Deutsch

Farbe Diplomarbeit Michael Maeder and der Schule für Gestaltung in St.Gallen. Als Farbe bezeichnen wir Empfindungen des Gehirns, die auf dem Wege über das Auge durch Licht hervorgerufen werden. Lichtwellen sind ebenso beschaffen wie Radiowellen, nur wesentlich kürzerer Wellenlänge

Heutzutage werden im Bereich der Fachsprache längere und mehre Komposita gebildet und benutzt. Dieses Phänomen ist in dem letzten Jahrhundert, trotz starker Kritiken von Experten und Linguisten aber auch generellen Skeptizismus, gesteigert. Diese Tendenz ist in viele Bereiche, wie Universitäten, Technik und auch in der Rechtssprache auffindbar. In dieser Forschung werden deutschsprachige Länder ins Auge gefasst. Deshalb benutzen Deutschland, die Schweiz und Österreich Kurzwörter als interessantes sprachliches Zentrum der Sprache, aber wie sind sie in Korpora von normativen Texten in Standarddeutsch benutzt? Wozu führen sie in der Sprache und was kann man dazu tun?

Le poète et l'activité de fantaisie : Correction du sujet du bac de philo filière techno par le texte allemand Comme le texte du bac de philo filière technologique que l'on donnait à expliquer était celui d'un auteur germanophone, l'autrichien Sigmund Freud, je vous propose de regarder le texte allemand d'origine, pour que vous voyiez à quoi sert de savoir l'allemand. Tout d'abord regardons le texte. Vous pouvez appuyer sur pause pour prendre le temps de le lire. S'il s'agissait de compréhension écrite en allemand, la première chose à faire aurait été de préciser de quel type de document il s'agit. Comme il s'agit d'une épreuve de philosophie, on peut dire qu'il s'agit d'un texte philosophique. D'un autre côté, Freud lui-même ne se considérait pas comme un philosophe, mais comme un scientifique, sa théorie reposant sur l'expérience. Quoiqu'il en soit, on peut toutefois considérer les textes philosophiques comme des textes scientifiques au sens large du terme, celui qui inclut les sciences humaines, que les Allemands appellent « Geisteswissenschaften », les sciences de l'esprit.

In dieser Arbeit untersuche ich Gotthold Ephraim Lessings (1729-1781) Werk Laokoon oder über die Grenzen der Malerei und der Poesie (1766) . Die Arbeit gliedert sich in drei Teile: Zunächst betrachte ich kurz das Werk und analysiere seine Hauptpunkte und zwar Lessings Grenzziehung zwischen der Malerei und der Poesie. Als Beispiel dafür wird ein Vergleich zwischen Winckelmann und Lessing hinsichtlich der Laokoon-Gruppe gemacht. Als nächstes wird die Rezeption von Lessings Laokoon in Betracht gezogen und zwar in den Fällen J.W. Goethes, Aby Warburgs und Rudolf Arnheims. Mit Hilfe dieser Untersuchungen möchte ich einen Beitrag für ein umfassenderes Verhältnis von Lessings Werk leisten. Anschließend füge ich einen kurzen Überblick ein und widme mich der Frage nach der Gültigkeit Lessings Darlegungen heutzutage, nämlich im Laufe der modernen Kunstentwicklungen am Beispiel der Medien und des Films.

Das Nibelungenlied ist eines der bedeutendsten Heldenepen der deutschen Literatur um
1200. Nach fast 800 Jahren können wir uns die Frage stellen, was da war, was geblieben
ist, wie hat es auf die weitere Literatur gewirkt. Der Sagenkreis um die Nibelungen,
Wagners Oper Der Ring der Nibelungen wurde in der NS-Zeitspanne als wirkliche
Vorgeschichte der Deutschen gesehen. Später wurde das Nibelungenlied wieder auf den
richtigen Platz, der ihm seines Wertes wegen zukommt, gesetzt. Was können wir aber
heute noch über das Nibelungenlied, der Klage und deren Sagenkreise sagen?

While the production of lexical abbreviations in German is nothing new, there has probably been no other time quite like today in which all the possibilities of this process of word formation have been used. Knowledge of different types of lexical reduction is of great importance, above all for university students and researchers who want to play an active role in academic discourse in German-speaking countries; this is because lexical shortenings and graphical abbreviations permeate academic-scientific texts, across all areas of specialisation. Given that teaching materials still need to be better integrated, to confront in a more detailed manner the nature, structure and efficiency of this type of formation, the following article will aim to present an overview of the most useful lexical abbreviations for German for academic purposes. In the same way, certain necessary pedagogical considerations will be included, which contribute to the achievement by students of linguistic awareness in the use of such abbreviations.

