Christa Wolfs "Was bleibt" (i svensk oversettelse 1991 under tittelen "Vad blir kvar") står i sentrum av denne avhandlingen som undersøker dens kontekst, paratekst og tekst. Utgangspunktet for avhandlingen er observasjonen at den så kalte tysk-tyske litteraturstriden – som startet i juni 1990 i de store vesttyske avisene Die Zeit og Frankfurter Allgemeine Zeitung – egentlig ikke handler om teksten, ...

The notion of text has a long tradition inside the human science. A broad definition of this concept considers all man-made products as systems of signs and thereby as texts; but often not “as the physical manifestation as such, but as the abstract representation of a work” (Gunder: 2001, 86). Considering that everything – including sculpture, music, photography and film – can become a text, either ...

The paper outlines a research effort into the changing representations, policies, strategies, activities, and practices of libraries, archives, and museums (LAMs) in the digital age. Comprehensive social changes including big slow-moving processes, such as aging populations, global migration, technological change, and environmental change, expose communities and LAM institutions to vulnerabilities. ...

The Life of Others (2006) has been a successful film, winning the Oscar for Best Foreign Feature in 2007. It is a film about surveillance, but also about the lives of artists and writers in East Berlin in the middle of the 1980s, and about what role literature and art played in the GDR and in the events of autumn 1989. The article focuses on the way the film portrays Wiesler’s transformation from ...

Denne artikkelen undersøker paratekstens betydning for resepsjonen av den tyske filmen Das Leben der Anderen (2006) som autentisk og dermed som en troverdig fremstilling av historiske hendelser. Artikkelen viser at autentisitet ikke nødvendigvis er en objektiv kategori som kan etterprøves, men like mye en subjektiv følelse av at noe er fremstilt i samsvar med egne erfaringer og opplevelser. For å ...

The article starts with the film's premiere in New York in 1922. With help of 2 cuesheets - probably compiled in 1922 - the music of one scene ("Winter") is examined, before the article takes a look into 2 original scores composed by Stanley Silvermanand Timothy Brock for either VHS or DVD editions of the film. It turns out that these original scores give much more priority to the pictures than the ...