In 2016, the Bulgarian poet and philologist Plamen Doynov initiated a poetic project called “The New Political Poetry” (NPP). Doynov presented examples of his new political poems at two readings in 2016 and 2019 and published “fragments of a manifesto” in his poetry collection “The Tyrants’ Ball” (2016). The NPP strives to overcome the trauma of politicized ideological writing in the communist era. This article analyzes Doynov’s NPP project against the background of a general tendency towards political engagement in literature that has recently emerged in Bulgaria as well as elsewhere in Europe and beyond. It posits that Doynov’s New Political Poetry, alongside other literary trends in contemporary Bulgaria, paradoxically addresses the political precisely by returning art to heightened cultural autonomy, and rejects the idea of engagement in a narrower sense.

The essay will compare Pushkin’s “Poltava” (1828) and Ivan Volkov’s “Mazepa” (2014), a counterargument to Pushkin’s text. Volkov’s poem not only demonstrates the topicality of Pushkin’s classic but also reveals the latter’s hidden layers of meaning. Both poems renew the tradition of the verse epic. However, they turn the foundation story, typical for the epic, towards tragedy, focusing on the fall of Ukraine rather than the success of Russia’s imperial gesture. Volkov reverses the dominant perspectives and advances the Ukrainian point of view, while Pushkin displays a double-voiced strategy that disrupts the ostensible political message. The heroic panegyric also becomes fragile: in both poems, neither Mazepa nor Peter are ‘masters’ of history. Furthermore, in both texts, the status and function of the omniscient poet as epic narrator is challenged and transformed. Pushkin, in particular, uses his narrator as a mask; yet, in so doing, he also invites the reader to regard the ‘author,’ ‘Pushkin,’ with greater scrutiny and makes him a device that structures the work as a whole. Finally, in both poems, Ukraine’s lost fight for independence in a past age reflects a lack of freedom within the Russian state. Pushkin’s and Volkov’s poems are thus not so much texts about history as they are agents of history. Where they expose that history as constructed, they appeal to a critical position that would interrogate the driving narratives and political forces of the present.

This article examines “China” in contemporary American poetry using the example of Timothy Yu’s poems, titled “Chinese Silence,” which rewrite and / or parody texts from the American literary canon as well as public communication. It proposes a hall-of-mirrors reading of these poems in order to show how Yu’s poems refer to, reflect on, and relocate other authors’ writing of “China.” It argues that Yu’s poems, instead of making claims for an authentic “China,” attempt to bring Chinese Americans’ lived experience into the American literary tradition.

This article gives an overview of the tradition of setting Japanese protest poetry to music since 1945 and examines the relationship between the socio-political movement, poetry and music. In particular, it deals with the origin and development of the Utagoe movement, established shortly after the World War II, as well as the musical adaptation of politically relevant poetry, which has its origin in the tradition of Brecht’s song. These forms of setting Japanese protest poetry to music are associated with the poetic-musical works that were written immediately after the nuclear power plant accident in Fukushima in 2011.

In this article, I analyze the character of hyper-naturalism and exaggerated tactility in dramatic poems by contemporary Russian-Georgian philosopher and writer Keti Chukhrov. I argue that, while descriptions of violence, physiological functions, and abject poverty are common for post-Soviet art, in Chukhrov’s work these elements perform radically different task than in the pessimistic and de-ideologized chernukha, or the style of grim realism. Her approach to matter is also distinct from the historic Russian avant-garde tradition, which relished intensified sensations but did not offer constructive ways of inscribing their immediacy into coherent cultural continuity. Instead, her dramatic poems bear pedagogical, even rehabilitative stakes for recuperating the individual sensations of alienated people into meaningful and shared cultural experiences. In this article, I discuss her approach to drama as mobilizing the tradition of Soviet Marxist defectology, a special educational method of socializing disabled, cognitively impaired, or otherwise disadvantaged people. Pioneered in the Soviet Union in the 1920s by Lev Vygotsky and suppressed in the 1930s, defectology found further application in the 1960s and 1970s in the work of the Zagorsk boarding school for the deafblind, led by Vygotsky’s student Alexander Mescheriakov and Evald Ilyenkov, a Marxist-Hegelian philosopher who is a central figure for Chukhrov’s philosophical research. One of the key tasks of Meshcheriakov and Ilyenkov was to help their deafblind students to overcome isolation through learning to translate their purely tactile sensations into deliberate communicative acts. While Zagorsk offered Ilyenkov an opportunity to test and apply his theory of the collectivist formation of personality, for Chukhrov it is theater that has become the sphere for experimental, practical extension of her scholarly research into Soviet Marxist thought and socialist culture of the 1960s and 1970s. Her dramatic texts offer models of alternative subjectivization for post-Soviet people to allow themselves once again to recognize the presence of universal values and greater cultural commons behind individual, alienated sensations and experiences.

During the 1960s and 1970s the poetic reception of Karl Marx begins to increase in Germany. In this regard, it can be observed that Hans Magnus Enzensberger’s poetic and essayistic reception of Marx is not only quite complex, but also unorthodox. By focusing on the anthology „Gespräche mit Marx und Engels,“ edited by Enzensberger, his comedy „Der Untergang der Titanic“ and his poem „Karl Heinrich Marx,“ the diverse forms of reference to this philosopher are analyzed. It can be demonstrated that Enzensberger uses the montage technique masterly to avoid one-dimensional confessions.