The purpose of this study was to investigate if there is a positive and significant relationship between academic achievements in English (L2) and German (L3) by the students. The study group consisted of 134 nine-year students (66 female and 68 male) from four different high schools in the province of Adiyaman, Turkey. During data collection, the test scores (the first examinations of the first semester) of the students in English-and German lessons from 2011-12 school year were used. The collected data were analyzed by Pearson's correlation coefficient using SPSS. The findings of this study have shown that there is a statistically significant correlation between academic achievements in English (L2) and German (L3) by the students.

According to the list of the German Dante Society  – the oldest international Dante society – over 50 translators have taken the trouble for years to translate Dante Alighieri’s Divine Comedy completely. In view of the quantity of verses (14,233 in total), the degree of difficulty and the complexity of the text, they all deserve to be honored – regardless of the result.

With the exception of the prose translation by Lebrecht Bachenschwanz (1767-69) all complete translations have been published in the last 200 years, to begin with Karl Ludwig Kannegießer’s translation in 1821. 19 translations were published in the 19th century and 26 in the 20th century (the two versions by Richard Zoozmann counted as one). And there is no end to it in the foresee-able future as there are already six other translations available since the turn of the millennium and further translations are currently being prepared.

The comparatively big number of Commedia translations – this is the case also in other language regions – results in the fact that many older translations fall into oblivion despite their quality and new editions are rather rare. This is definitely the case for Lorenz Zuckermandel’s translation that is available today only in selected public libraries and very rarely offered on the free market.

Lorenz Zuckermandel not only translated the whole Commedia but published a significantly revised version of the Inferno (1916/1925) and the Paradise (1914/1922) within a decade. To enable a direct comparison both versions have been published in chapter 11 and 12 to enable a direct comparison.
In volume 2 of this series the translation is compared with the Italian original, in volume 3 the translation is color-coded according to the concept of the „Commedia Colorata“ , and in volume 4 the color-coded translation is compared with the colored original text.

The goal of these online publications is to make Lorenz Zuckermandel’s translations of Dante’s Commedia accessible without any commercial interests in mind. This shall allow the interested public to make their own analyses and comparisons.

Dengan tampilan dan isi Modul yang semakin lengkap, Modul ini berisi bahan ajar Grammatik Bahasa Jerman bagi para siswa SMA/MA Kelas XI Bahasa Semester 1. Pada awalnya materi-materi dalam Modul ini diterbitkan dan dicetak untuk kebutuhan sendiri di SMA Kristen Atambua sejak tahun 2005 dan SMA Suria Atambua antara tahun 2019-2020, Prov. NTT. Modul ini telah mengalami banyak perbaikan sampai tampilan dan isinya seperti tampak saat ini di tahun 2021. Sejak Kurikulum 2013, materi-materi dalam Modul ini sangat penting karena dapat mendukung 4 kemampuan bahasa Jerman, yaitu: Lese-verstehen, Hoeren, Sprechen dan Schreiben dalam tingkatan Start Deutsch A1 dan A2 Jugendliche.

In addition to the over fifty complete translations of Dante Alighieri’s Divine Comedy listed on the website of the German Dante Society, there are numerous partial translations from the mid-18th century onwards.

At that time in England, translators focus on one episode – the drama of Ugolino in “Inferno”: Jonathan Richardson the elder (1719), Thomas Gray (1742) and Frederick Howard, the Earl of Carlisle (1772).

In 1753, Giuseppe Baretti published his “Dissertation upon the Italian Poetry”, containing – among other pieces of the Divine Comedy – a translation of the Ugolino episode.

In his “Essay on the Genius and Writings of Pope” (1756), Joseph Warton cites Baretti’s “englished” version (only verses 43—75) with a few alterations.

In the German translation of the “essay”, Moses Mendelssohn translated these verses in German.

The goal of this online publication is to make Moses Mendelssohn’s translation of the Ugolino episode and its origins accessible without any commercial interests in mind. Several text comparisons in the second half of this publication allow to follow the development of the texts across several stations. This shall allow the interested public to make their own analyses and comparisons.

Finally, with this publication, the wrong information in Theodor Ostermann’s bibliography – that Moses Mendelssohn’s translation is based on Alexander Pope’s supposed English translation and not Joseph Warton’s resp. Giuseppe Baretti’s translation – can be corrected.

In this volume, Karl Bartsch’s translation is compared with Giorgio Petrocchi’s critical edition (2nd edition 1994, „Edizione Nazionale“) with the amendments by Anna Maria Chiavacci Leonardi (2nd edition 2001) showing that he delivered a meticulous philologicaly accurate translation in Dantean tercets and rhyme scheme.

The notes to the verses have been removed in this edition (see volume 1 of this series).

The goal of this online publication is to make Karl Bartsch’s translation of the Divine Comedy accessible without any commercial interests in mind. The direct comparison of the translation with the Italian text shall allow the interested public to make their own analyses.

