Literatura científica selecionada sobre o tema "Christchurch (N.Z.) - Fiction"

Autor artykułu próbuje udowodnić tezę, że pisarze tworzący literaturę science fiction często podejmują istotne problemy filozoficzne. Artykuł ogranicza się do dwóch pól tematycznych: epistemologii i ontologii w fantastyce. Problematyka ontologiczna wynika z samych rozróżnień gatunkowych wewnątrz fantastyki (literatura fa n ­ tasy, science fiction, opowieści niesamowite), które warunkują strategie pisarskie w metodach kreacji rzeczywistości wyobrażonej. W ramach problematyki epistemologicznej artykuł koncentruje się na zagadnieniu wyimaginowanych scenariuszy kontaktu ludzkości z obcymi cywilizacjami oraz implikacjami - przede wszystkim filozoficznymi (antropologia filozoficzna, epistemologia) - wynikłymi z tego niezwykłego wydarzenia.

Abstract This paper attempts to evaluate the legacy of James Joyce’s avant-gardism for the literary experimentation of Mark Amerika, Kenneth Goldsmith, and Mark Z. Danielewski, three contemporary American writers and artists, working a hundred years after the first of Joyce’s crucial four “shocks of the new” shook the foundations of fiction. In doing so, the paper attempts to bridge the divide between the historical avant-garde and the neo-avant-garde as defined by Renato Poggioli and Peter Bürger, and regarded disparagingly by critics like Robert Hughes. Positing a threefold legacy of Joyce’s “revolution of the word” in its treatment of writing as trace, forgery, and idiom, the paper discusses Amerika’s Grammatron, Goldsmith’s uncreative writing, and Danielewski’s House of Leaves as continuing in and expanding on the achievements of Ulysses and Finnegans Wake. This they achieve by pursuing what Marjorie Perloff has termed “differential poetics” and N. Katherine Hayles has rethought as “Assemblage” – two poetic strategies dominant at the beginning of the 21st century.

The theoretical paradigm of the genre in the aspect of genesis is considered on the example of the genre variety of the novel, which today is identified as the university novel (campus novel, university fiction). The matrix genre-creating features of the university novel are singled out: problematics, specifics of the plot and personosphere, time-space, ironic narrative, author’s idiostyle. The internal species formations of the campus novel genre are determined by the specific issues and genre specifics of the plot organization – the youth environment, the professor-teaching component of the personosphere, as well as detective, fantastic, etc. the nature of the intrigue. Under the influence of the stylistic practice of a specific direction (for example, realism or postmodernism), the university novel demonstrates the so-called genre metamorphism. The genesis of the genre is traced in the context of its form-content national specificity. On the example of modern campus novels by Ph. Roth “The Human Mark”, Z. Smith “About Beauty”, J. Aldecoa “The Riddle”, A. Orehudo “A moment of rest”, V. Shostak “One Hundred Days Without a Sun”, V. Kalyta “Arkharotsi”, Halyna Babych “Tyuti” and “Professor Shumeiko”, D. Berezina “Faculty” it is concluded that it is the plot that generates and preserves the genre potential of the university novel. The prospects for the functioning of this genre are indicated the appearance of its new fantastic and detective story versions, derived from the total impact of the latest technologies on society (the emergence of new diseases and adaptation to them, the threat of environmental disasters, etc.). Attention is focused on the distinct cultural transgression of the thematic multivariate genre core of the campus novel into such modern art forms as manga, comics, and movies. Taking into account the concept of the genre spiral of N. Kopystyanska, a conclusion is made regarding the genetic evolution of the student novel. Terminologically concretized as an independent genre in the age of postmodernism, this genre is distinguished by the author’s idiostyle and raises social and political problems of a certain country, without losing the established features of the novel. The direct impact of metamodernism on the university novel is predicted, which will generate its deformation and a new cultural format based on the genre-creating potential of the topic.

