La ballerine illettrée:transformations of the feminine in Mallarmé's sance writings

Stéphane Mallarmé's texts on dance criticism occupy a prominent place in dance literature. They have also been of major interest to the Mallarme specialists who have seen in them the key to a greater understanding of the whole of his work. In this article I determine how his dance writings can be interpreted in the context of the whole of the œuvre, including for example the women's magazine he wrote and produced, La Dernière Mode. I establish to what extent the female presence in Mallarmé's poetry tends towards metaphors, women's bodies absent or negated by the gaze of the poet. As the poet responds to the stimulus of the dance, he divests the female dancer of her womanly characteristics, recasting her in his own imagination both as feminine principle and incarnation of 'l'Idée', and also as mythical being, 'au-delà de toute vie possible', a composite of other female characters inhabiting his œuvre, constantly poised between presence and absence, stillness and movement, a locus for a precarious balance which is endlessly re-enacted in h.is own writing practice.

Raman gain and random distributed feedback generation in nitrogen doped silica core fiber

Recently, the concept of a random distributed feedback (DFB) lasing in optical fibers has been demonstrated [1], A number of different random DFB fiber lasers has been demonstrated so far including tunable, multiwalength, cascaded generation, generation in different spectral bands etc [2-7]. All systems are based on standard low-loss germanium doped silica core fibres having relatively low Rayleigh scattering coefficient. Thus, the typical length of random DFB fiber lasers is in the range from several kilometres to tens of kilometres to accumulate enough random feedback. Here we demonstrate for the first time to our knowledge the random DFB fiber laser based on a nitrogen doped silica core (N-doped) fiber. The fiber has several times higher Rayleigh scattering coefficient compared to standard telecommunication fibres. Thus, the generation is achieved in 500 meters long fiber only. © 2013 IEEE.

Die Poetik des Extremen. Ausschreitungen einer Sprache des Radikalen:excesses of a language of radical

Gibt es eine Traditionslinie extremistischer Poetiken in der deutschsprachigen Literatur? Uwe Schütte untersucht anhand literarischer Texte ab dem späten 18. Jahrhundert den Konnex zwischen historischen Phänomenen wie Revolution, Krieg oder Terrorismus und extremen biografischen Umständen wie Schizophrenie für die Herausbildung radikaler Schreibweisen. Die Spannbreite der behandelten Autoren reicht dabei von der Klassikertrias Kleist, Hölderlin und Büchner über Schriftsteller des 20. Jahrhunderts wie Ernst Jünger oder Hans Henny Jahnn bis zu den Gegenwartsautoren Ernst Herbeck und Rainald Goetz. The study investigates aesthetic representations of extremism in German-language literature from around 1800 to the present. Its aim is to examine the interplay between three different areas: historical circumstances, (auto)biographical issues, and literary texts. Discussed are texts by both major and marginal writers from various genres, ranging from classics such as Heinrich von Kleist or Friedrich Hölderlin to the marginalised poet Ernst Herbeck or the contemporary writer Rainald Goetz. Subjects and factors considered include extremist phenomena in modern history (such as revolutions, wars, terrorism) and extreme individual experiences (such as suicide or schizophrenia) on the aesthetic domain(s) with regard to the production of literary discourses that could be considered as extremist. These manifest themselves in the development of what can be viewed as ‘radical poetics’, decidedly innovative styles of writing and moral or political transgression in fiction. Being the first critical attempt to trace the history of radical discourses in German literature, the study explores the validity of creating an aesthetic category of 'literary extremism'.

Mit, gegen und nach Brecht:Heiner Müllers Fatzer

Heiner Müller has often been described as the only rightful (literary) heir and flag- bearer of Bertolt Brecht in German drama of the late twentieth century. This article first examines the critical position that Müller took towards his predecessor. The essay will then focus on the Fatzer complex which Müller considered to be by far the most important work by Brecht. Next, I will discuss the relationship between Fatzer and Müllerʼs synthesised stage version FATZER from 1978, followed by a brief assessment of the various ways in which Mu ̈ller treated Brechtʼs Fatzer material over the next two decades. Special attention will be paid to the radio play that Müller produced of his version of Fatzer during the final years of the GDR; I argue that it represents an exemplary engagement with Brecht’s fragment because, rather than aiming for a standard illusionistic radio play, Mu ̈ller’s intention is to allow his FATZER version, as it were, to speak for itself. To conclude, the essay undertakes a brief and inevitably speculative discussion of the influence of Brechtʼs unfinished drama project on Müller’s works.