Diese Studie verfolgt zwei Forschungsziele: ein theoretisches und ein empirisches.
Der theoretische Teil ist der Beschreibung der Textsorte Grabinschrift aus der textlinguistischen
Perspektive gewidmet. Neben der kulturgeschichtlichen Skizze werden
textstrukturelle und ausgewählte Merkmale der Textualität, Typologie sowie die
Stellung der Grabinschrift unter anderen Textsorten und ihre textsortenspezifischen
Merkmale ausgearbeitet. Die Darstellung der Textsortengeschichte in der Zeit vor
dem untersuchten Zeitraum gibt einen Einblick in die früheren Kommunikationspraktiken
und trägt zum besseren Verständnis des Gebrauchs unterschiedlicher
Ausdrucksmittel und kommunikativer Strategien im untersuchten Zeitraum (1780-
2015) bei.

Modul ini berisi bahan ajar khusus Grammatik Bahasa Jerman bagi para siswa SMA/MA Kelas XII Bahasa Semester 2. Pada awalnya materi-materi dalam Modul ini diterbitkan dan dicetak untuk kebutuhan sendiri di SMA Kristen Atambua dan SMA Suria Atambua, Prov. NTT. Materi-materi dalam Modul ini sangat penting karena dapat mendukung 4 kemampuan bahasa Jerman, yaitu: Lese-verstehen, Hoeren, Sprechen dan Schreiben dalam tingkatan Start Deutsch A1 dan A2 Jugendliche.

Modul ini berisi bahan ajar khusus Grammatik Bahasa Jerman bagi para siswa SMA/MA Kelas XII Bahasa Semester 1. Pada awalnya materi-materi dalam Modul ini diterbitkan dan dicetak untuk kebutuhan sendiri di SMA Kristen Atambua dan SMA Suria Atambua, Prov. NTT. Materi-materi dalam Modul ini sangat penting karena dapat mendukung 4 kemampuan bahasa Jerman, yaitu: Lese-verstehen, Hoeren, Sprechen dan Schreiben dalam tingkatan Start Deutsch A1 dan A2 Jugendliche.

This volume renders the complete German translation of Dante Alighieri’s Divine Comedy by Karl Bartsch including foreword and introduction.

Karl Friedrich Adolf Konrad Bartsch (25 February 1832, in Sprottau – 19 February 1888, in Heidelberg) was a German medievalist. He studied philology at the universities of Breslau (from 1848) and Berlin (1851/52), where he was a pupil of Wilhelm Grimm. In 1853, he received his doctorate from the University of Halle, and in 1855 began work as a caretaker at the German National Museum in Nuremberg. In 1858, he was appointed professor of German and Romance philology at the University of Rostock, where he founded the first seminar for German philology. In 1871 he succeeded Adolf Holtzmann at the University of Heidelberg, where he taught till his death, shortly before what would have been his fifty-sixth birthday – at the same age as Dante.

The goal of this online publication is to make Karl Bartsch’s translation of the Divine Comedy accessible without any commercial interests in mind, as it is since many decades exclusively available in second-hand bookstores, some public libraries and recently also as book on demand (a reprint of a scanned original version). This shall allow the interested public to make their own analyses and comparisons.

Dengan tampilan dan isi Modul yang semakin lengkap, Modul ini berisi bahan ajar Grammatik Bahasa Jerman bagi para siswa SMA/MA Kelas XI Bahasa Semester 2. Pada awalnya materi-materi dalam Modul ini diterbitkan dan dicetak untuk kebutuhan sendiri di SMA Kristen Atambua sejak tahun 2005 dan SMA Suria Atambua antara tahun 2019-2020, Prov. NTT. Modul ini telah mengalami banyak perbaikan sampai tampilan dan isinya seperti tampak saat ini di tahun 2021. Sejak Kurikulum 2013, materi-materi dalam Modul ini sangat penting karena dapat mendukung 4 kemampuan bahasa Jerman, yaitu: Lese-verstehen, Hoeren, Sprechen dan Schreiben dalam tingkatan Start Deutsch A1 dan A2 Jugendliche.

Modul ini berisi bahan ajar Grammatik Bahasa Jerman bagi para siswa SMA/MA Kelas X Bahasa Semester 1. Pada awalnya materi-materi dalam Modul ini diterbitkan dan dicetak untuk kebutuhan sendiri di SMA Kristen Atambua dan SMA Suria Atambua, Prov. NTT. Materi-materi dalam Modul ini sangat penting karena dapat mendukung 4 kemampuan bahasa Jerman, yaitu: Lese-verstehen, Hoeren, Sprechen dan Schreiben dalam tingkatan Start Deutsch A1 dan A2 Jugendliche.

