This study critically investigates the U.S.-American Western and its construction of sexuality and gender, revealing that the heteronormative matrix that is upheld and defended in the genre is consistently preceded by the exploration of alternative sexualities and ways to think gender beyond the binary. The endeavor to naturalize heterosexuality seems to be baked in the formula of the U.S.-Western. However, as I show in this study, this endeavor relies on an aporia, because the U.S.-Western can only ever attempt to naturalize gender by constructing it first, hence inevitably and simultaneously construct evidence that supports the opposite: the unnaturalness and contingency of gender and sexuality. My study relies on the works of Raewyn Connell, Pierre Bourdieu, and Judith Butler, and amalgamates in its methodology established approaches from film and literary studies (i.e., close readings) with a Foucaultian understanding of discourse and discourse analysis, which allows me to relate individual texts to cultural, socio-political and economical contexts that invariably informed the production and reception of any filmic text. In an analysis of 14 U.S.-Westerns (excluding three excursions) that appeared between 1903 and 1969 I give ample and minute narrative and film-aesthetical evidence to reveal the complex and contradictory construction of gender and sexuality in the U.S.-Western, aiming to reveal both the normative power of those categories and its structural instability and inconsistency. This study proofs that the Western up until 1969 did not find a stable pattern to represent the gender binary. The U.S.-Western is not necessarily always looking to confirm or stabilize governing constructs of (gendered) power. However, it without fail explores and negotiates its legitimacy. Heterosexuality and male hegemony are never natural, self-evident, incontestable, or preordained. Quite conversely: the U.S.-Western repeatedly – and in a surprisingly diverse and versatile way – reveals the illogical constructedness of the heteronormative matrix. My study therefore offers a fresh perspective on the genre and shows that the critical exploration and negotiation of the legitimacy of heteronormativity as a way to organize society is constitutive for the U.S.-Western. It is the inquiry – not necessarily the affirmation – of the legitimacy of this model that gives the U.S.-Western its ideological currency and significance as an artifact of U.S.-American popular culture.

Stress position in English words is well-known to correlate with both their morphological properties and their phonological organisation in terms of non-segmental, prosodic categories like syllable structure. While two generalisations capturing this correlation, directionality and stratification, are well established, the exact nature of the interaction of phonological and morphological factors in English stress assignment is a much debated issue in the literature. The present study investigates if and how directionality and stratification effects in English can be learned by means of Naive Discriminative Learning, a computational model that is trained using error-driven learning and that does not make any a-priori assumptions about the higher-level phonological organisation and morphological structure of words. Based on a series of simulation studies we show that neither directionality nor stratification need to be stipulated as a-priori properties of words or constraints in the lexicon. Stress can be learned solely on the basis of very flat word representations. Morphological stratification emerges as an effect of the model learning that informativity with regard to stress position is unevenly distributed across all trigrams constituting a word. Morphological affix classes like stress-preserving and stress-shifting affixes are, hence, not predefined classes but sets of trigrams that have similar informativity values with regard to stress position. Directionality, by contrast, emerges as spurious in our simulations; no syllable counting or recourse to abstract prosodic representations seems to be necessary to learn stress position in English.

This study scrutinizes press photographs published during the first 6 weeks of the Russian War in Ukraine, beginning February 24th, 2022. Its objective is to shed light on the emotions evoked in Internet-savvy audiences. This empirical research aims to contribute to the understanding of emotional media effects that shape attitudes and actions of ordinary citizens. Main research questions are: What kind of empathic reactions are observed during the Q-sort study? Which visual patterns are relevant for which emotional evaluations and attributions? The assumption is that the evaluations and attributions of empathy are not random, but follow specific patterns. The empathic reactions are based on visual patterns which, in turn, influence the type of empathic reaction. The identification of specific categories for visual and emotional reaction patterns are arrived at in different methodological processes. Visual pattern categories were developed inductively, using the art history method of iconography-iconology to identify six distinct types of visual motifs in a final sample of 33 war photographs. The overarching categories for empathic reactions—empty empathy, vicarious traumatization and witnessing—were applied deductively, building on E. Ann Kaplan's pivotal distinctions. The main result of this research are three novel categories that combine visual patterns with empathic reaction patterns. The labels for these categories are a direct result of the Q-factorial analysis, interpreted through the lense of iconography-iconology. An exploratory nine-scale forced-choice Q-sort study (Nstimuli = 33) was implemented, followed by self-report interviews with a total of 25 participants [F = 16 (64%), M = 9 (36%), Mage = 26.4 years]. Results from this exploratory research include motivational statements on the meanings of war photography from semi-structured post-sort-interviews. The major result of this study are three types of visual patterns (“factors”) that govern distinct empathic reactions in participants: Factor 1 is “veiled empathy” with highest empathy being attributed to photos showing victims whose corpses or faces were veiled. Additional features of “veiled empathy” are a strong anti-politician bias and a heightened awareness of potential visual manipulation. Factor 2 is “mirrored empathy” with highest empathy attributions to photos displaying human suffering openly. Factor 3 focused on the context. It showed a proclivity for documentary style photography. This pattern ranked photos without clear contextualization lower in empathy than those photos displaying the fully contextualized setting. To the best of our knowledge, no study has tested empathic reactions to war photography empirically. In this respect, the study is novel, but also exploratory. Findings like the three patterns of visual empathy might be helpful for photo selection processes in journalism, for political decision-making, for the promotion of relief efforts, and for coping strategies in civil society to deal with the potentially numbing or traumatizing visual legacy of the War in Ukraine.

