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Copyright of Zeitschrift für Pädagogik is the property of Julius Beltz GmbH & Co. KG Beltz Juventa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The founder of the first independent and non-state-funded research institute for prehistory and early history in Germany in 1921, the UFI in Tübingen, Robert Rudolf Schmidt, deserves to be looked at again for a key phase of his life after his dismissal from university service in the spring of 1934 that has received little attention to date. And this despite the fact that his person has already been assessed several times from an academic perspective. New documents from private archives supplement his researcher CV and are suitable for re-examining narratives about his person that have already been presented from a different perspective. This applies in particular to the excavation he carried out in the Palaeolithic caves of Mauern near Rennertshofen in Bavaria, which had previously eluded closer scrutiny. During his scientific work in the 20th century, he was active in five political systems. In the German Empire (until 1918), in the Weimar Republic (until 1933), in National Socialism (until 1945), in the Allied period (until 1949) and in the last months of his life in the Federal Republic of Germany (from 1949), whose demands he faced and whose leeway he tried to utilise for his prehistoric research, but which he failed at several times. [ABSTRACT FROM AUTHOR]

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer’s first short story collections and finishing with his Obrazy z dějin národa českého (‘Images from the history of the Czech nation’). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the ‘name of the author’ in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura’s literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura’s reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura’s persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author’s image in this context all through his life as it assumed countless ‘faces’, subverting the traditional assumption of coherence in Vančura’s literary output that the concept of the author was meant to guarantee, and thus demonstrating — given the failure of this concept to bring about such coherence — how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura’s reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined.

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer's first short story collections and finishing with his Obrazy z dějin národa českého ('Images from the history of the Czech nation'). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the 'name of the author' in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura's literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura's reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura's persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author's image in this context all through his life as it assumed countless 'faces', subverting the traditional assumption of coherence in Vančura's literary output that the concept of the author was meant to guarantee, and thus demonstrating -- given the failure of this concept to bring about such coherence -- how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura's reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined. [ABSTRACT FROM AUTHOR]

Give cake – On reciprocity and resocialization in secure forensic unit: After collaborating with the author, Jan, the protagonist of a biography, commits a life crime. A 3.5-year sentence is followed by a more extended stay in a secure forensic unit (tbs). These settings are different. Jan is familiar with detention, and it is easy for him to move in this masculine world. However, in the forensic unit, he struggles as many adjustments are required. Over a period of 13 years, the relationship between Jan and the author changes. It reaches an equilibrium as gifts reciprocate, and this is a reflection of Jan's process of resocialization. [ABSTRACT FROM AUTHOR]

Skyping with a merchant of death – On the moral ambiguity of an arms dealer and his biographer: The movie Lord of War led to many discussions between Constantine – the biographee of my criminological biography of an arms dealer (Eski, 2022) – and myself. While the movie portrays arms dealer as devoid of morality, exploiting war and human suffering for personal gain (Niccol, 2005), Constantine's biography paints a different picture. Through engagement with him, condemned as a 'merchant of death,' I discovered a man who construes and maintains his moral compass, navigating ambiguity by shifting principles and roles. This article delves into the challenges faced by a biographer in understanding the essence of the biographee's life, particularly when grappling with moral complexity. [ABSTRACT FROM AUTHOR]

Copyright of Psychotherapie im Alter is the property of Psychosozial-Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Critical Hermeneutics: Biannual Journal of Philosophy is the property of Universita degli Studi di Cagliari and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Davon ausgehend, dass der digitale Wandel folgenreich für Subjekte und ihre Lebenswelten ist, untersucht der Beitrag aus einer intersektionalen und biografieanalytischen Perspektive die biografische Bedeutung von Selbstpräsentationen in sozialen Medien für den Widerstand gegen erfahrenen Sexismus und Rassismus. Soziale Medien werden dabei als Kontext der (Re-)Produktion und Irritation von Macht- und Ungleichheitsverhältnissen betrachtet. Entlang der Biografien junger Frauen of Color und ihrer Instagram-Posts wird am Beispiel zweier Fallstudien empirisch gezeigt, wie die digitalen Selbstpräsentationen in Biografien eingeflochten sind und welche Möglichkeiten für Selbstkonstruktionen und Widerstand, aber auch, welche Risiken und Begrenzungen mit ihnen verbunden sind.

W II Rzeczypospolitej funkcjonowało sześć uniwersytetów, wydziały teologiczne utworzono na pięciu z nich: Uniwersytecie Jagiellońskim, Uniwersytecie Jana Kazimierza we Lwowie, Uniwersytecie Stefana Batorego w Wilnie, Uniwersytecie Warszawskim i Katolickim Uniwersytecie Lubelskim. Na wydziałach teologicznych w okresie międzywojennym zatrudnionych było w sumie 80 profesorów. Baza źródłowa, którą dysponujemy, badając kadrę profesorską wydziałów teologicznych, jest bogata. Duże znaczenie mają szczególnie akta personalne. Materiały takie znajdujemy w Archiwum Akt Nowych w zespole Ministerstwo Wyznań Religijnych i Oświecenia Publicznego. Taką dokumentację przechowują także: Litewskie Centralne Archiwum Państwowe w Wilnie, Lwowskie Państwowe Archiwum Obwodowe, Archiwum Uniwersytetu Jagiellońskiego i Archiwum Uniwersyteckie Katolickiego Uniwersytetu Lubelskiego. Dokumenty, które można znaleźć w aktach personalnych najczęściej dotyczą: spraw zatrudnienia profesorów, aktywności naukowej, realizacji obowiązków dydaktycznych, spraw socjalnych. Prawie w każdej teczce znajduje się życiorys profesora i wykaz jego dorobku naukowego.