(775-780) In der historischen Semantik gelten Prozesse des Bedeutungswandels als sehr unsystematisch. Der Autor vertritt aber die These, dass bei semantischen Wandelprozessen ein hohes Maß an Systematizität zu beobachten ist, die sogar oft einen sprachübergreifenden Charakter hat. Die kommunikativen Ziele der Sprachbenutzer spielen dabei genauso eine Rolle, wie die Wahl der Sprachmittel. Deutsche, englische, chinesische, georgische und russische Beispiele zeigen außerdem, dass ähnlich verlaufende semantische Entwicklungen über die Sprachgrenzen hinweg zu finden sind.

In this volume, Karl Vossler’s translation (2nd edition 1945) is compared with Giorgio Petrocchi’s critical edition (2nd edition 1994, „Edizione Nazionale“) with the amendments by Anna Maria Chiavacci Leonardi (2nd edition 2001).

For this comparison, Karl Vossler’s specific division of verses has been dissolved and put into the Dantean tercets. This shows that Vossler’s translation a meticulous and philologically precise verse-by-verse translation, with only a few exceptions.

The comparison between Vossler’s translated verses with the previous editions of 1907-1910 (1st edition) and 1925 (2nd edition) as well as the variations within these editions and the comparison with the complete translation of 1945 are listed in volume 1 of this series, together with the variations between the 1st edition of the complete translation (Berlin: Atlantis Verlag, 1942), the 2nd edition (Zürich: Atlantis Verlag, 1945) and the first licensed edition (Gütersloh: Bertelsmann Lesering, 1960).

The goal of this online publication is to make Karl Vossler’s translation of the Divine Comedy accessible without any commercial interests in mind. The direct comparison of the translation with the Italian text shall allow the interested public to make their own analyses.

This volume renders the complete German translation of Dante Alighieri’s Divine Comedy by Karl Vossler including foreword and introduction.

Karl Vossler (6 September 1872, in Hohenheim – 19 September 1949, in Munich) was a German linguist and scholar, and a leading Romanist of the first half of the 20th century. He is one of the over fifty translators have taken the trouble for years – and in the case of Karl Vossler even for decades – to translate Dante Alighieri’s Divine Comedy completely in German. His translation is widespread and has – after the first editions in 1942, 1945 and 1953 – been reprinted in several licensed editions for reader circles and illustrated editions.

Karl Vossler’s translation is – apart from a few exceptions – a meticulous and philologically precise verse-by-verse translation despite the fact that he uses his own division of verses and not the classical Dantean tercets. This is proved by comparing the translation with the original Italian text (see volume 2 of this series).

Of particular interest are the translated verses from the previous editions of 1907-1910 (1st edition) and 1925 (2nd edition). The variations within these editions and the comparison with the complete translation of 1945 are listed in chapter 11.

The variations between the 1st edition of the complete translation (Berlin: Atlantis Verlag, 1942), the 2nd edition (Zürich: Atlantis Verlag, 1945) and the first licensed edition (Gütersloh: Bertelsmann-Lesering, 1960) are listed in chapter 10.

Modul ini berisi bahan ajar khusus Grammatik Bahasa Jerman bagi para siswa SMA/MA Kelas X Bahasa Semester 2. Pada awalnya materi-materi dalam Modul ini diterbitkan dan dicetak untuk kebutuhan sendiri di SMA Kristen Atambua dan SMA Suria Atambua, Prov. NTT. Materi-materi dalam Modul ini sangat penting karena dapat mendukung 4 kemampuan bahasa Jerman, yaitu: Lese-verstehen, Hoeren, Sprechen dan Schreiben dalam tingkatan Start Deutsch A1 dan A2 Jugendliche.

This publication contains Philalethes’ (i. e. King John of Saxony) translations of Dante’s Hell (first edition: 1828/1833, second edition: 1839, third edition: 1865) together with other texts about the editorial history and early reception, and a comparison between the three editions. This shall allow the interested public to make their own analyses.
According to the list of the German Dante Society—the oldest international Dante society—over 50 translators have taken the trouble for years and—in the case of Philalethes—sometimes for decades to translate Dante Alighieri’s Divine Comedy completely. In view of the quantity of verses (14,233 in total), the degree of difficulty and the complexity of the text, they all deserve to be honored – regardless of the result.
The comparatively big number of Commedia translations – this can be observed also in other language regions – results in the fact that many older translations fall into oblivion despite their quality and new editions are rather rare. This is definitely not the case with Philalethes’ translation, which is—next to Karl Vossler’s—the most popular German translation of Dante’s Divine Comedy of all times.
With the exception of the prose translation by Lebrecht Bachenschwanz (1767-69) all complete translations have been published in the last 200 years, to begin with Karl Ludwig Kannegießer’s translation in 1821. 19 translations were published in the 19th century and 26 in the 20th century. And there is no end to it in the foreseeable future as there are already five other translations available since the turn of the millennium and further translations are currently being prepared.