O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina. Palavras-chave: Crítica feminista, Judith Shakespeare, tradição literária feminina. Referências AUERBACH, E. Brown Stocking. In: ______. Mimesis: a representação da realidade na literatura ocidental. São Paulo: Perspectiva, 1971. BARRETT, M. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993. ______ (ed.). Women and writing. London: The Women’s Press, 1979. BOWLBY, R. Feminist destinations and further essays on Virginia Woolf. Edinburgh: Edinburgh University, 1997. ______. Walking, women and writing: Virginia Woolf as flâneuse. In: ARMSTRONG, I. (ed.). New Feminist discourses: critical essays on theories and texts. London: Routledge, 1992. CAUGHIE, P. L. Virginia Woolf & postmodernism literature in quest and question of itself. Urbana: University of Illinois, 1991. COELHO, N. N. Dicionário crítico de escritoras brasileiras. São Paulo: Escrituras, 2002. ______. A literatura feminina no Brasil contemporâneo. São Paulo: Siciliano, 1993. GILBERT, S. Woman’s Sentence. Man’s Sentencing: Linguistic Fantasies in Woolf and Joyce. In: MARCUS, J. Virginia Woolf and the Bloomsbury: A Centenary. Bloomington: Indiana UP, 1987. GILBERT, S.; GILBERT, S. Shakespeare’s sisters: feminist essays on women poets. Bloomington: Indiana University, 1979. ______. The madwoman in the attic: the woman writer in the nineteenth-century literary imagination. New Haven: Yale University, 2000. ______. The war of words. vol.1 of No man’s land: the place of the woman writer in the twentieth century. New Haven: Yale University, 1988. HUSSEY, M. Virginia Woolf: A to Z. New York: Oxford University, 1995. JONES, S. Writing the woman artist: essays on poetics, politics, and portraiture. Pennsylvania: University of Pennsylvania, 1991. MARCUS, J. Art and anger: reading like a woman. Columbus: Ohio State University, 1988. ______. Virginia Woolf and the languages of the patriarchy. Bloomington: Indiana University, 1987a. MINOW-PINKNEY, M. Virginia Woolf and the problem of the subject: feminine writing in the major novels. New Brunswick: Rutgers University, 2010. MOERS, E. Literary women: the great writers. New York: Doubleday, 1976. MUZART, Z. L. Escritoras brasileiras do século XIX. Florianópolis: Mulheres, 2005. OLSEN, T. Silences. New York: Seymour Lawrence, 1978. RICH, A. Of woman born: motherhood as experience and institution. New York: W W. Norton, 1995. ROSENBAUM, S.P. Women and fiction: the manuscript versions of A room of one’s own. Oxford: Blackwell, 1992. SHOWALTER, E. Feminist criticism in the wilderness. In: GILBERT, S.; GUBAR, S. Feminist literary theory and criticism. New York; London: W. W. Norton, 2007. SNAITH, A. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Oxford: Oxford University, 2015. STETZ, M. D. Anita Brookner: Woman writer as reluctant feminist. In: ______. Writing the woman artist: essays on poetics, politics and portraiture. Pennsylvania: University of Pennsylvania, 1991. WALKER, A. In search of our mother’s gardens. In: ______. In search of our mother’s gardens: womanist prose. San Diego: Harcourt Brace Jovanovich, 1983. WOOLF, V. A room of one’s own and Three guineas. Introd. Anna Snaith. Oxford: Oxford University, 2015. WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.

