in the present.

The present study analyzes the short story “When Fear and Dread Rage” („rotsa mdzvinvarebs shishi da dzrts’ola“) of Zaira Arsenishvili, Georgian filmmaker, musician and writer, and the essay “The King Bows and Kills” (“Der König verneigt sich und tötet”) of Romanian-born German-language writer Herta Müller based on theories of Maurice Halbwach’s, Aleida and Jan Assmann and Sigmund Freud (Collective memory, cultural memory and cultural identity, traumatic memory, permanent trace stored in the unconscious). The analysis will reveal the role and importance of remembering in the conditions of a totalitarian regime, how the regime tries to eradicate cultural memory, as it is the basis of the identity of a social group, how the system demonizes the auto icon in the texts and what the bodies described in the works tell us as signs and carriers of memories.

This paper works from the perspectives of poetry, style, philosophy and culture to explore the extension of the Nietzschean metaphor of the “Death of God” in Matthew Arnold’s “Dover Beach,” T. S. Eliot’s “The Hollow Men” and Chinua Achebe’s “The Lament of the Sacred Python” and “The Penalty of the Godhead.” The paper exposes the interconnectedness of these poems of varied eras through their thematic thrust made prominent by the style adopted by the different poets. It argues that the link between the philosopher and the poets is their concern for the health of society. The reading of the selected four poems on the subject matter of the presumed loss of faith in God or gods and the promotion of more reliance on science and liberality by neoliberal world authorities reveal the dynamics of the contemporary terrain and its effects on the psyche of world citizens. The research reveals that the goal of the poets in the depiction of the precipice to which man is bound in their poetry is not only to historicize and poeticize their worries but to escalate the situation of future members of society to such a point that caution could be taken and unwise philosophies jettisoned for time tested principles. It is also the goal of the poets to create an atmosphere for psychological healing. The research concludes that these poems have been able to drive home their point that God is not dead but that humanity has lost their way and place and is heading towards the precipice.

Als ein gutes Beispiel sprachlicher Innovationen gilt die deutsch-japanische Autorin der deutschsprachigen Gegenwartsliteratur, Yoko Tawada. Da sie in einer für sie fremden Sprache schreibt, gewinnt der Umgang mit der deutschen Sprache in ihren Werken eine besondere Bedeutung. Im Rahmen dieses Artikels sind schwerpunktmäßig die formalen/ sprachlichen Besonderheiten sowie die stilistischen Strategien der interkulturellen Literatur am Beispiel von Tawadas Texten zu untersuchen. Der Artikel untersucht die verschiedenen Schreibstrategien, welche die Autorin verwendet, um die Essenz der japanischen Ausgangskultur sowie den Geist der fremden deutschen Kultur zum Ausdruck zu bringen; darunter u.a. Humor.

Yeryüzünde nüfusun dağılışı hem doğal koşulların etkisine hem de ekonomik ve sosyal faaliyetlerin çeşitliliğine bağlı olarak değişmektedir. Nüfusun mekânsal dağılışı analiz etmek, ortaya çıkan mekânsal örüntüye etki eden faktörlerin anlaşılması için de önemlidir. Bu noktada eldeki çalışmanın temel amacı 1830 ve 1840 yıllarına ait Karaağaç-ı Gölhisar kazası nüfus defterlerinden yararlanarak nüfus değişimini ve nüfusunun mekândaki dağılışı ve bu dağılışa etki eden fiziki ve beşeri coğrafya unsurlarını ortaya koymaktır. Karaağaç-ı Gölhisar kazasını jeomorfolojik olarak ova, eğimli ve platoluk saha ve dağlık alan olmak üzere üç birime ayrılmaktadır. Osmanlı döneminde en önemli ekonomik gelirin tarım ve hayvancılık olduğu bilinmektedir. Buna göre tarım arazileriyle çevrili olan 840-899 metredeki ova tabanında toplam yerleşmelerin 13’nde nüfusun %15’inin, 900-1000 merede bulunan hafif eğimli sahada ise 16 yerleşmede nüfusun %54’ünün, eğimin fazla olduğu 1001-1220 metrede 12 yerleşmede nüfusun% 28,71’inin ve dağlık alanda 4 yerleşmede nüfusun %1’inin dağılış gösterdiği tespit edilmiştir. Kazanın Denizli- Antalya yolu ile Denizli- Burdur yol güzergâhının üzerinde bulunması ise özellikle Kızılhisar, Kaysar, Yatağan, Yazır, Akalan gibi belirli yerleşmelerin nüfusunun ön plana çıkmasında etkilidir. Sonuç olarak nüfus, tarım ve hayvancılığa ek olarak ticaretin yapıldığı ve birden çok ekonomik gelir elde etme fırsatının bulunduğu alanlarda toplanmıştır.

