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Sea fortune has always been an issue of good faith and good navigation. While in antiquity, fortuna gubernatrix was praised for shielding the seaborne trade, in the Renaissance fortuna symbolized the conquest of chance and danger. Under such auspices, while relying on risk technologies modern seafaring has never lost its adventurous dimension. Understanding their origin remains a challenge for the history of science and the history of literature.
Protokolle stehen im Zentrum unterschiedlichster (interaktiver, papierener oder auch elektronischer) Verwaltungsoperationen: Sie halten ebenso fest, was gesagt und beschlossen wurde, wie sie festlegen, was wie zu tun ist. Sie strukturieren, regulieren und dokumentieren Sprech- und Handlungsabläufe von ministeriellen Zusammenkünften, Gerichtsterminen und anderen komplexen Arbeitsprozessen. Seit Jahrhunderten schreiben Protokolle auf und vor, was zu tun und was zu lassen ist, was als notwendig gilt oder als unwichtig und marginal. Sie filtern aus komplexen Interaktionen das heraus, was jene Vergangenheit gewesen sein wird, auf die man sich künftig bezieht. Dabei arbeiten Protokolle letztlich ein und demselben Zweck zu: dass – auf begründete und regelgeleitete Weise – überhaupt etwas entschieden wird. Vor diesem Hintergrund und mit verwaltungshistorischen und soziologischen ebenso wie medien-, kultur- und literaturwissenschaftlichen Perspektiven greift der zweite Open Access-Band der AdminiStudies drei Hauptformen dieses Verwaltungsmediums auf: Gesprächs- bzw. Verlaufsprotokolle, diplomatische und technische Protokolle.
Teil I. Theorie des Formulars.- Teil II. Macht des Formulars.- Teil III. Literarizitat des Formulars.- Teil IV. Medialitat des Formulars.
Annual volume, this time featuring special sections on Brecht's dramatic fragments and on comedy in post-Brechtian theater, along with a variety of other contributions. Published for the International Brecht Society, the Brecht Yearbook is the central scholarly forum for discussion of Brecht's life and work and of topics of particular interest to him, especially the politics of literatureand of theater in a global context. It embraces a wide variety of perspectives and approaches and, like Brecht himself, is committed to the use value of literature, theater, and theory. Volume 44 features the first publication of Gunter Kunert's translation of Edgar Lee Masters's poem "The Hill" with handwritten annotations by Brecht. A special section, "Brecht's Dramatic Fragments," includes essays on the unresolved tension between individual and collectivist resistance in Fatzer, the fragmentary aesthetic of Fleischhacker, and the first English translation and performance of the David fragments. The next section, "Pure Joke: The Comedy of Theater since Brecht," features articles on the poetics of interruption in the epilogue to The Good Person of Szechwan, Heiner Muller's Hamletmachine as theater of affirmation, a reassessment of the harlequin and the chorus in post-Brechtian performance, and the performative gestures of quotation in contemporary reality-satire. The volume also includes essays on capitalist guilt and debt in The Debts of Mister Julius Caesar, Heiner Muller's "Keuneresque" interview strategies, the 1962 world premiere of The Threepenny Opera in Yiddish, and Brecht's reception of Mao Tse-tung in two of his poems. Contributors include Gerrit-Jan Berendse, Andre Fischer, Phoebe von Held, Nicholas E. Johnson, Christian Kirchmeier, Gunter Kunert, Nikolaus Muller-Schoell, Stephan Pabst, Corina L. Petrescu, David Shepherd, Katrin Trustedt, Uwe Wirth, Burkhardt Wolf, and Xue Song. Editor Markus Wessendorf is aProfessor in the Department of Theatre and Dance at the University of Hawai'i at Manoa in Honolulu.
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