bluuebunny/crossref_metadata_2025 huggingface dataset:
Predicting the Spinel–Nepheline Liquidus for Application to Nuclear Waste Glass Processing. Part II: Quasicrystalline Freezing Point Depression Model
Authors: Jantzen Carol M. , Brown Kevin G.
Published: June 2007

The crystal‐melt equilibria in complex 15‐component‐simulated high‐level waste (HLW) glass melts are modeled based on quasicrystalline concepts that are discussed in Part I. A pseudobinary phase diagram between a transition metal ferrite spinel (an incongruent melt product of a transition metal iron‐rich acmite) and nepheline is defined based on calculation of the quasicrystalline melt precursors calculated by a freezing point depression approach. The pseudobinary lies within the Al2O3–Fe2O3–Na2O–SiO2 quaternary system that defines the crystallization of basalt glass melts. The modeling provides the partitioning of species between the melt and the primary liquidus phases. The medium‐range order of the melt and the melt‐crystal exchange equilibria are defined based on a constrained mathematical treatment that considers the crystallochemical coordination of the elemental species in acmite and nepheline. The liquidus phases that form are shown to be governed by the melt polymerization (Part II) and the thermodynamic octahedral site preference energies (Part I). The liquidus model developed based on these concepts has been used to prevent unwanted crystallization in the world's largest HLW melter for the past 4 years while allowing >10 wt% higher waste loadings to be processed.
Processing and Thermal Conductivity of Sintered Reaction‐Bonded Silicon Nitride: (II) Effects of Magnesium Compound and Yttria Additives
Authors: Zhu Xinwen , Zhou You , Hirao Kiyoshi , Lenčéš Zoltán
Published: June 2007

The effects of the magnesium compound and yttria additives on the processing, microstructure, and thermal conductivity of sintered reaction‐bonded silicon (Si) nitride (SRBSN) were investigated using two additive compositions of Y2O3–MgO and Y2O3–MgSiN2, and a high‐purity coarse Si powder as the starting powder. The replacement of MgO by MgSiN2 leads to the different characteristics in RBSN after complete nitridation at 1400°C for 8 h, such as a higher β‐Si3N4 content but finer β‐Si3N4 grains with a rod‐like shape, different crystalline secondary phases, lower nitrided density, and coarser porous structure. The densification, α→β phase transformation, crystalline secondary phase, and microstructure during the post‐sintering were investigated in detail. For both cases, the similar microstructure observed suggests that the β‐Si3N4 nuclei in RBSN may play a dominant role in the microstructural evolution of SRBSN rather than the intergranular glassy chemistry during post‐sintering. It is found that the SRBSN materials exhibit an increase in the thermal conductivity from ∼110 to ∼133 (Wm·K)−1 for both cases with the increased time from 6 to 24 h at 1900°C, but there is almost no difference in the thermal conductivity between them, which can be explained by the similar microstructure. The present investigation reveals that as second additives, the MgO is as effective as the MgSiN2 for enhancing the thermal conductivity of SRBSN.
Creation of Nano–Macro‐Interconnected Porosity in a Bioactive Glass–Ceramic by the Melt‐Quench‐Heat‐Etch Method
Authors: Moawad Hassan M. M. , Jain Himanshu
Published: June 2007

We demonstrate that suitable thermal treatment of biocompatible CaO–Na2O–P2O5–SiO2 glasses prepared by the usual melt‐quench results in spinodal phase separation and crystallization of phases at very different length scales. Selective chemical leaching of these phases allows the formation of interconnected multi‐modal porosity, with pore size ranging from several nanometers to tens of micrometers. Such novel nano–macroporous glasses have potential applications as superior bioscaffolds.
Generation of Large Pore Channels for Bone Tissue Engineering Using Camphene‐Based Freeze Casting
Authors: Yoon Byung‐Ho , Koh Young‐Hag , Park Chee‐Sung , Kim Hyoun‐Ee
Published: June 2007

The present study reports an innovative way to produce large pore channels with a size >100 μm for applications in bone tissue engineering using the camphene‐based freeze casting method, and using an unusually high freezing temperature, which is close to the solidification temperature of the slurry, in order to allow the formation of excessively overgrown camphene dendrites due to the extremely low solidification velocity. To accomplish this, hydroxyapatite (HA)/slurries with various solid loadings (10, 15, and 20 vol%) were frozen at 35°C for 20 h. The frozen samples were freeze dried and sintered at 1250°C for 3 h. All of the fabricated samples showed highly porous structures with large pore channels >100 μm in size and dense HA walls without any noticeable defects, such as cracks or pores. As the initial solid loading was increased from 10 to 20 vol%, the porosity of the sample decreased linearly from 76% to 55%, while the pore channels became narrower. However, the compressive strength was remarkably improved from 2.5 to 16.7 MPa.
Combination of Chromium and Biotin Improves Coronary Risk Factors in Hypercholesterolemic Type 2 Diabetes Mellitus: A Placebo‐Controlled, Double‐Blind Randomized Clinical Trial
Authors: Albarracin Cesar , Fuqua Burcham , Geohas Jeff , Juturu Vijaya , Finch Manley R. , Komorowski James R.
Published: June 2007