This paper tested the ability of Mandarin learners of German, whose native language has lexical tone, to imitate pitch accent contrasts in German, an intonation language. In intonation languages, pitch accents do not convey lexical information; also, pitch accents are sparser than lexical tones as they only associate with prominent words in the utterance. We compared two kinds of German pitch-accent contrasts: (1) a “non-merger” contrast, which Mandarin listeners perceive as different and (2) a “merger” contrast, which sounds more similar to Mandarin listeners. Speakers of a tone language are generally very sensitive to pitch. Hypothesis 1 (H1) therefore stated that Mandarin learners produce the two kinds of contrasts similarly to native German speakers. However, the documented sensitivity to tonal contrasts, at the expense of processing phrase-level intonational contrasts, may generally hinder target-like production of intonational pitch accents in the L2 (Hypothesis 2, H2). Finally, cross-linguistic influence (CLI) predicts a difference in the realization of these two contrasts as well as improvement with higher proficiency (Hypothesis 3, H3). We used a delayed imitation paradigm, which is well-suited for assessing L2-phonetics and -phonology because it does not necessitate access to intonational meaning. We investigated the imitation of three kinds of accents, which were associated with the sentence-final noun in short wh-questions (e.g., Wer malt denn Mandalas, lit: “Who draws PRT mandalas?” “Who likes drawing mandalas?”). In Experiment 1, 28 native speakers of Mandarin participated (14 low- and 14 high-proficient). The learners’ productions of the two kinds of contrasts were analyzed using General Additive Mixed Models to evaluate differences in pitch accent contrasts over time, in comparison to the productions of native German participants from an earlier study in our lab. Results showed a more pronounced realization of the non-merger contrast compared to German natives and a less distinct realization of the merger contrast, with beneficial effects of proficiency, lending support to H3. Experiment 2 tested low-proficient Italian learners of German (whose L1 is an intonation language) to contextualize the Mandarin data and further investigate CLI. Italian learners realized the non-merger contrast more target-like than Mandarin learners, lending additional support to CLI (H3).

Die vorliegende Studie untersucht die Besonderheiten diskursiver Strategien, sowie struktureller und sprachlicher Merkmale der japanischsprachigen Textsorte Literatur-Rezension. Auf der Grundlage der herausgearbeiteten textlinguistischen Merkmale werden Didaktisierungsbeispiele für den Fachtext-Leseunterricht entworfen. Ziel ist somit der Entwurf einer textlinguistischen Fundierung der (Fach-)textlektüre am Beispiel der Textsorte Rezension. Die Materialbasis der vorliegenden Studie bilden 45 Rezensionen literarischer Neuerscheinungen aus dem wöchentlich erscheinenden Rezensionsorgan Tosho shinbun (Die Bücherzeitung) des Jahres 1999. Die Kriterien für die Analyse werden aus einem Modell des Textsortenwissens von Fix 2006 abgeleitet (Teil I). Bei der Analyse stehen daher Aspekte im Zentrum, die den Aufbau von Wissen (Schemata) über die Textsorte bzw. Textsortenkonventionen und deren struktureller und sprachlicher Realisationen dienen können. Übergeordnete Phänomene wie Tempusgebrauch oder Fachsprachlichkeit werden ebenfalls untersucht. Eine quantitative Auswertung der Ergebnisse ermöglicht Rückschlüsse auf die didaktische Relevanz eines beobachteten Phänomens (Teil II). Kriterien zur Textauswahl und Progression bei der Didaktisierung ausgewählter Rezensionen liefert ein Ansatz von Sandig 2000, die eine Klassifizierung von Texten auf der Grundlage der Prototypentheorie vorschlägt. Danach verdichten sich bestimmte Kommunikationsmuster zu mentalen Textschemata mit unterschiedlichen Ausprägungen je nach Prototypikalität der Texteigenschaften. Das konstruktivistische Leseprozessmodell von Wolff 1990 schließlich liefert die Vorgaben, nach denen die Ergebnisse der Textanalyse anhand ausgewählter Beispiele lesedidaktisch aufbereitet werden (Teil III). Der Anhang (Teil IV) bietet eine Zusammenstellung von in den untersuchten Rezensionen verwendeten Ausdrücken, der sich auf die Darstellung, Interpretation, Analyse und Bewertung von literarischen Werken beziehen.