Este artigo recupera os argumentos centrais de alguns protagonistas da inclusão dos laboratórios de escrita nas universidades brasileiras, analisando suas bases teóricas e os ecos encontrados no percurso histórico de países em que a escrita criativa como área de conhecimento já se encontra consolidada. Demonstra como é possível rastrear a defesa pela inclusão da criação literária nas universidades brasileiras até o final do século XIX. Objetiva, também, contribuir para a organização do debate histórico sobre os cursos de escrita criativa no Brasil. Palavras-chave: Criação literária. Escrita criativa. Oficina literária. Ensino de literatura. História da literatura. REFERÊNCIAS ABED, Carolina Z. Presença da Escrita Criativa no Brasil. Revera – Escritos de Criação Literária, v. 6, 2021 [no prelo]. AMABILE, Luís Roberto. O fantasma, o elefante e o sótão: apontamentos sobre a escrita criativa na academia. Cenários, v. 1, n. 9, p. 53-61, 2014. AMABILE, Luís Roberto. Do que estamos falando quando falamos de escrita criativa. Criação & Crítica, n. 28, p. 132-149, dez 2020. AMABILE, Luis Roberto. Escrita criativa: a aventura começa. In: AMABILE, Luís Roberto; LINARDI, Fred & RICHINITTI, Gabriela (orgs.). Como tudo começou: a história e 35 histórias dos 35 anos da Oficina de Criação Literária da PUCRS. Porto Alegre: EDIPUCRS, 2020b. ALENCAR, José de. Sonhos d’ouro. Rio de Janeiro : B. L. Garnier, 1872. ANDRADE, Mário. Cartas a um jovem escritor: de Mário de Andrade a Fernando Sabino. Rio de Janeito: Record, 1982. ASSIS, Machado de. Obra completa de Machado de Assis. Rio de Janeiro: Nova Aguilar, v. III, 1994. BARBOSA, Amilcar B. Da leitura à escrita: a construção de um texto, a formação de um escritor. 2012. Tese (Doutorado em Letras) – Programa de Pós-Graduação em Letras, Pontifícia Universidade Católica do Rio Grande do Sul/Université Sorbonne Nouvelle, Porto Alegre/Paris, 2012. BRASIL, Luiz Antonio de Assis. A escrita criativa e a universidade. 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Анализируются автобиографические повести вепсских прозаиков В. Пулькина и А. Петухова как ценные источники историко-этнографического материала. Теоретическую основу исследования составили труды И. Ю. Винокуровой, Н. А. Криничной, И. А. Спиридоновой. Актуальность темы обусловлена необходимостью введения в научный оборот новых источников о жизни вепсов. Методология исследования опирается на системный подход, в основу которого положены сравнительно-исторический, структурно-семиотический и метод целостного анализа текста. В ходе работы были поставлены следующие задачи: выявить и охарактеризовать основных мифологических персонажей вепсской прозы; описать этнографические элементы (архитектура, быт, обряды); определить уровень репрезентативности имеющегося литературного материала. Одной из проблем в настоящее время остается интеграция повествовательных форм, трансформация данных из них для использования в различных отраслях наук. Вепсская литература становилась предметом исследования Н. Г. Зайцевой, А. И. Мишина, З. И. Строгальщиковой, но этнографические элементы, мифологические персонажи, являющиеся составляющей частью культуры малого народа, оказались на периферии теоретического осмысления. Научная новизна заключается во введении этнографических мотивов в аналитический контекст национального литературоведения. В ходе анализа произведений вепсов выявлены и охарактеризованы мифологические персонажи Мец Ижанд (леший), Коди Ижанд (домовой), Ичхейне (своя душа), Ведхийне (водяной). Кратко описаны представленные в повестях этнографические элементы вепсской культуры: убранство дома, обряды и верования. Исследователь пришла к выводу, что вепсская проза строится на основе принципов документальности, историзма, автобиографизма и коммеморативности. Этнографические элементы, мифологические персонажи, встречающиеся в повестях В. Пулькина и А. Петухова, обладают достоверностью, подтверждаемой научными исследованиями, обнаруженными в исторических, географических и других источниках. Художественные произведения могут служить материалом для других наук, но с учетом элементов вымысла. The article analyzes the autobiographical short novels of Veps prose by V. Pulkin and A. Petukhov as valuable sources of historical-ethnographic material. The theoretical basis for the study is formed by the works of I. Vinokurova, N. Krinichnaya and I. Spiridonova. The study is guided by the need to bring new sources about the life of the Veps people into the scientific discourse. The methodology is based on a systematic approach using the methods of comparative historical, structural semiotic, and holistic textual analysis. The tasks for the study were: Identification and characterization of the main mythological figures in the Veps prose, description of the ethnographic elements (architecture, life routines, rites), and evaluation of the representativeness of the literary material. One of the contemporary problems is the integration of narrative forms and the transformation of the data obtained from them for use in various scientific fields. The literature of the Veps was studied by N. Zaitseva, A. Mishina, Z. Strogalshchikova, but the ethnographic elements, and mythological figures, which are part of the culture of this ethnic minority, remained in the periphery of theoretical conceptualization. The scientific novelty consists in the inclusion of ethnographic tropes in the analytical context of studies of ethnic minority literature. In analyzing the prose of Veps writers, the author identified and characterized mythological figures: Mecizand (the forest master spirit), Kodinizand (the house master spirit), Ičheine (one's own soul), Vedehiine (the water master spirit). The article briefly describes the ethnographic elements of the Veps culture found in the short novels: Home interiors, Rites, and Beliefs. It is stated that Veps' prose is based on the principles of topicality, historicism, autobiographism, and commemoration. The ethnographic elements and mythological characters in the short novels of V. Pulkin and A. Petukhov are authentic, confirmed by scientific findings from historical, geographical, and other sources. Fiction can provide science material but with deductions for the fantasy element.