Dyslipidemia, often found in type 2 diabetes mellitus (T2DM) patients, plays an important role in the progression of cardiometabolic syndrome. Two essential nutrients, chromium and biotin, may maintain optimal glycemic control. The authors report here a randomized, double‐blind placebo‐controlled trial (N=348; chromium picolinate and biotin combination [CPB]: 226, placebo: 122; T2DM participants with hemoglobin A1c [HbA1c] ≥7%) evaluating the effects of CPB on lipid and lipoprotein levels. Participants were randomly assigned (2:1 ratio) to receive either CPB (600 μg chromium as chromium picolinate and 2 mg biotin) or a matching placebo once daily for 90 days. Statistical analyses were conducted in all eligible participants. Subsequent supplemental analyses were performed in T2DM participants with hypercholesterolemia (HC) and in those using stable doses of statins. In the primary analysis, CPB lowered HbA1c (P<.05) and glucose (P<.02) significantly compared with the placebo group. No significant changes were observed in other lipid levels. In participants with HC and T2DM, significant changes in total cholesterol and low‐density lipoprotein cholesterol (LDL‐C) levels and atherogenic index were observed in the CPB group (P<.05). Significant decreases in LDL‐C, total cholesterol, HbA1c , and very low‐density cholesterol levels (P<.05) were observed in the CPB group taking statins. CPB treatment was well tolerated with no adverse effects, dissimilar from those associated with placebo. These data suggest that intervention with CPB improves cardiometabolic risk factors.
Sequence conservation of subdominant HLA‐A2‐binding CTL epitopes in HIV‐1 clinical isolates and CD8+ T‐lymphocyte cross‐recognition may explain the immune reaction in infected individuals
Authors: THORN METTE , TANG SHEILA , THERRIEN DOMINIC , KLØVERPRIS HENRIK , VINNER LASSE , KRONBORG GITTE , GERSTOFT JAN , CORBET SYLVIE , FOMSGAARD ANDERS
Published: June 2007

Cytotoxic T‐lymphocytes (CTL) are critical for immune control of infection with human immunodeficiency virus type‐1 (HIV‐1) and searches for relevant CTL epitopes for immune therapy are ongoing. Recently, we identified 28 HLA‐A2‐binding HIV‐1 CTL epitopes (1). In this follow‐up study we fully genome sequenced HIV‐1 from 11 HLA‐A2+ patients to examine the sequence variation of these natural epitopes and compared them with the patient's CD8+ T‐cell recall response. Often the epitope was conserved but only a few patients showed a CD8+ T‐cell recall response. This infrequent targeting may be explained by immune subdominance. CD8+ T‐cell recall response to a natural epitope could be measured despite sequence differences in the patient's virus. T‐cell cross‐reaction between such variants could be demonstrated in HLA‐A2 transgenic mice. Nine infrequently targeted but conserved or cross‐reacting epitopes were identified in seven HIV‐1 proteins. More immunogenic anchor amino acid optimized immunogens were designed that induced T‐cell cross‐reaction with these natural epitopes. It is concluded that most of the new CTL epitopes are conserved but subdominant during the infection. It is suggested that T‐cell promiscuity may explain the observed CD8+ T‐cell reaction to epitope variants and it may be possible to use the selected immune optimized epitope peptides for therapeutic vaccination.
Expression of cyclooxygenase‐2, c‐kit, progesterone and estrogen receptors in uterine smooth muscle tumors: differential diagnosis
Authors: ÇOMUNOĞLU NIL ÜSTÜNDAGĞ , DURAK HAYDAR , ÇOMUNOĞLU CEM , EKICI A. IŞIN DOĞAN , ÖZKAN FERDA , AKYILDIZ ELIF ÜLKER , İLVAN ŞENNUR , CALAY ZERRIN , MOLİNAS NIL
Published: June 2007

We examined the expression pattern of cyclooxygenase‐2 (COX‐2) and c‐kit in uterine smooth muscle neoplasms and tried to determine the role of these markers in differential diagnosis. Archival tissue from 64 patients with uterine smooth muscle neoplasms (20 leiomyomas (LMs), 22 atypical leiomyomas (ALMs), and 22 leiomyosarcomas (LMSs)) was immunostained with antibodies against estrogen (ER) and progesterone receptors (PR), COX‐2 and c‐kit. 7 of 20 LM cases and 5 of 22 ALM cases were immunopositive for COX‐2, whereas none of the LMS cases stained immunopositive (p≤0.05). 4 of 20 LM cases and 5 of 22 ALM cases were immunopositive for c‐kit, whereas 15 of 22 LMS cases showed c‐kit immunopositivity (p≤0.05). In conclusion, very few LMs and ALMs show COX‐2 immunopositivity. LMSs usually do not express COX‐2. COX‐2 expression in smooth muscle tumors is not a prominent feature. Therefore, COX‐2 inhibitors may not be useful in LMS therapy. C‐kit was significantly expressed in uterine LMSs.
Section Critique
Authors: David CI.
Published: June 2007

Erich Heller: The Disinherited Mind. Essays in Modern German Literature and Thought (Cambridge, Bowes & Bowes, 1952, 209 p., 18 s.)l
Literaturwissenschaft und Methodologie
Authors: Pasternack Gerhard
Published: June 2007

Besprechung zu: Heide Göttner, Logik der Interpretation. Analyse einer literaturewissenschaftlichen Methode unter kritischer Betrachtung der Hermeneutik. (Müncherner Universitäts‐Schriften. Reihe der Philosophischen Fakultät II) München 1973.
The Demarcation of Literature and the Reader
Authors: Margolin Uri
Published: June 2007

The article first considers the various senses of the terms “litera ture” and “work of literature,” as these terms are employed by the contemporary reader. Four major senses are distinguished:

(a) “literature” by form, referring to specific formal textual features;

(b) “literature” by value, referring to complex textual qualities or effects considered valuable by the reader;

(c) “literature” by status, referring to a special cognitive and illocutionary status of the text, i.e. “fictionality;”

(d) “literature” by reception, referring to a special mode of reception of the text.

