Die vorliegende Arbeit stellt einen Versuch dar, Entstehung und Funktionsweise des sozialistischen Realismus in jeweils spezifischen politischen und kulturellen Kontexten zu analysieren und zu beschreiben. Eine auf den Vergleich von Prozessen und Mechanismen ästhetischer Kanonbildung in der DDR und in Polen gerichtete Perspektive erlaubt nicht nur, die Dynamik von Handlungen und Vorgängen, die sich auf die offizielle Literatur- und Kunstdoktrin bezogen, in ihrer Gleichzeitigkeit und Interferenz zu erfassen. Indem sie den "sozialistischen Realismus" als ein Normierungssystem betrachtet, dessen Beschreibungen den Anspruch (...) der politischen Eliten auf die Regulierung aller gesellschaftlichen Bereiche sichtbar macht, versucht sie zugleich, den Vermittlungszusammenhang von gesellschaftlicher Entwicklung, Kulturpolitik und literarischem resp. literaturbezogenen Handeln aufzuzeigen. (shrink)

Representations of critical geography and border studies have developed concepts and methodologies for exploring the multifaceted and contradictory image of contemporary borders. Artists, scholars and social activists show increased interest in the narrative and visual documenting of border’s closures. The border’s visuality becomes a supporting argument for dissent and protest, giving the ‘visual evidence’ of the extremely quick border’s re-territoriality. As a result, important events allow one ‘to extracts sameness even from what is unique’ (W. Benjamin). The mass migration and (...) the pandemic return us to the reality of the human world with their non-freedom and illness. In the migration case, Europe has dealt with an ‘alien body’, and in the pandemic, with an ‘infected or sick body’. The relationship between the image and the viewer is an important starting point in the representation of mass migration and pandemic. Mitchell’s metaphor of ‘live images’ help us better understand the sense and reasons of new biological and politic events. Nowadays, the development, materialisation, and embodiment of European borders are the stable visual symbol of our existence. (shrink)

Despite the evidence showing the promise of HIV treatment as prevention (TasP) in reducing HIV incidence, a variety of ethical questions surrounding the implementation and “scaling up” of TasP have been articulated by a variety of stakeholders including scientists, community activists and government officials. Given the high profile and potential promise of TasP in combatting the global HIV epidemic, an explicit and transparent research priority-setting process is critical to inform ongoing ethical discussions pertaining to TasP.

: Basia Irland is an artist whose work revolves around water. Her vision is wide and she addresses ecological, social, and policy issues. Many of her works consist of portable sculptures which house maps, videos, natural objects, water samples, hydrologic reports, and research. In this paper I focus on two of her pieces, Desert Fountain and the Gathering of Waters project. I find these two pieces especially illuminating, because Irland reveals the nature of water, and also illustrates what our (...) relationship to water should be. The ethical dimension of these pieces illustrates such values as harmony and reciprocity. Her work is a powerful statement about how we, individually and collectively, should interact with the natural world. I will explore each of these pieces in turn, allowing her work to make the connections between what is and what ought to be. (shrink)

Basia Irland is an artist whose work revolves around water. Her vision is wide and she addresses ecological, social, and policy issues. Many of her works consist of portable sculptures which house maps, videos, natural objects, water samples, hydrologic reports, and research. In this paper I focus on two of her pieces, Desert Fountain and the Gathering of Waters project. I find these two pieces especially illuminating, because Irland reveals the nature of water, and also illustrates what our relationship (...) to water should be. The ethical dimension of these pieces illustrates such values as harmony and reciprocity. Her work is a powerful statement about how we, individually and collectively, should interact with the natural world. I will explore each of these pieces in turn, allowing her work to make the connections between what is and what ought to be. (shrink)

"In The Ethics of Earth Art, Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi ...

This article links Konstantin Batiushkov's poem Elysium to the tradition of poetic imitations of Janus Secundus's Basium II. A French equivalent for this poem's pythiambic distichs was invented by Ronsard, who used cross-rhymed quatrains with regular alternation of dodecasyllabic and hexasyllablic lines. However, the French translators of Basia of the eighteenth and early nineteenth centuries could not use this metre, because its semantic aura was drastically changed by Malherbe's Consolation à Monsieur du Périer. Batiushkov's Elysium as well as its (...) Latin and French sources are poems about a delightful death and the union of lovers in the afterlife; yet the metre, which was used in Malherbe's poem, was for more than two centuries a metre of mournful elegiac stanzas about eternal separation. The question of a metrical prototype for Batiushkov's poem still remains undetermined. His "anacreontic" trochaic tetrameter does not have analogues in the Latin original or its French translations, but coincides with the metre of G. A. Bürger's Die Umarmung from 1776, and finds parallels in some eighteenth-century Russian imitations of Basium II which were most likely forgotten by the beginning of the nineteenth century. (shrink)

This article links Konstantin Batiushkov’s poem Elysium (1810) to the tradition of poetic imitations of Janus Secundus’s Basium II. A French equivalent for this poem’s pythiambic distichs was invented by Ronsard (Chanson, 1578), who used cross-rhymed quatrains with regular alternation of dodecasyllabic and hexasyllablic lines. However, the French translators of Basia of the eighteenth and early nineteenth centuries could not use this metre, because its semantic aura was drastically changed by Malherbe’s Consolation a Monsieur du Perier (1598). Batiushkov’s Elysium (...) as well as its Latin and French sources are poems about a delightful death and the union of lovers in the afterlife; yet the metre, which was used in Malherbe’s poem, was for more than two centuries a metre of mournful elegiac stanzas about eternal separation. The question of a metrical prototype for Batiushkov’s poem still remains undetermined. His “anacreontic” trochaic tetrameter does not have analogues in the Latin original or its French translations, but coincides with the metre of G. A. Burger’s Die Umarmung from 1776 (of which Batiushkov was hardly aware in 1810), and finds parallels in some eighteenth-century Russian imitations of Basium II which were most likely forgotten by the beginning of the nineteenth century. (shrink)