BackgroundHallux valgus is a common deformity characterized by abnormal rotation, lateral deviation, angulation of the great toe at the first metatarsophalangeal joint. Pes planus is known as the loss of the medial longitudinal arch. While some studies have suggested that pes planus plays an important role in the development of hallux valgus [1, 2], others reported that no correlation between these disorders [3, 4]. Thus, the differences in the problems caused by these disorders should be clarified.ObjectivesThe aim of this study was to compare individuals with hallux valgus and pes planus in terms of foot posture, function, pain, and quality of life.MethodsThirty-one (13-hallux valgus, 18-pes planus) individuals of both sexes, who were determined to have pes planus or hallux valgus by clinical evaluation, were included in the study. The dominant foot of the patients was evaluated by the Foot Posture Index (FPI-6), Foot Function Index (FFI), The American Orthopedic Foot and Ankle Society (AOFAS), and their quality of life was evaluated by the Short Form-36 (SF-36). FPI-6 evaluates foot posture with 6 items in the range of (-12) - (+12). According to FPI-6, negative values indicate the foot is in supination, and positive values indicate that the foot is in pronation. The FFI scores for the domains of pain, disability, and activity limitations. A higher score indicates greater impairment. AOFAS, also consists of pain, function, and alignment subscales, and the total score ranges from 0-100, and higher scores indicate better outcome. SF-36 is a scale that evaluates health-related quality of life with 8 subscales, and physical function and general health subscales of SF-36 were used in this study, and higher scores also demonstrate a better quality of life. Mann Whitney-U test was used to investigate the differences between patients with hallux valgus and pes planus.ResultsIndividuals with pes planus and hallux valgus were homogenous in terms of physical characteristics (p>0.05). It was determined that patients with pes planus had worse foot postures according to FPI-6 and more foot pain according to FFI and AOFAS compared to patients with hallux valgus (p<0.05). Other results were similar between patients with pes planus and hallux valgus (p>0.05) (Table 1).ConclusionTo the best of our knowledge, this study was the first to compare between patients with hallux valgus and pes planus. Current findings revealed that pes planus caused more pain and foot posture disorders compared to hallux valgus. A comparative study on a large sample is ongoing to assess the difference between these foot disorders.References[1]Atbaşi Z, Erdem Y, Kose O, Demiralp B, Ilkbahar S, Tekin H. Relationship between hallux valgus and pes planus: real or fiction? The Journal of Foot and Ankle Surgery. 2020; 59(3):513-517.[2]Kalen V, Brecher A. Relationship between adolescent bunions and flatfeet. Foot & Ankle. 1988; 8(6):331-336.[3]Suh DH, Kim HJ, Park JH, Park YH, Koo BM, Choi GW. Relationship between hallux valgus and pes planus in adult patients. The Journal of Foot and Ankle Surgery. 2021; 60(2):297-301.[4]Kilmartin TE, Wallace WA. The significance of pes planus in juvenile hallux valgus. Foot & ankle. 1992; 13(2):53-56.Table 1.Summary of findingsHallux valgus (n=13)Pes planus (n=18)VariablesMean±SDMean±SDpAge (years)33.84±16.1029.77±13.900.57Height (cm)168.30±6.57165.50±6.600.20Weight (kg)70.23±14.8565.11±16.490.22BMI (kg/m2)24.70±4.6123.58±4.850.33FPI-62.46±2.405.88±2.630.00*FFI-Pain12.53±12.8323.33±12.990.03*FFI-Disability11.84±15.4617.50±13.560.12FFI-Activity Limitation6.46±14.414.33±6.800.53FFI-Total30.84±37.8845.16±27.090.04*AOFAS-Pain32.30±5.9927.22±6.690.03*AOFAS-Function45.38±8.1346.66±4.920.66AOFAS-Alignment6.15±2.194.55±2.430.11AOFAS-Total83.83±12.5880.94±8.010.30SF-36-Physical function87.30±15.8984.44±22.220.65SF-36-General health62.30±19.3256.66±14.950.26Acknowledgements:NIL.Disclosure of InterestsNone Declared.