The article then discusses in detail the nature of (a) through (d), and the various subdivisions of each, and proposes sets of rules governing the actual employment of the term “literature” in each case. It goes on to discuss the interrelations between these different sets of rules, and concludes with a description of several borderline cases of “literature” and the role of context in deciding their status.
“Our mad poetics to confute”: the Personal Voice in T. S. Eliot's Early Poetry and Criticism
Authors: Schuchard Ronald
Published: June 2007

This essay seeks to erode traditional attitudes toward Eliot's impersonal theory of art by initiating a study of the personal voice in his early poetry and criticism. Ironically, Eliot's critical prose shows that as he developed a theory of depersonalization in the creative process he defined a method of repersonalization for the critical process. In his own literary criticism Eliot was preoccupied with the interior world of the poet, and he delineated specific theoretical and critical guidelines for unearthing the subjective emotional tone beneath the objective surface of the work. the application of Eliot's principles to his Laforguean poems shows the emergence of Eliot's distinctive, antiromantic voice to be in ironic contrast to the philosophical voice of his Laforguean models. the “religious” and classical sensibility that informs the deceptive surface patterns of these early poems provides a vital interpretive pattern for approaching subsequent poems.
La nouvelle selon Albert Camus
Authors: Godenne René
Published: June 2007

L'objet de cet article est de montrer que Camus, auteur de L'Exil et le royaume, ne conçoit pas seulement la notion de nouvelle comme l'expression d'une histoire en bonne et due forme (Jonas et Le Renégat), mais surtout comme l'évocation ‐ et l'approfon dissement ‐ d'un instant de la vie d'un individu (La Femme adultère, Les Muets, L'Hôte, La Pierre qui pousse). Camus privilégie là un type de nouvelle qui s'oppose à la forme ≤classique≥ existant depuis le XVI° siècle parce que l'élément anecdotique est réduit à sa plus simple expression et que la qualité de la nouvelle est d'abord d'ordre psychique (le nouvelliste nous installe dans l'aventure intérieure). Pareil type do nouvelle implique encore l'idée d'une rupture totale avec le roman, puisqu'il n'a plus besoin do recourir à deux de ses éléments fondamentaux de composition: l'élément anecdotique, l'élément durée dans le temps et l'espace. L'Exil et le Royaume ou l'affirmation d'une plus grande spécificité de la nouvelle.
Hermann Brochs Roman »Der Tod des Vergil«*
Authors: Kristiansen Børge
Published: June 2007

Ausgehend von dem Todes‐ und Zeitproblem im Denken Hermann Brochs wird untersucht, wie sich die Bewältigung dieses Problems in dem Roman Der Tod des Vergil formal und thematisch realisiert. Formal wird die »Todesaufhebung« durch eine spezifische Symboltechnik und Leitmotivstruktur geleistet. Dabei zeigt sich, dass der Symbolisierungsvorgang (»Entnaturalisierung«) erstens durch eine Leitmotivik realisiert wird, die dem poetischen Verfahren Thomas Manns verwandt ist, und zweitens durch unmittelbare Erkenntnis der Symbolhaltigkeit der Welt zustandekommt. Eng verbunden mit der Todesproblematik ist auch die Zeitgestaltung des Romans. Der stream of consciousness Vergils konstituiert eine ewige Präsenz des Lebens, die als Sinnbild der noumenalen Sphäre gedeutet wird. The‐matisch lässt sich Der Tod des Vergil als ein Ringen um die Aufhebung des Todes bezeichnen, das prozessualen Charakter hat. Die wichtigsten Phasen dieses Prozesses lassen sich beschreiben als: 1) Zusammenbruch der ästhetischen Wertwirklichkeit Vergils ‐ 2) Steigerung dieses persönlichen Erlebnisses zur Erkenntnis der Nichtigkeit aller Ordnung ‐ 3) Rückgewinnung einer göttlichen Seinsgewissheit durch prophetische Schau einer neuen Wertwirklichkeit und kraft eines unmittelbaren Wahrheits‐ und Gotteserlebnisses. Eingegangen wird in diesem Zusammenhang auf die die Denkstruktur Brochs prägende Antinomie zwischen idealistischen und existentialistischen Denkpositionen. Als Ergebnis stellt sich heraus, dass die Lösung des Todesproblems die Aufhebung der »ethischen Forderung« voraussetzt, wie umgekehrt das Festhalten an dieser Forderung das Todesproblem aktualisiert. (In German) (BK)
“DIE REGIE DES LEBENS” Domestic Drama and the Sturm und Drang
Authors: Mclnnes Edward
Published: June 2007

In this essay I have examined the attempts of the playwrights of the Sturm und Drang to express their awareness of the determining power of society in dramatic terms and have tried to relate this awareness to their view of the dramatic action as a whole. In the plays of Lenz, Wagner and Klinger the conception of the crisis is analytical in a new and radical sense: it is seen as brought about by aims and responses which are imposed upon the characters by their social environment in ways which they themselves cannot understand or control. In their attempts to envisage the resolution of this crisis ‐ I have argued ‐ the dramatists are responding to a quite different kind of awareness. Here they are no longer attempting to show the working of definable social forces but to suggest the ultimately random nature of existence. the structural tensions in these plays reveal the conflict between opposing views of life, between an awareness of the individual's existence as governed by predictable social forces, on the one hand, and a sense of his dependence upon the sheer contingency of things in a purposeless world, on the other.
The Metaphysical‐Religious Dimension of Günter Eich's Träume
Authors: Martinson Steven D.
Published: June 2007

“Wacht auf, denn eure Traume sind schlecht Bleibt wach, weil das Entsetzliche näher kommt.”

Although Giinter Eich's radio play, Träume (1951), has been readily discussed from a political‐historical perspective, the metaphysical‐religious dimension of this work has received only peripheral attention. As a work of art, this play constitutes far more than a mere protest against the dreams of restoration which Eich and his countrymen shared shortly after World War II. It is a profound statement on the exigencies of life in general.

