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The article deals with the subject of incorporation shown as a special kind of composition and derivates formed from phrases (Zusammenbildungen). The author attempts to differentiate between these two types and also describes such phenomena as predicate-argument- structure and the principle of the meaningful word. In his opinion it is worth using such terms to give the language description a better overview.
This paper investigates a part of the party leaders’ webb-tv debate staged by the Swedish tabloid Aftonbladet on the 1st of September as a part of the election campaign before the elections to the Riksdag, county councils and municipal assemblies that took place on the 14 September 2014. The debate investigated in this paper deals with gender equality questions. The overall aim of this study is to examine what topics the politicians choose to discuss during the debate and what line of argumentation they use. The method used was ideological discourse analysis coupled with classical rhetoric and eristic. The results of the argumentation analysis are set in a broader framework of gender studies and the Swedish political landscape
When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare’s Othello in London in 1930, tickets were in high demand during the production’s first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton’s work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson’s nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943.
In 1860 the Dutch author Multatuli (pen name of Eduard Douwes Dekker) published Max Havelaar, which was to become the most famous 19th century Dutch novel. In 2010 the book was rewritten by NRC-journalist Gijsbert van Es. His purpose was to make the book more accessible for secondary school pupils for whom Max Havelaar was on the mandatory reading list. He modernized the language, updated the vocabulary but also cut out a number of long-winded passages, making the 2010 version about one fifth shorter than the original. This article analyses the many reactions to the adaptation, going from lavish praise to complete disapproval. The article focuses on the arguments of advocates and opponents, evaluating their validity. It also tries to answer the question whether the author has achieved his aim.