In response to the ever-growing globalization and intercultural exchange, the cultural aspects of translation are of the utmost importance. This article aims to examine and compare the translation procedures and strategies used to render culture-specific items, particularly realia and irrealia, in non-fiction and fiction texts. Realia, being culture-bound concepts in the real world, and irrealia, denoting similar concepts but in a fictional world, are challenging for translators since they have deep cultural ties. This study involves a translation analysis, comparative analysis, descriptive methods, and frequency calculations. This study employs a dataset of 400 culture-specific vocabulary items from the non-fiction book by L. Johnson What Foreigners Need to Know about America from A to Z and the apocalyptic novel Seveneves by N. Stephenson and their translations into Ukrainian. The analysis reveals that realia and irrealia are translated by employing different procedures, with calque being a popular choice for realia and contextual synonyms for irrealia. Notably, translation through neologisms has been found only in irrealia. Despite the contrast in translation procedures, both realia and irrealia were predominantly translated using a domestication strategy, boosting Ukrainian readers’ cultural comprehension.

A crucial variable in the analysis of fictional entertainment formats is the actor/character. The actors/characters that are analyzed vary according to the research interest (e.g., certain occupations, men/women, minorities). Studies often code (mostly on the level of the episode or movie) whether the character has a major or minor/supporting role in the TV-series or movie (e.g., Gerbner et al., 1980; Gietzen et al, 2017). If coding is done on the level of scenes, studies often differentiate between active characters (i.e., fictional characters that do or say something) and characters who are only mentioned by others (e.g., Jandura et al, 2016; Nitsch & Eilders, 2015; Nitsch et al., 2019). Field of application/theoretical foundation The variable can be used to assess the pluralism of actors in fictional entertainment shows and compare it, for example, to non-fictional media content (e.g., Jandura et al., 2016). It can detect which actors/characters (e.g., women, certain occupations or minorities) are over- or under-represented as compared to real-life data. References/combination with other methods of data collection In cultivation research, content analysis is typically combined with survey data in order to analyze if the prevalence of some actors (e.g., certain occupations such as doctors) parallels an overestimation of these actors in real-life. Example study Nitsch, Jandura & Bienhaus (2019, online first) Information on Nitsch, Jandura & Bienhaus, 2019 Authors: Cordula Nitsch, Olaf Jandura & Peter Bienhaus Research interest: depiction of politics in fictional and non-fictional TV-formats Object of analysis: political drama Borgen and political TV-magazin Berlin direkt Timeframe of analysis: 2010-2013 Information about variable Variable name/definition: Politische Akteure [political actors] V9 Akteure Codiert werden alle Akteure, die in der jeweiligen Szene/im Beitrag vorkommen und am Aushandlungsprozess beteiligt sind. Dabei wird unterschieden nach Akteuren, die handeln (etwas sagen oder tun) und solchen Akteuren, die genannt werden. [All actors who appear in the respective scene/story and are involved in the negotiation process are coded. A distinction is made between characters who act (say or do something) and those who are mentioned.] Level of analysis: Szenenebene [Scenes] Scale level: Nominal Reliability: .92 V9.1 [AKT_Handl] – Handelnde Akteure Hierunter fallen alle Akteure, die für den Rezipienten direkt sichtbar am Gespräch oder der Handlung teilnehmen. Darunter fallen bei BORGEN alle Akteure in einer Szene, die aktiv am Geschehen teilnehmen, d. h. die