In addition to revealing the metaphysical dimension of the play, this essay also focuses upon the existentialistic predicament of man as reflected in each of the Dream segments. The apparent contradiction between the express belief in the freedom of the individual to act, and the recurrent image of man's basic imprisonment in an alienating world, is resolved only when the polarity between the political‐historical and metaphysical‐religious dimensions at work in Eich's language is revealed.
Kierkegaardian doubles in: Crime and Punishment
Authors: Greenway John L.
Published: June 2007

Kierkegaard and Dostoevsky apparently had no knowledge of each other, yet Kierkegaardian concepts can be of great use in elucidating the complexities of Dostoevsky's novels, particularly Crime and Punishment. As an instance of this, in his Journal from 1834 Kierkegaard considered dramatizing the “idea of a master‐thief”; the character sketches he gives are strikingly similar to Raskolnikov, Sonia, Pulcheria Ivanovna and Marmeladov. Furthermore, Dostoevsky visited Copenhagen for a week while drafting the novel. After this visit, he drastically altered the manuscript, adding doubles to Raskolnikov strongly Kierkegaardian in their conception.

No influence is being asserted here, however; rather, I wish to show how Kierkegaard's concept of the three stages of existence can clarify the relationships among Raskolnikov's principal doubles. Though both authors abandon endings which synthesize antinomies, the impossibility to synthesize Raskolnikov's doubles into a unified ending posed problems for Dostoevsky as novelist that the either/or of life's stages never did for Kierkegaard as philosopher.
The poet as clown: Variations on a theme in nineteenth‐century French poetry
Authors: King Russell S.
Published: June 2007

The “self‐portrait as a clown” which has now become a standard allegory of the artist in twentieth‐century painting, developed particularly from nineteenth‐century models in French poetry. There was a kind of metonymic fusion of Pierrot and Harlequin, the court jester, the vagabond showman, the gypsy violinist and the white‐faced circus clown. Banville, in his Odes funambulesques (1857) was the first major poet to represent the clown as a symbolic analogue of the poet, as a tightrope walker and an acrobatic, with his “vertical” aspirations from reality to ideality. Baudelaire's portrait of the failed showman and artist as victim, Verlaine's clowns reflecting the suggestive ambiguities and plasticity of the poet's aesthetics, Mallarmé's Le Pitre châtié, Laforgue's frivolous dilettante and Hamlet‐like dandy who chooses to play the role of the white‐faced simpleton, all reveal the figure of the clown, as a blatantly proclaimed actor and champion of artifice who set himself in total contrast, physically and spiritually, with his audience and society in general. An artificial rebel against realism, he perceived more profoundly than his audience the comedy of life, that “all the world's a stage.”
Else Lasker‐Schüler and Franz Marc
Authors: Webb Karl E.
Published: June 2007

This essay investigates the relationship and artistic similarities between the poetess Else Lasker‐Schüler and the painter Franz Marc with regard to their friendship, their similar background and development, their artistic goals, and the actual development of their style. Both abhorred the modern technological world, for example, and sought in their works to create an innocent, child‐like atmosphere, to revitalize the natural and primordial drives, and to create a new mythological tone. In their style they both progressed from a rather uncontrolled, fanciful structure, very similar in ambience to Jugendstil, to a carefully conceived and highly compressed form of creativity which was based in a mosaic‐like constellation of motifs and images. The close relationship between poetess and painter can be viewed as typical of the interworkings of literature and art of the Expressionist period.
Kotzebue und Sheridan: Erfolgsstrategien von 1799
Authors: Brunkhorst Martin
Published: June 2007

Zusammenfassung

Sheridans Kotzebue‐Bearbeitung The Stranger (1798) und stärker noch die in der nächsten Spielzeit folgende Bearbeitung von Die Spanier in Peru unter dem Titel Pizarro stellen Theatererfolge von bis dahin unbekannten Ausmaβen dar. Durch die zahlreich überlieferten Zeugnisse sowohl der Produktion wie auch der Rezeption des Pizarro wird eine engmaschige Dokumentation über Sheridans Erfolgssteuerung und Erfolgsstrategien für dieses Stück möglich. Sie reichen von der Präparation der Publikumserwartung schon lange vor dem Abschluβ der englischen Textfassung über die ‘public relations'‐Bestrebungen während der aufwendigen Inszenierung bis hin zur revidierten Druckfassung, zu Kotzebue‐Anthologien und Teildrucken des Stücks, die auch noch lange nach der Premiere das unverminderte Interesse an den Pizarro‐Aufführungen unterstützen.

In seinem Bestreben um eine möglichst vollständige Entsprechung von Theateraufführung und Publikumsgeschmack bemüht sich Sheridan um den ständigen Dialog mit den Zuschauern. Noch nach der Premiere wird ständig an der Pizarro‐Inszenierung gefeilt; alle Passagen, die keinen ungeteilten Beifall erhalten, werden gestrichen. Ein solches Dichtungsverständnis, das auf Stabilisierung und Konformität mit der Publikumserwartung zielt, scheut auch nicht vor Trivialität zurück. Schon Kotzebue selber, aber ebenso seine englischen Bearbeiter, vertreten auch im expositorischen Schrifttum diese Dichterintention. Sie erklärt weitgehend die Animosität und Polemik, denen die Werke Kotzebues in Deutschland wie England bei einem gebildeten und ästhetisch verantwortungsbewuβtem Publikum ausgesetzt sind.
Hölderlin, Brecht, Anouilh: Three Versions of Antigone
Authors: Chancellor Gary
Published: June 2007