Dieser Band versammelt Beiträge zum Thema Politik in der Gegenwartslyrik verschiedener Sprachen und Länder. Den Aufsätzen liegen Vorträge zugrunde, die im Rahmen von Workshops und Konferenzen der DFG-Kolleg-Forschungsgruppe „Russischsprachige Lyrik in Transition: Poetische Formen des Umgangs mit Grenzen der Gattung, Sprache, Kultur und Gesellschaft zwischen Europa, Asien und Amerika“ (2017-2023) gehalten wurden. Die Veranstaltungen fanden in den Jahren 2018-2019 statt – in einer Zeit, als weder die Corona-Pandemie noch der schreckliche Invasionskrieg Russlands in der Ukraine oder der Krieg im Gaza-Streifen absehbar waren.

This paper presents the results of the human-robot interaction (HRI) study with German native speakers addressing the robot in their L1 and in L2 English. The aim of the experiment is to test the strategies of providing clarifications when talking to the voice assistant in a task involving teaching complex vocabulary. The analyses is based on spectral (F1, F2, and mean F0) and temporal (vowel length) features excerpted from the target words. With reference to a theoretical framework of hyperarticulation and hypoarticulation, these acoustic measures were compared across the iterations of the target words (first vs. second iteration). Results showed that participants, when asked for clarification by an inanimate interlocutor, do not hyperarticulate, but try to preserve the surface representation of target words across the iterations. These findings suggest that acoustic characteristics of clarifications directed to voice assistants differ from the ones directed to human interlocutors.

There is no longer any doubt about the general effectiveness of psychotherapy. However, up to 40% of patients do not respond to treatment. Despite efforts to develop new treatments, overall effectiveness has not improved. Consequently, practice-oriented research has emerged to make research results more relevant to practitioners. Within this context, patient-focused research (PFR) focuses on the question of whether a particular treatment works for a specific patient. Finally, PFR gave rise to the precision mental health research movement that is trying to tailor treatments to individual patients by making data-driven and algorithm-based predictions. These predictions are intended to support therapists in their clinical decisions, such as the selection of treatment strategies and adaptation of treatment. The present work summarizes three studies that aim to generate different prediction models for treatment personalization that can be applied to practice. The goal of Study I was to develop a model for dropout prediction using data assessed prior to the first session (N = 2543). The usefulness of various machine learning (ML) algorithms and ensembles was assessed. The best model was an ensemble utilizing random forest and nearest neighbor modeling. It significantly outperformed generalized linear modeling, correctly identifying 63.4% of all cases and uncovering seven key predictors. The findings illustrated the potential of ML to enhance dropout predictions, but also highlighted that not all ML algorithms are equally suitable for this purpose. Study II utilized Study I’s findings to enhance the prediction of dropout rates. Data from the initial two sessions and observer ratings of therapist interventions and skills were employed to develop a model using an elastic net (EN) algorithm. The findings demonstrated that the model was significantly more effective at predicting dropout when using observer ratings with a Cohen’s d of up to .65 and more effective than the model in Study I, despite the smaller sample (N = 259). These results indicated that generating models could be improved by employing various data sources, which provide better foundations for model development. Finally, Study III generated a model to predict therapy outcome after a sudden gain (SG) in order to identify crucial predictors of the upward spiral. EN was used to generate the model using data from 794 cases that experienced a SG. A control group of the same size was also used to quantify and relativize the identified predictors by their general influence on therapy outcomes. The results indicated that there are seven key predictors that have varying effect sizes on therapy outcome, with Cohen's d ranging from 1.08 to 12.48. The findings suggested that a directive approach is more likely to lead to better outcomes after an SG, and that alliance ruptures can be effectively compensated for. However, these effects were reversed in the control group. The results of the three studies are discussed regarding their usefulness to support clinical decision-making and their implications for the implementation of precision mental health.

This thesis deals with the construction of investment screening mechanisms across the major economic powers in Europe and at the supranational level during the post-2015 period. The core puzzle at the heart of this research is how, in a traditional bastion of economic liberalism such as Europe, could a protectionist tool such as investment screening be erected in such a rapid manner. Within a few years, Europe went from a position of being highly welcoming towards foreign investment to increasingly implementing controls on it, with the focus on China. How are we to understand this shift in Europe? I posit that Europe’s increasingly protectionist shift on inward investment can be fruitfully understood using an economic realist approach, where the introduction of investment screening can be seen as part of a process of ‘balancing’ China’s economic rise and reasserting European competitiveness. China has moved from being the ‘workshop of the world’ to becoming an innovation-driven economy at the global technological frontier. As China has become more competitive, Europe, still a global economic leader, broadly situated at the technological frontier, has begun to sense a threat to its position, especially in the context of the fourth industrial revolution. A ‘balancing’ process has been set in motion, in which Europe seeks to halt and even reverse the narrowing competitiveness gap between it and China. The introduction of investment screening measures is part of this process.