Unusual censor readings: G.D.R. science fiction and the Ministry of Culture

Covers the censorship by the Hauptverwaltung Verlage und Buchhandel in the Ministry of Culture of science fiction works in East Germany. These ranged from propaganda pieces supporting the scientific-technological revolution and the progress of socialism, to veiled criticisms of the system. The chapter argues that publishers became dependent on the high sales generated by popular culture, creating a relatively safe space for this genre.

Formative assessment in teacher education: the development of a diagnostic language test for trainee teachers of German

This article describes the development and validation of a diagnostic test of German and its integration in a programme of formative assessment during a one-year initial teacher-training course. The test focuses on linguistic aspects that cause difficulty for trainee teachers of German as a foreign language and assesses implicit and explicit grammatical knowledge as well as students' confidence in this knowledge. Administration of the test to 57 German speakers in four groups (first-year undergraduates, fourth-year undergraduates, postgraduate trainees, and native speakers) provided evidence of its reliability and validity.

‘Anything can happen in the next half-hour’: Gerry Anderson’s transnational science fiction

Gerry Anderson’s 1960s puppet series have hybrid identities in relation to their medial, geographical, and production histories. This chapter ranges over his science fiction series from Supercar (1961) to Joe 90 (1968), arguing that Anderson’s television science fiction in that period crossed many kinds of boundary and border. Anderson’s television series were a compromise between his desire to make films for adults versus an available market for children’s television puppet programs, and aimed to appeal to a cross-generational family audience. They were made on film, using novel effects, for a UK television production culture that still relied largely on live and videotaped production. While commissioned by British ITV companies, the programs had notable success in the USA, achieving national networked screening as well as syndication, and they were designed to be transatlantic products. The transnational hero teams and security organisations featured in the series supported this internationalism, and simultaneously negotiated between the cultural meanings of Britishness and Americanness. By discussing their means of production, the aesthetic and narrative features of the programs, their institutional contexts, and their international distribution, this chapter argues that Anderson’s series suggest ways of rethinking the boundaries of British science fiction television in the 1960s.

Transfer of conceptualisation patterns in bilinguals: the construal of motion events in Turkish and German

We test Slobin's (2003) Thinking-for-Speaking hypothesis on data from different groups of Turkish-German bilinguals, those living in Germany and those who have returned to Germany.