Sophocles' Antigone portrays religious, political and personal lines of development which make conflicting demands on the characters. Most later versions of the story emphasize one of these elements at the expense of the other two. Hölderlin's “translation,” which in fact should be considered an adaptation, is clearly the most significant of the religious interpretations. Brecht's politically oriented version is based on Hölderlin's play. While generally opposed to it, Brecht shares a certain conceptual tendency with his model: the emphasis on process rather than outcome. Anouilh's treatment of the private perspective is especially revealing in this context because of the contrast it presents to that of Brecht. Where Brecht depicts the effect of the individual's choices on the collective, Anouilh's interest lies with the implications of these choices for the individual himself. Through the comparative analysis of versions by Hölderlin, Brecht and Anouilh, one may understand the interrelated nature of the three major tendencies in interpretation of the Antigone material.
Pope's Sermo Polysemus: the Virgilian Tradition in The Rape of the lock
Authors: Rudat Wolfgang E. H.
Published: June 2007

Following the exegetist Servius who had called the Aeneid opening a sermo polysemus, Pope uses the device of “a phrase capable of carrying many connotations” throughout The Rape of the Lock: by alluding simultaneously to many different contexts, he makes the poem elusively polysemous. Under this polysemous cover, Pope is able to make audaciously naughty hints without, however, saying everything, and thus parody Servius who thought he had detected in Virgil the poetic strategy of “not saying everything.” With the parody‐orgasm scene being allusively analogous to the cave episode in which Dido and Aeneas consummate their union, Pope parodies yet another pedestrian mention of a poet's rudiments: since according to the exegetist Donatus Virgil wanted the reader to infer but did not wish to state what happens in the cave scene, Pope merely hints at that which cannot be stated. the comments made by Virgil's exegetists, then, are part of the poem's mode of existence. Consequently, when Pope transmogrifies Virgil's epic into something even less dignified than mock‐epic he has Servius' authority, according to whom the Fourth Aeneid is “almostcomical” ‐ because it deals with the subject of love.
Kleist's Der zerbrochne Krug and Romanticism
Authors: Ward Mark G.
Published: June 2007

In essence this article is concerned with two questions, firstly the position of Der zerbrochne Krug within the main corpus of Kleist's writing and thought, and secondly with the problematic issue of Kleist's general position within the dominant intellectual and artistic movement of the age in which he was writing, namely Romanticism.

Three areas of Der zerbrochne Krug are analysed: the experience of the characters, especially Adam; the structure of the action; and the use of symbol, and it is argued from this analysis that the unifying centre of the work is to be found in the tension between subjective and objective, or free and necessary perception and response. This pattern is then related to Romantic theory of comedy in an attempt to demonstrate the ways in which Kleist significantly deviates from the central tenets of Romantic thought as embodied in that theory. On the basis of that contrast parallels are then drawn between Der zerbrochne Krug, Kleist's vision in general and the kind of experience of the years around the turn of the century which informs, for example, the genre of the fate tragedy.
Eluard's Female Landscape
Authors: York R. A.
Published: June 2007

This paper seeks to place the image of woman as landscape, frequent in Eluard, in the structure of the poems in which it appears. The image most often indicates a transition within the poem from a state of personal identity to one of impersonality; but this basic structure is subject to systematic modifications affecting the character of the image and of the states preceding and succeeding it; thus poems may imply a range of different values and may present the relationship of speaker and other people or outside world more or less positively. Forms of the image may also occur initially, so that the remainder of the text shows either a gradual development of the impersonal state they imply or the overcoming of an obstacle to it; or they may occur finally, either as a surprising closure or as a reinforcement of a previous occurrence of the image in some form. In thus selecting among the imagined implications of the image, Eluard imposes an order on his fascination with the body in space.
Camus' Meursault: A “Nocturnal” Being in a “Diurnal” World
Authors: Brady‐Papadopoulou Valentini
Published: June 2007

The structure of L'Etranger is founded on the dialectical relationship between conflictual pairs of principles: eros and thanatos, the noumenal and the phenomenal, and above all the diurnal (antithesis, aggression, negation) and the nocturnal (reconciliation, passivity, euphemization). The latter dialectic manifests itself in the change from the first half of the work, which is predominantly diurnal in character (outdoors and daytime activities, bright sunshine), and the second, which is primarily nocturnal (imprisonment, sleep, and generally indoors activities). Perhaps its most significant manifestation, however, is that which pits the protagonist against the world in which he lives. It is this form taken by the diurnal/nocturnal conflict that motivates and explains both the centrally‐located climax (the violent incident on the sun‐struck beach) and the final welcoming of the eternal night and darkness of death.
Amour, vertu et inconstance: Philosophie et structure narrative dans quelques oeuvres de Diderot
Authors: Olsen Michel
Published: June 2007

Partant de l'hypothěse que, jusqu'à nos jours, il n'existe guère, en littérature, d'amant infidèle traité sur un registre sérieux, nous constatons que, dans le Fils naturel, Diderot décrit des changements subits des sentiments amoureux (des inconstances), changements qui sont pourtant annulés par le recours aux coups de théǎtre, aux quiproquos et aux conversions motivées par la valeur qu'est la vertu. Dans sa correspondance, examinée ensuite, Diderot s'occupe assez souvent du problème soulevé par l'instabilité des sentiments. Vers la fin de sa vie, dans ≪Ceci n'est pas un conte≫ il aborde encore une fois le problème de l'inconstance. Cette fois, le problème est explicitement formulé, mais Diderot se dérobe encore aux dernières conséquences en faisant coïncider inconstance spontanée et inconstance motivée par l'ambition. Néanmoins, il a posé, de faon assez radicale, le problème de l'identité de la personnalité. Le thème de l'inconstance, ainsi que les nombreuses manières de l'esquiver, sont étudiés dans une perspective narratologique qui doit faire voir comment Diderot se débat pour se libérer de certains procédés traditionnels.
Ästhetizistisches Wirkungsbewußtsein und narrative Ethik bei Thomas Mann
Authors: Kurzke Hermann
Published: June 2007

