The reception of Brigitte Reimann's narrative work has experienced renewed interest in recent years, both in Germany and in Spain. Within her literary trajectory, the correspondence she maintained with Hermann Henselmann is of particular interest due to its value as a direct testimony of life in the GDR. In a period marked by contradictions, yet characterized by an emphasis on the relationship between art and society, the letters form part of a broader writing process in which Reimann's evolution and growing disillusionment with the initial optimism of her early works can be traced. Alongside the relationship between fiction and factuality, and the intertextual connection with Franziska Linkerhand, this study will analyze, through concepts drawn from the epistolary genre, the construction of the female narrative self and the role of language in Reimann's work as a space of subversion.
The Bernoulli-Euler Online (BEOL) project represents an innovative model of semantic digital editing of historical correspondence, focused on the letters of the Bernoulli family and Leonhard Euler. This chapter presents the project from its data modeling in RDF to the different processes of conversion, enrichment, and visualization within the web infrastructure. First, key terminological concepts are introduced, followed by a specification of the production steps leading to the final version of the textual content and its accessible representation for users.
This article analyses the colonial archive not only as a repository of memory, but also as a space in dispute, crossed by tensions and re-readings, with the aim of questioning the logic of monumentalisation of the document and exploring the fractures that constitute it. Based on the study of call letters, judicial declarations and denunciations from the i6th and i7th centuries, strategies of resistance and negotiation are identified in colonial texts. The distinction between documented facts and narrative constructions allows us to problematise the role of the archive in the construction of imperial narratives, in addition to revealing the structures and hierarchies that configure the archive and its impact on historical memory.
Concha Lagos was one of the key players in the post-war literary scene thanks to the creation of the magazine Cuadernos de & Aacute;gora (1956-1964), the 'Los viernes de & Aacute;gora' (19561964) and the & Aacute;gora collection (1955-1973). This framework placed her as a link between different poetic generations and literary aesthetics, as reflected in her epistolary collection. This article therefore analyses the fragments of letters incorporated into the writer's memoirs in order to trace the axial axes that operated on the relations of the mid-century and which placed the authors on the margins of the canon through the delegitimisation of their writing and publishing work.