einen Gesprächsbeitrag erbringen oder auf einen solchen (auch nonverbal) reagieren. Hierzu zählen z. B. auch Gesprächspartner am Telefon, soweit diese erkennbar zugeordnet werden können. Bei BERLIN DIREKT gelten alle Akteure als handelnd, die entweder als Interviewpartner am Gespräch teilnehmen oder in einem Beitrag mit einem O-Ton sicht- und/oder hörbar sind. [This includes all characters who are directly visible to the recipient and who participate in the conversation or plot. In BORGEN's case, this includes all characters in a scene who actively participate in the plot, i.e. who contribute to the conversation or react to it (also non-verbally). This includes e.g. also interlocutors on the telephone, as far as they can be assigned recognizably. For BERLIN DIREKT, all actors are considered to be active/acting if they either participate in the conversation as interview partners or are visible and/or audible in a via sound bites.] V9.2 [AKT_Nenn] – Genannte Akteure Hierunter fallen alle Akteure, die nicht aktiv am Geschehen teilnehmen, die aber genannt werden und über die anderen Akteure sprechen. In BORGEN gelten Akteure als genannt, wenn sie von einem der handelnden Akteure erwähnt werden. In BERLIN DIREKT gelten Akteure als genannt, wenn sie von einem der handelnden Akteure, dem Moderator oder einem (nicht sichtbaren, aber die Bildfolge kommentierenden) Reporter erwähnt werden. [This includes all characters who do not actively participate in the plot, but who are mentioned and about whom other characters speak. In BORGEN characters are considered as mentioned if they are named by one of the acting/active characters. In BERLIN DIREKT, actors are considered mentioned when they are named by one of the acting/active actors, the moderator or a reporter (not visible, but commenting on the sequence of images).] Liste der Akteure 0 kein handelnder/genannter Akteur Gesamtparlamentarisch 101 Parlament als Ganzes 102 Bundestag (bei expliziter Unterscheidung zwischen beiden Kammern) 103 Bundesrat (bei expliziter Unterscheidung zwischen beiden Kammern) 104 Parlamentsverwaltung Gruppenparlamentarisch 201 Regierung insgesamt 202 Opposition insgesamt 203 große Regierungsfraktion 204 kleine Regierungsfraktion 205 große Oppositionsfraktion 206 kleine Oppositionsfraktion 207 Fraktionsübergreifende Parlamentariergruppe 208 Parlamentspräsidium 209 Ältestenrat 210 Fachausschuss [in V9.3 wird hierzu offen codiert, um welchen Fachausschuss es sich handelt] 211 Untersuchungsausschuss 212 Parlamentarisches Kontrollgremium 213 Ländervertretung im Bundesrat Individualparlamentarisch 301 Regierungschef (Kanzler bzw. Premierminister) 302 Minister für Arbeit und Soziales 303 Minister des Auswärtigen 304 Minister für Bildung und Forschung 305 Minister für Ernährung, Landwirtschaft und Verbraucherschutz 306 Minister für Familie, Senioren, Frauen und Jugend 307 Minister der Finanzen 308 Minister für Gesundheit 309 Minister des Innern 310 Minister der Justiz 311 Minister für Umwelt, Naturschutz und Reaktorsicherheit 312 Minister für Verkehr, Bau und Stadtentwicklung 313 Minister der Verteidigung 314 Minister für Wirtschaft und Technologie 315 Minister für wirtschaftliche Zusammenarbeit und Entwicklung 316 Minister für besondere Aufgaben (Chef des Bundeskanzleramts – D) / Minister für EU-Angelegenheiten (DK) 317 Parlamentarischer Staatssekretär beim Minister für Arbeit und Soziales 318 Parlamentarischer Staatssekretär beim Minister des Auswärtigen 319 Parlamentarischer Staatssekretär beim Minister für Bildung und Forschung 320 Parlamentarischer Staatssekretär beim Minister für Ernährung, Landwirtschaft und Verbraucherschutz 321 Parlamentarischer Staatssekretär beim Minister für Familie, Senioren, Frauen und Jugend 322 Parlamentarischer Staatssekretär beim Minister der Finanzen 323 Parlamentarischer Staatssekretär beim Minister für Gesundheit 324 Parlamentarischer Staatssekretär beim Minister des Innern 325 