Thomas Mann ist ein seiner Wirkung bewußter, ein Wirkungen planender Künstler. Dieses Wirkungsbewußtsein ist ihm selbst gelegentlich moralisch verdächtig, erscheint ihm, gesehen unter der Optik der Wagnerkritik Nietzsches, als demagogisches Inszenieren von Effekten, als pharisäisches Gesehenwerdenwollen. Es lenkt den Blick vom Kunstwerk ab auf den beifallheischenden Künstler. Thomas Mann ist Ästhetizist mit dem Willen zum Moralischen. Im Frühwerk bis zum Zauberberg verfällt jedoch alles Moralische der Kritik des Ästheten, der schopenhauerianisch die Moral als diejenige Art entlarvt, in der der Intellekt dem jeweiligen Willen dienstbar ist: Auch das Moralische ist nichts als ein Reiz, eine besonders sublime Art ästhetischen Genießens. Erst seit Joseph und seine Brüder gibt es vorbildhafte Moralität im Roman, gibt es eine Art ≪narrative Ethik≪. Ihr ästhetizistisches Dementi, also ihre Reduktion auf einen bloßen Effekt, wird in die Tagebücher abgedrängt. Der Aufsatz schließt mit einer Interpretation des Verhältnisses von Tagebuch und dichterischem Werk: die Tagebücher sind das ästhetizistische Therapeutikum zur Ermöglichung eines moralischen Werks.
Histoire littéraire de la France: Un mode nouveau d'exposé de la litterature française?
Authors: Röhl Magnus
Published: June 2007

Cet article essaye de présenter, de façon succincte, d'une part le débat, français surtout, concernant les problèmes de l'historiographie littéraire, d'autre part le dernier grand ouvrage qui raconte l'histoire de la littérature française: Histoire littéraire de la France (HLF).

Il semble qu'on puisse dégager du débat contemporain deux modèles d'historiographie littéraire qui pourraient succéder à la pratique actuelle fort contestée: l'un «sociologique» liéà l'histoire sociale, l'autre «évolutif» ou «transformationnel»à la suite des fromalistes russes. Ayant rendu compte aussi des options capitales formulées dans quelques manuels français et du programme novateur de HLF, j'essaye de répondre à la question initiale en comparant quatre chapitres de cet ouvrage aux chapitres correspondants dans une vingtaine de manuels français d'époques différentes. Il en ressort que HLF, tout en respectant à bien des égards le cadre traditionnel de l'histoire littéraire, apporte vraiment du nouveau: grâce a sa façon de présenter l'histoire dans la littérature et la littérature dans l'histoire, grâce à sa dimension polyhistorique et à ses analyses idéologiques. D'une certaine façon, ce manuel marxisant ‐ et non pas marxiste ‐ nous offre l'histoire de la France à travers ses deux littératures: celle qui est consacrée par la tradition et celle qu'on dit populaire.
Le Grand Meaulnes: un imaginaire aporétique
Authors: Tritsmans Bruno
Published: June 2007

L'essai s'interroge sur le système de la narration du Grand Meaulnes, et, plus exactement, sur le rôle précis de François Seurel, qui participe à l'aventure de Meaulnes en tant que témoin latéral, mais infléchit celle‐ci, en la racontant, dans le sens de sa propre problématique. La narration se révèle donc interprétative.

Le statut de la parole est mis en évidence par l'exclusion entre l'aventure et la parole à un double niveau, celui de la diégèse et de la narration (l'énonciation). L'aventure n'existe que différée, comme le montre encore le second rapport d'exclusion entre aventure et réel. Raconter l'aventure présuppose sa destruction préalable, mais permet à François de se placer au premier plan. Ce roman est donc construit sur un paradoxe: c'est une tentative de la part de celui qui est exclu (en deçà) de l'aventure de rejoindre celle‐ci, opération qui ne peut se solder que par un échec.

Les motivations de cet acte manqueé s'avèrent être de l'ordre de l'inconscient: mis à part son rôle de libérateur de François, Meaulnes brise la clôture familiale du jeune François, axée sur la mère; c'est l'objet de la quête de Meaulnes, Yvonne, qui est appeléà combler le vide laissée par la mère. Sublimation manquée, comme le montre la mort d'Yvonne…

Cette succession d'espoir et de déception qu'a suscité chez François l'aventure de Meaulnes se traduit notamment dans la valeur variable que prend dans ce roman l'explicitation du code, et, d'une façon plus générale, en un mode de discours particulier, qui assigne à ce roman sa place au seuil de la modernité.
Reception and Impact: The First Decade of Nietzsche in Germany
Authors: Caro Adrian Del
Published: June 2007

The initial criticism of Nietzsche's philosophy emerged in an atmosphere of tension between George Brandes and Ola Hansson. Once the race to introduce Nietzsche to German readrs had begun, the Scandinvians were soon followed by German critics whose partisan essays appeared in such journals as die Freie Bühne, wherein efforts were made to link Nietzsche's ideas to Naturalismus. Owing to the aestheitc precepts of Naturalismus, Nietzsche's influence on the drama of the period could only be reflected in diluted form. The critical reception ranged from unqualified approval (Ola Hansson, Albrecht Schütze) to fierce rejection (Johannes Schlaf). The refined efforts of Brandes in his essay on Aristocratic Radicalism seemed to be overlooked in favor of more spectacular Nietzschean concepts (der Übermensch, die Herrenmoral). Confusion also existed among critics who insisted on linking Nietzsche's ideas to earlier schools of thought (Georg Adler, Joseph Diner). During the last decade of the 19th century Nietzsche's reception therefore became polarized, and his ideas popularized. In terms of literary impact, foreign writers such as Strindberg more readily adopted Nietzsche than such authors as Hauptmann.
On the Strongly Identifiable Genre for Ita Brutzkus
Authors: Shir Jay
Published: June 2007

A pluralist theory of literary genres is outlined in which genres are identified as relatively strong or weak according to the presence of common formal, thematic and attitudinal features. Wilderness literature is isolated as an instance of a strongly identifiable genre, previously unrecognized, and the unity of its features demonstrated. Four philosophically neutral criteria are proposed for a critical decision to employ genre analysis in context of viewing a work in its full literariness.
Alfred de Vignys Reflexion über die Literatur
Authors: Brabant Roger
Published: June 2007

Vigny gehört nicht nur zu den gröβten Poeten, sondern erweist sich auch als ein Dichter, der tiefgründige Überlegungen über die Literatur anstellt.