Indian Jewry is unique in their own right as they are the only Jewish community to have never been historically persecuted. Among them, the Bene Israel are especially different as not only are they the largest community of Jews living in India but they are also the most fully integrated into the Indian milieu to the extent that there is nothing other than their religion that distinguishes them from the rest of the Indian population. During the British Raj they migrated from their original settlement in the Konkan countryside to settle in the urban centres of Bombay, Pune and Ahmedabad to take up middle class jobs and at the end of the British Raj most of them emigrated to the Jewish State of Israel after its establishment just nine months after India’s independence. Recognized as ‘full Jews in every respect’ by the Israelite Rabbinate only in 1964, a lot of scholarly work has gone into examining the origins of the community, long debated, and questions have been asked about the authenticity of their Jewishness. Their relationship with their coreligionists as well as members of other religious communities in India’s pluralistic fabric where they have a numerically insignificant existence has also been looked into. Yet one of the best ways to study their lived experience as a community would be to explore the auto-ethnographic literature, both fiction and poetry, written by the Bene Israel in India as it would help us get an idea of their personal experiences in the wider socio-political context. Among the best known poets from this community was Nissim Ezekiel who had assimilated himself completely with the cosmopolitan nature of Bombay which is reflected in his distinct writing style - introducing Indian English in the world of Indian English Language poetry. Still his conflicting psychological interests are apparent in his poem ‘Background, Casually’ where he talks about his experience in India growing up as a Jew , often feeling alienated yet choosing to narrate the lives of the same people through his poems. A better peek into their everyday lives has been provided by auto-ethnographic writings of the Sahitya Akademi (India’s national academy of letters) award winning author Esther David. The best of which is seen in her novel The Walled City where she talks us through the generations of a Jewish family in Ahmedabad where they come into contact with both their Jewish and non-Jewish neighbours whose cultures add significantly to their lives. The novel is also special because it is narrated from a woman’s perspective who navigates through life growing up as a female member of a minority community hoping to find a homeland and struggling to break through the shackles Indian society has placed on women irrespective of their religious background. The next auto-ethnographic work I take for study is Esther’s son, Robin David’s novel The City of Fear which, too, is based in Ahmedabad with the 2002 mass violence in Gujarat as its backdrop. This would help me look at the inter-generational experience in a similar social and geographical setting with a changed political situation which brings to the surface the insecurities of their community living in a State dominated by a religious majority. Thus by chronologically studying the very different auto-ethnographic narratives that are presented by these authors in their writings, penned in separate political milieus in India, I shall attempt to underline the identity they asserted for themselves juggling between the homeland they belonged to and the homeland they longed for and their struggle to adhere to their marginal but unique religious identity in a pluralistic India in the 21st century.

Seyyare Duman’s Institutional Language and Communication provides an in-depth analysis of the role of language in shaping institutional structures and interactions. The book explores how language functions within institutions, influencing communication dynamics, power relations, and decision-making processes. Drawing on speech act theory by Austin and Searle, Duman examines concepts such as "linguistic action," "participant action," and "context of action" to explain the social dimensions of institutional language.

The study presents diverse examples from fields like healthcare, education, and family communication, demonstrating how language structures institutional discourse. Particularly, the book highlights how institutional language serves as both a communication tool and a mechanism for control, guiding interactions between individuals within hierarchical systems. In medical settings, for instance, doctor-patient communication illustrates the impact of language on authority and decision-making.

Duman’s research provides a strong theoretical foundation while emphasizing the necessity of further empirical studies to bridge the gap between theory and practice. By addressing linguistic structures in various institutional contexts, the book offers valuable insights for researchers in linguistics, sociology, and communication studies. The study concludes that institutional language plays a crucial role in shaping social interactions and should be critically examined to enhance communication efficiency and inclusivity.