Parlamentarischer Staatssekretär beim Minister der Justiz 326 Parlamentarischer Staatssekretär beim Minister für Umwelt, Naturschutz und Reaktorsicherheit 327 Parlamentarischer Staatssekretär beim Minister für Verkehr, Bau und Stadtentwicklung 328 Parlamentarischer Staatssekretär beim Minister der Verteidigung 329 Parlamentarischer Staatssekretär beim Minister für Wirtschaft und Technologie 330 Parlamentarischer Staatssekretär beim Minister für wirtschaftliche Zusammenarbeit und Entwicklung 331 amtierender Parlamentspräsident/-vorsitzender 332 Vorsitzender einer großen Regierungsfraktion 333 Vorsitzender einer kleinen Regierungsfraktion 334 Vorsitzender einer großen Oppositionsfraktion 335 Vorsitzender einer kleinen Oppositionsfraktion 336 Parlamentarischer Geschäftsführer einer großen Regierungsfraktion 337 Parlamentarischer Geschäftsführer einer kleinen Regierungsfraktion 338 Parlamentarischer Geschäftsführer einer großen Oppositionsfraktion 339 Parlamentarischer Geschäftsführer einer kleinen Oppositionsfraktion 340 Fachpolitischer Sprecher einer großen Regierungsfraktion [in V9.3 wird hierzu offen codiert, um welches Ressort es sich handelt] 341 Fachpolitischer Sprecher einer kleinen Regierungsfraktion [in V9.3 wird hierzu offen codiert, um welches Ressort es sich handelt] 342 Fachpolitischer Sprecher einer großen Oppositionsfraktion [in V9.3 wird hierzu offen codiert, um welches Ressort es sich handelt] 343 Fachpolitischer Sprecher einer kleinen Oppositionsfraktion [in V9.3 wird hierzu offen codiert, um welches Ressort es sich handelt] 344 Abgeordneter einer großen Regierungsfraktion 345 Abgeordneter einer kleinen Regierungsfraktion 346 Abgeordneter einer großen Oppositionsfraktion 347 Abgeordneter einer kleinen Oppositionsfraktion 348 amtierender Präsident des Bundesrats 349 Mitglied des Bundesrates Außerparlamentarisch 401 Nicht-parlamentarische politische Institution (z. B. Bundesverfassungsgericht, Ministerium als Ganzes) 402 Nicht-parlamentarischer politischer Gruppenakteur (z. B. Partei als Ganzes, nicht auf die Fraktion beschränkt) 403 Nicht-parlamentarischer politischer Individualakteur (z. B. Parteipolitiker ohne Mandat, beamteter Staatssekretär, anderer politischer Beamter) 404 Bundespräsident 405 Sprecher der Regierung/eines Ministeriums/Spin-Doktor 406 Lobbyist für ökonomische Interessen (Individualakteur oder Organisation; z. B. Wirtschaftsvertreter) 407 Lobbyist für gesellschaftliche Interessen (Individualakteur oder Organisation; z. B. NGO) 408 Bürger/Bürgerinitiative 409 Sonstiger Akteur [in V9.4 wird hierzu offen codiert, um was für einen Akteur es sich handelt] References Gerbner, G., Gross, L., Signorielli, N., & Morgan, M. (1980). Aging with television: Images of television drama and conceptions of social reality. Journal of Communication, 30(1), 37–47. Gietzen, M. S., Gollust, S. E., Linde, J.A., Neumark-Sztainer, D., & Eisenberg, M.E. (2017). A Content Analysis of Physical Activity in TV Shows Popular Among Adolescents. Res Q Exerc Sport, 88(1), 72–82. Jandura, O., Gladitz, P., & Nitsch, C. (2016). Parlamente in non-fiktionalen und fiktionalen Angeboten. Was man in „Berlin direkt“ und „Borgen“ über parlamentarische Abläufe erfährt [Parliaments in non-fictional and fictional formats. What we learn about parliamentary procedures in “Berlin direkt” and “Borgen”. Publizistik, 61(3), 287–304. Nitsch, C. & Eilders, C. (2015). Fictional politics on TV: Comparing the representations of political reality in the US-series “The West Wing” and the German series “Kanzleramt”. Global Media Journal. German Edition, 5(1), 1–19. Nitsch, C., Jandura, O., & Bienhaus, P. (2019). The democratic quality of political depictions in fictional TV-entertainment. A comparative content analysis of the political drama Borgen and the journalistic magazine Berlin direkt. Communications. The European Journal of Communication Research. DOI: https://doi.org/10.1515/commun-2019-2076.