Auf die Frage, warum er schreibt, gibt er vier Antworten: 1. Es ist für ihn ein absolutes Bedürfnis. 2. Es ermöglicht ihm, dem existentiell Abscheulichen und sich selbst zu entkommen. 3. Es bringt ihm die gröβte Voluptas. 4. Er trachtet dadurch, die Menschheit zu belehren und zu verbessern.

Bevor er zur Feder greift, sollte der Künstler vier Bedingungen erfüllen: 1. Das Leben kennen. 2. Gleichzeitig neue, wahre und poetische Gedanken konzipieren. 3. Vom Enthusiasmus beflügelt sein. 4. Über kritischen Sinn verfügen.

Was das Verhältnis von Dichtung und Wahrheit anbetrifft, soll nur die philosophische Wahrheit zählen, und zur moralischen Deutung der Geschichte soll der Schriftsteller sich nach dem Wahrscheinlicheren richten.

Der Stil entsteht nicht nur aus einer bestimmten Anwendung von Sprachmitteln sondern aus dem Zusammenwirken von Inhalt und Form.

Auf dem Gebiet des Theaters wirkt Vigny an der Erneuerung dieser Gattung mit, indem er an den Regeln der Klassik rüttelt und den Weg zum romantischen Drama mitbereitet.

Beim Vergleich zwischen Versen und Prosa bezeugt er seine Begeisterung für die gebundene Rede, ohne jedoch die Vorteile der Prosa zu übersehen.
Ecriture et réel dans Notre‐Dame de Paris: l'exemple de Gringoire
Authors: Rasson Luc
Published: June 2007

A cause de son statut marginal dans le récit, Gringoire est le personnage laissé pour compte de la réception critique de Notre‐Dame de Paris. Cet écartement d'un personnage pourtant hautement sémantiséà de multiples niveaux est proprement irrecevable. Si la duplicité qui travaille Gringoire rend problématique son insertion dans les structures narratives du récit, elle facilite en revanche son effcacitt cognitive: interprète et informateur, Gringoire forme écran entre la diégèse et les autres personnages, entre la ditgkse et le lecteur. Cependant dès I'instant où Gringoire lui‐même s'impose comme producteur de discours, cette fonction de connaissance est condamnée à s'èvanouir. Parasité impitoyablement par un narrateur envahissant et ironique, le discours de Gringoire exhibe la fêlure, à savoir l'impossible coincidence de la véridiction et de I'illocutoire. En tant que tel il fonctionne comme l'image en creux du narrateur hugolien hanté par la suture, désireux de colmater la brèche entre écriture et réel.
Poetic Doctrine in Three of Rimbaud's Verse Poems
Authors: Lindsay Marshall
Published: June 2007

Each of the three poems considered constitutes, among its other possible meanings, a statement about the nature of poetry which this paper attempts to isolate. “Le Coeur supplicit” is an example of what Rimbaud called “objective” poetry in his letter to Izambard and contains an explicit rejection of “subjective” poetry by subverting the traditional poetic notion of the heart. The last four stanzas of “Le Bateauivre” illustrate, by the rigorous use of Rimbaud's temporality, voyance in its sense of prophecy. In the final two sections of “Mémoire” Rimbaud sees in the opposition river/woman/past Vs. sun/man/future the options for poetic inspiration; he rejects the former.
Arnold Bennett's Realism: Social Process and the Individual in Anna of the Five Towns
Authors: Voss James
Published: June 2007

Perceptions of Arnold Bennett's fiction have been distorted by assumptions about the novel that do not provide a reliable framework for evaluating his work. By clarifying Bennett's conception of reality, however, it is possible to appreciate how thestyle and construction of Anna of the Five Towns are integral parts of its vision. There description, characterization and action are structured by the central theme: the molding of individual lives by social processes that are rooted in man's fundamental relation to the world, his struggle with nature for survival.
The Semantics of the songe in Saint‐John Perse
Authors: York R. A.
Published: June 2007

The concept of the songe appears frequently in the work of Saint‐John Perse. It is important to him because the dream can be regarded either as an extension of real experience or as a denial of it, and so corresponds to Perse's inclination both to assert the value of the actual world and to seek to transcend it. Accordingly he often shows the dream as involving persons, objects and circumstances chosen to create a special intensity and harmony, especially in the context of the natural or the imaginative; but he also treats the dream disruptively or marginally, by stressing its paradoxical, arbitrary or disproportionate qualities, by showing it as both positive and negative or as both personal and impersonal, by varying its importance within a work or by creating a series of imprecise cross‐references between works.
Rousseau, Camus et le nihilisme: Sur l'actualite de Rousseau
Authors: Schøsler Jørn
Published: June 2007

Le propos de la présente étude étant de cerner l'actualité de Rousseau («l'annee Orwell»), on part de la crise actuelle des valeurs ‐le nihilisme du a la «réification» croissante de l'homme et de la nature après «la mort de Dieu» ‐ pour montrer le double rôle joué par Rousseau dans la genèse de l'actuelle impasse morale de l'humanité.