Kristina Höch arbeitet in ihrer Monografie lückenlos die filmischen Arbeiten des als Theaterschauspieler reüssierenden Gustaf Gründgens heraus, der auch eine vier Jahrzehnte umfassende Karriere als Filmschauspieler und -regisseur vorweisen kann. Dabei reflektiert die Filmwissenschaftlerin auch stets den gesellschaftspolitischen Hintergrund der Produktion und Rezeption mit.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal for Sociology of Education & Socialization / Zeitschrift für Soziologie der Erziehung & Sozialisation is the property of Julius Beltz GmbH & Co. KG Beltz Juventa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main aim of the paper is to present the private and professional biography of Bolesława Kopelówna -- a female translator from English active in the interwar period (1918--1939) in Poland. Unusually prolific as a translator, criticized by her contemporaries and then forgotten, Kopelówna authored dozens of translations from various genres: including fiction, children's literature, and romance novels. She was also an interpreter and worked in the field of specialized translation. She traveled often and was engaged in the socialist movement in Poland. As an official archive of Kopelówna does not exist, I would like to re/deconstruct her biography through Zygmunt Żuławski's -- her friend and colleague -- personal papers: letters to Kopelówna, diaries and some enigmatic traces of her own presence in his archive. By applying tools from translation history, especially contemporary findings on archives of female writers, I attempt to answer the question why Kopelówna was so intensely criticized. Microhistorical study on female translator, through the extension of the notion of an archive takes part in the discussion on the potential of translation history in literary history and cultural studies. [ABSTRACT FROM AUTHOR]

„Hat die Sklaverei jemals wirklich geendet?“ ist, so konstatierte Judith Butler, die zentrale Frage, die Saidiya Hartman umtreibt. Auch in ihrem 2022 von Anna Jäger ins Deutsche übersetzte Aufsässige Leben, schöne Experimente. Von rebellischen schwarzen Mädchen, schwierigen Frauen und radikalen Queers ist diese Frage bestimmend. Hier rekonstruiert und imaginiert Hartman Biografien von Schwarzen Frauen und queeren Personen und erschließt ihnen so mithilfe von „Critical Fabulation“ einen widerständigen Möglichkeitsraum.

Copyright of Soziale Passagen is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the fourth decade of the last century, the most important synthesis studies about Eminescu appeared: Tudor Vianu - Eminescu's Poetry (1930), G. Călinescu - Mihai Eminescu's Life (1932) and Mihai Eminescu's Opera (1934-1936). After Călinescu's biography and E. Lovinescu's novels - Mite (1934) and Bălăuca (1935), the true Eminescu biographical image is born, "the true myth of the poet's life" (Simuţ). How was the epic image of Eminescu's biography formed in the narratives of the two literary critics and historians? How did they manage to mix fiction and documentary in the writings about Eminescu? What does the epic image of the Eminescu biography look like, as it emerges from the novels of the two critical authorities?. [ABSTRACT FROM AUTHOR]

Copyright of Sozial Extra is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of GENDER: Zeitschrift für Geschlecht, Kultur und Gesellschaft is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Przegląd Archiwalno-Historyczny is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Discourse: Journal of Childhood & Adolescense Research / Diskurs Kindheits- und Jugendforschung is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In meinem Beitrag setze ich mich mit der Frage auseinander, wie sich soziale Mobilitätsprozesse im Kontext von Migrationsfamilien gestalten. Ich frage, inwieweit Migration mit einem sozialen Mobilitätsprozess einhergeht und in welchem Zusammenhang dieser mit den familialen Generations- und Geschlechterverhältnissen steht. Dabei diskutiere ich familiale, soziale Mobilitätserfahrungen unter der Berücksichtigung von intergenerationalen Binnendynamiken sowie deren mögliche vergeschlechtlichte Ausprägungen anhand von zwei biografischen Fallvignetten. Ich beziehe mich dabei auf empirisches Material aus meiner Forschung zu Bildungsbiografien von Studierenden mit Migrationsgeschichte. Es handelt sich um eine qualitativrekonstruktive Studie, die sich aus einer biografieanalytischen, habitussensiblen Perspektive mit den Erzählungen von Universitätsstudierenden auseinandersetzt. Theoretisch verknüpfe ich in meiner Diskussion intersektionale und biografische Perspektiven mit sozialer Mobilität und Migration, Adoleszenz und Generationenverhältnissen.

The behavioral diagnostic system VDS is the most comprehensive, widely used diagnostic system in German-language behavioral therapy. It can look back on 30 years of scientific development – beginning with the VDS1 questionnaire »My life and medical history«, the VDS90 list of symptoms, the VDS14 interview to collect the psychological findings, the VDS30 questionnaire to record dysfunctional personality traits, continued with the questionnaires VDS27 to VDS29, with the help of which basic needs and basic forms of fear and anger can be recorded, up to the recording of the dysfunctional survival rule with the VDS35, and the VDS31 questionnaire, which records the socio-emotional level of development according to Piaget and Kegan. Test-theoretical features of validity and reliability were tested in the most important questionnaires through numerous empirical studies. Today’s questionnaires build on a stable empirical-scientific foundation, which identifies them for use in the routine care of outpatients and inpatients with psychotherapy. The questionnaires can be downloaded free of charge as PDF file from or filled out online at https://vds-skalen.eupehs.org. [ABSTRACT FROM AUTHOR]

Copyright of Soziologische Revue is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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