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The French Enlightenment is a pivotal period in European intellectual and literary history, which can be studied through this dataset of French novels first published between 1751 and 1800. This collection contains 200 French novels in TEI/XML, encoded according to the ‘level-1 schema’ of the European Literary Text Collection (ELTeC), and carefully compiled to reflect the known historical publication of French Novels in that period regarding publication year, gender of author and narrative form. The dataset is connected to a bigger knowledge graph of 331,671 Resource Description Framework triples (RDF) built within the project ‘Mining and Modeling Text’ at Trier University, Germany (2019–2023).
Departing from Roland Barthes’ association of text and textile, and feminist theory on weaving as text production, this article analyzes the textile qualities of Inger Christensen’s “Letter in April” (1979) and Amalie Smith’s “Thread Ripper” (2020). In “Letter in April”, Christensen establishes a connection between writing and spinning or weaving through their shared temporality of varied repetition. In “Thread Ripper” Smith alludes to Christensen and makes of the continuity between text and textile not only the main theme of the book, but also its structuring principle. Through a materialist conception of the text, regarding it as a woven fabric, the article focuses on the textual patterns of the two works (stylistic figures in Christensen, graphic composition in Smith). The connection from Christensen to Smith leads to a further connection to ecocritical conceptions of weaving as no less than a cosmological principle. On a concluding note, the article argues that weaving is not only connecting, but also disconnecting, cutting.
In this digitized age, we witness a transnational interest in the ‘aesthetics of imperfection’ – aesthetic gestures that foreground shortcomings, mistakes, and flaws. Blockbusters shot with cheap cameras, trash fashion, consciously blurry photos, glitch music: for the cultural producers and consumers of these and other aesthetic practices, the unpolished object is not a taboo but rather an asset or a hallmark of sincerity, authenticity, and other positive values. With the help of existing scholarship, in this article, I will study and compare the writings of three Russian poets/artists: Vera Khlebnikova, Vera Pavlova, and Linor Goralik. Each uses conceptual as well as formal, grammatical, and/or stylistic imperfections as an aesthetic device. The aim of my analysis is to juxtapose and historically contextualize the social anxieties that inform these and other present-day creative practices that foreground the imperfect.
Der vorliegende Beitrag greift die öffentliche Diskussion um den rechtspolitischen Umgang mit Hass, Hetze und Antisemitismus auf, die insbesondere nach dem Terroranschlag der Hamas am 07.10.2023 an Intensität und Dringlichkeit zugenommen hat. Dabei beleuchtet er einerseits das Straf- und Zivilrecht, legt andererseits einen besonderen Fokus auf öffentlich-rechtliche Konstellationen. Auf jedem dieser Gebiete werden Schwächen und Potenziale des Rechts und der Rechtsprechung aufgezeigt, zugleich aber auch die Grenzen staatlicher Gewalt verdeutlicht. Denn letztlich handelt es sich um ein gesellschaftliches Problem, dem – trotz aller Notwendigkeit staatlichen Handelns – in erster Linie durch Information, und erst in zweiter Linie durch das Recht begegnet werden muss.
The essay compares Inger Christensen’s (1935-2009) poetry and poetics with the work of the Swedish writer Birgitta Trotzig (1929-2011). It tests the potential of comparison by asking what happens if we compare what might be the two most prominent women writers of Nordic post-war modernism, two writers whose paths have crossed over the years. The first half of the paper traces a shared constellation of motifs (eye/butterfly/death) within two books of poetry, Trotzig’s “Anima” (1982) and Christensen’s “Sommerfugledalen” (1991). The initial comparison of motifs leads to a shared poetics. It offers a trotzig’ian version of Inger Christensen’s version of the condition of secrecy and fundamental parallels in their philosophy of language and the subject. But it also points to a major difference between the real as a mystic category in Trotzig and Inger Christensen’s more seamless, lucid, and dreamlike style. Advancing further into a stylistic comparison the linguistic and visionary abundancy of Trotzig’s “Anima”-poems reveals an overlooked quality in Christensen’s: That Christensen’s poems are also luxurious, albeit, typically, with moderation. The balancing of sense and sensibility appears by comparison to be a key trait in her poetry, highlighting its classical inclination. The paper demonstrates how comparison makes its subject visible by way of the other, and how comparison points out new nuances or flavors in the texts as it opens a conversation between two major women writers of Nordic modernism.
The Orbita multimedia and poetry collective, based in Riga, Latvia, has succeeded in making poetry written in Russian an integral part of the Latvian cultural and literary scene, despite the burden borne by Russian language and culture in this society as a result of still unsettled and contested histories of Russian and Soviet imperial domination and cultural imperialism. The article explains this achievement as resulting from the Orbita collective’s practices of “performative translation,” which make translation a highly visible and central element of various forms of artistic activity, including multimedia installations, book publishing, video poetry, public performance, proper, and more. In traditional cultural configurations, translation is thought to transfer the essential features or the spirit of a text from one literary language to another in a manner that makes possible the translation’s readers’ sense of unmediated contact with the original. Such a conception of translation supports the monolingual paradigm – the cultural ideology of separate and distinct national languages – and the political actualities to which it corresponds. Orbita’s practices of performative translation, in contrast, create a multilingual heterotopia in which the actuality of translation as mediation is rendered visible, the boundedness and distinctiveness of national literary languages is undermined, and the social necessity and ubiquity of acts of translation is brought to the fore.
In machine learning, classification is the task of predicting a label for each point within a data set. When the class of each point in the labeled subset is already known, this information is used to recognize patterns and make predictions about the points in the remainder of the set, referred to as the unlabeled set. This scenario falls in the field of supervised learning.
However, the number of labeled points can be restricted, because, e.g., it is expensive to obtain this information. Besides, this subset may be biased, such as in the case of self-selection in a survey. Consequently, the classification performance for unlabeled points may be limited. To improve the reliability of the results, semi-supervised learning tackles the setting of labeled and unlabeled data. Moreover, in many cases, additional information about the size of each class can be available from undisclosed sources.
This cumulative thesis presents different studies to combine this external cardinality constraint information within three important algorithms for binary classification in the supervised context: support vector machines (SVM), classification trees, and random forests. From a mathematical point of view, we focus on mixed-integer programming (MIP) models for semi-supervised approaches that consider a cardinality constraint for each class for each algorithm.
Furthermore, since the proposed MIP models are computationally challenging, we also present techniques that simplify the process of solving these problems. In the SVM setting, we introduce a re-clustering method and further computational techniques to reduce the computational cost. In the context of classification trees, we provide correct values for certain bounds that play a crucial role for the solver performance. For the random forest model, we develop preprocessing techniques and an intuitive branching rule to reduce the solution time. For all three methods, our numerical results show that our approaches have better statistical performances for biased samples than the standard approach.
What does it mean when the future of one’s life is exposed to the inscrutable will of an intangible other? And what are the possibilities of still asserting oneself when pushed to the limit? Nuancing the feelings of different actors in a detention centre and analysing how everyday moods, affects and violence intertwine, I explore how the randomly cruel and often-inexplicable logic of the contemporary deportation regime pushes migrants to their limits. Taking as my starting point the argument that deportation practices are effective because they operate on an affective level, I show how affective experiences manifest themselves bodily and how violent practices and discourses reverberate in bodies. I argue that ‘bodies under pressure’ are testimonies of racialised histories of exclusion, and I show how they become calls for social recognition. Exploring small, often-unintended acts of rebellion against exhausting deportation practices, I stress the existential necessity and social importance of including oneself in the realm of meaning.