A la fois contestataire du Progres scientifique (dans le 2. Dis‐cours) et théoricien de la société totalitaire (dans le Contrat Social), Rousseau dénonce la Raison «libre» dégénérée par la société libérate, lui substituant la Raison «totalitaire» régénérée par son utopie sociale. Mais s'apercevant ‐ dès le 2. Discours (1754) ‐ des conséquences néfastes du sensualisme matérialiste qui constitue l'a priori métaphysique des Lumières, il défend tout au long de son oeuvre les valeurs spiritualistes propres à l'homme. C'est ainsi que sa protestation morale ‐ notamment dans la Profession de Foi du Vicaire Savoyard (1762) ‐ nous permet de le rapprocher de Camus malgré la critique dirigée par celui‐ci contre le Contrat Social dans L'Homme Révolté. Camus n'a pas vu que celui qu'il regardait comme le principal responsable du nihilisme moderne en a été au fond le premier contestataire sérieux par sa réfutation du «pyrrhonisme» encyclopédiste.
Affinitäten und Diskrepanzen zwischen Rainer Maria Rilke und Nicolas Born
Authors: Saalmann Dieter
Published: June 2007

Trotz offensichtlicher Gegensätzlichkeiten lassen sich grundlegende Übereinstimmungen in der Lebenshaltung zwischen Rilke und Born nicht von der Hand weisen, insbesondere was die Rolle der Subjektivität als politische Aussage im Hinblick auf die sich aus der Einsicht in die wesentliche Unwirklichkeit des Empirischen ergebende Realitätsdefizienz des Ichs anbetrifft.

Für beide Autoren erweisen sich dabei des Großstadt‐Motiv und die hiermit verbundenen ontologischen Aspekte als daseinbestimmende Faktoren. Letztere äußeren sich sprachlich und thematisch in einer analogen Erlebnisweise, die in Rilkes Aufzeichnungen ihre klassische Formulierung erhalten hat. In dem Sinne fügt sich Boms Protagonist fast nahtlos in jene Tradition eines metaphysischen ennui ein, wie sie von Rilkes Malte und Sartres Roqentin in La Nausée vertreten wird.

Andererseits versagt Borns Alter ego im Unterschied zu dem »Dänen« bei dem Versuch, sich zu einer künstlerischen und folglich auch zu einer existenziellen Anverwandlung der Empirie durchzuringen. In Boms Roman ist also der Rilkesche Ästhetisie‐rungsimperativ gegenüber den Ansprüchen des Akzidentellen angesichts der überwältigenden Präsenz der »Megamaschine,« d.h. des rein Materiellen zum Scheitern verurteilt.

Im übrigen bildet Die erdabgewandte Seite der Geschichte unter dem Gesichtspunkt des Solipsismus einen Bestandteil jener zeitgenössischen »Neuen Subjektivität,« deren Verinnerlichungsdrang gewisse Praktiken aufgreift, die seit der Jahrhundertwende unter anderem in Rilkes Aufzeichnungen ihren paradigmatischen Ausdruck gefunden haben.
The Trials and Tribulations of Josef K. and Meursault
Authors: Bohn Willard
Published: June 2007

Kafka's and Camus' social criticism is epitomized in their condemnation of a specific institution: the trial. Though the former prefers satire to the latter's more direct approach, each levels a scathing attack on societal norms. While the satire in Der Prozess does not contribute much to the plot as a whole, serving primarily as a metaphor, in L'Etranger Camus is more successful in integrating his attack on bourgeois justice with his existential plot. Though Josef K. and Meursault have rather tragic roles to play, the two novels do not present a pessimistic view of man's fate. L'Etranger is even rather optimistic. Camus chooses to end, not with Meursault's nihilistic tirade or with his execution but on a note of tranquil reflection. Through their failure as individuals the two heroes offer positive hope to the rest of mankind. They are scapegoats who are sacrificed to save the reader from the same fortune. Both authors specifically address themselves to the latter and urge him to reflect on the problems dramatized in their works. That K. and Meursault are possessed by a strong desire to live at the end stresses the infinite value of life despite its tragic brevity.
‘Ich habe ihm das Beil nicht geben können’: the Heroine's Failure in Hofmannsthal's Elektra
Authors: Robertson Ritchie
Published: June 2007

Does Elektra's death represent a triumph or a failure? And can Freudian insights help to explain her behaviour?

Hofmannsthal already knew Freud's psychoanalytic interpretations of Oedipus Rex and Hamlet, and adapted Sophocles' Electra in a similar spirit. Sophocles' play is itself a study in individual and sexual psychology, and hence particularly suitable for psychoanalytic reinterpretation. Hofmannsthal's Elektra is a study in repressed sexuality, indebted also to Freud/Breuer, Rohde, and Hamlet. Elektra's unconscious sexual attachment to her father and identification with her mother prevent her from assisting Orest's revenge by giving him the axe she had earlier concealed for this purpose. This parapraxis means that her death represents an admission of failure.

Finally, affinities between Elektra and other works by Hofmannsthal are discussed.
Book Review
Authors: Soelberg Nils
Published: June 2007

Alastair B. Duncan (ed.): Claude Simon, New Directions.
Salvation, the Flesh, and God in Michel Tournier's Gaspard, Melchior et Balthazar
Authors: Petit Susan
Published: June 2007

Michel Tournier's novel Gaspard, Melchior et Balthazar reveals his heterodox conception of Christianity. Its account of the birth of Christ implies that the Old Testament teaches one to reject the flesh but that the New Testament revalorizes the body, and this idea is supported by the changes in the magi when they see the infant Jesus, for each wise man learns to accept or rightly to value the flesh. An alternative to accepted Christianity is shown allegorically through Sangali's tale of the mythical king Barbedor, in which the Holy Spirit is more important than Jehovah or Christ. This idea is further developed in the story of a fourth wise man, Taor, who represents man unaffected by Old Testament doctrine and who is actually saved by the Holy Spirit rather than by Christ. Despite Tournier's claim to having written a Christian novel, the book puts the Holy Spirit rather than Christ at the center of the religion it presents.