User:UniFrSabrina

Student at the University of Freiburg, Germany.

WS'15 Translation 1 User:AnTransit

Week 1 - Early Evidence
The exclamation "Ho! the house a hoy!“ in Tobias Smollet's The Adventures of Peregrine Pickle (1751) is seen as the first evidence of the expression "Ahoy" in the English language. It was said by a seeman. An early mention of the term dates back to William Falconer's marine dictionary of 1780: "The usual expression is, Hoa, the ship ahoay!“ In the first edition from 1769 the dictionary still used the earlier form hoay.

In the 1780s ahoy was already being used to emphasize maritime themes on stage in London and thereby reached a more diverse audience. In the comedy The Walloons, which was orchestrated by playwright Richard Cumberland in 1782, the term was used to initiate an adress: "Ahoy! you Bumboat, bring yourself this way.“ The text was published posthumously in 1813.

In another source, that was also verified at a later point in time, ahoy was used as a means to call someone over. In a shanty, a sailors' worksong, ahoy was presumably heard publicly in 1789, when the English composer and writer Charles Dibdin (1745–1814) performed his variety The Oddities in London. It contained his song Ben Backstay, which refers to a sailor with the description "And none as he so merrily / Could pipe all hands ahoy.“The text was published much later, in 1826.

Week 3 - Theories of Origin
If the origin of ahoi is rooted in Dutch, then hoy originates from hoie, which is the name of a sailorboat that today is known as a Hoie or Heude. This common type of boat was used to transport passengers and cargo along the coast of the North Sea and across the English Channel. In a letter from 1495 "an Hoye of Dorderyght“ from the Dutch trading town Dordrecht is mentioned. Then, two years later the term „an hoye of Andwarpe“ appears in documents belonging the English King Henry VII. In his travel accounts from 1624 John Smith, who tended to exaggerate, counts an enormous number of sails in the region between Vlissingen and the Sea of IJsselin: "Holland and Zeeland hath twenty thousand saile of Ships and Hoies.“

However, there is a lack of direct evidence that links the origin of ahoi to the particle a and the noun hoie. In Dutch and German linguistics the call is thought to be an adaption from English. This is indicated by the amount of evidence found in English and the lack thereof in Dutch, as well as criticism of the idea that in the Early Modern Period a word could be formed from a simple expression for a ship.

The relation of ahoi and hoi, which is a common form of adress in Dutch, is unclear. Hoi, which had been proven to be an exclamation of joy as early as 1552, could also be a short form of ahoi or ahoi could be an extension of hoi. Most likely hoi belongs to a group of calls such as hó and hé and is not closely related to ahoi at all.

Week 4 - Sources
Aho(o)i, ahoy and ehoi are rather uncommon in Dutch and are not included in numerous specialist dictionaries. This could be due to the prevalence of the similar and shorter exclamation hoi.

The sources for earlier uses of the term are lacking, because ahoi did not get its own lemma in the Woordenboek der Nederlandsche Taal (WNT), even though this comprehensive dictionary includes interjections. In addition later editions of the WNT from recent decades lack this entry. The earliest entries of forms of ahoi in the WNT can be found around 1900. The author Tine van Berken wrote "A-hoi! A-hoi! riep Beer onvermoeid, de hand trechters gewijze aan de mond“, which roughly translates as „A-hoi! A-hoi! called Beer relentlessly...“, in a book for girls that was published in 1897. In 1908 author George Frans Haspels wrote "met donderend ahoei“, "with thundering ahoy", referring to the forces of a storm that hit the coast. Here the meaning was extended to refer to noise. If Haspel was alluding to the sound of the wind, the spelling ahoei, which is pronounced [a ˈhuːi], contains an onomatopoeic element.

In the 1950s ahoi was considered outdated. However, the expression was still generally known. Evidence for the use of ahoy in Friesian are lacking in comprehensive dictionaries of that language.

Ahoy in Rotterdam

Ahoy also refers to the short form of the Ahoy Rotterdam, a big conference center in the Netherlands. It originally consisted of only one hall that was used for the exhibition Rotterdam Ahoy! in the 1950s. The exhibiton was held as part of the reconstruction of the city after the war and was originally called Ahoy’, the additional accent is intended to remind the reader of the exclamation mark in the name of the exhibition. In 1968 it was moved to teh district of Charlois and developed into an extensive complex of buildings over the years.

Charlois is the place of origin of the Tamboer- en Trompetterkorps Ahoy, the Tambour- and Trumpetcorps Ahoy, founded in 1955. We do not know whether it was called this because the term ahoy expressed the sense of reconstruction in Rotterdam at the time and was already outdated in a maritime context.

The marching band first performed on the Koninginnedag (Queens' Day) in 1956 and became more popularly known because of their innovative formations, their previously uncommon antiphonal singing and faster marching music. In 1962 they won first price at the Wereld Muziek Concours in Kerkrade and later played at the Sanremo Music Festival. The group split up in 2003 because of a lack of successors. The Show-Musikkorps Ahoy-Hamburg was founded in Hamburg in 1975.

Week 5
Kaviar Gauche Fischer-Roehler and Kühl Ltd., short Kaviar Gauche, is a German fashion house based in Berlin. It was founded by designers Alexandra Fischer-Roehler and Johanna Kühl in 2004. It is considered one of the most successful young German fashion brands, which became well known through the Berlin Fashion Week, among other events.

History

Alexandra Fischer-Roehler and Johanna Kühl met while studying fashion at the International School of Fashion ESMOD in Berlin. Fischer-Roehler's final collection was acknowledged by a showcase at the "Moet & Chandon Fashion Debut“ in 2003. Kühl gained her first practical experience working for Vivienne Westwood in London and later as an assistant with Martine Sitbon in Paris. In order to showcase their first collaborative collection they rented an appartment in Paris opposite the boutique Colette on Rue Saint-Honoré and in 2003 staged a guerilla fashion show in this space during Fashion Week. With this they gained the attention of the senior buyer and trendscout of the American clothing chain Barneys New York.

The name comes from Jean-Paul Sartre's "gauche caviar", a term he used to describe French high society, who, bored with their luxury lives, turned to the ideas of the movement of '68. "The name Kaviar Gauche represents our stylistic attitude: luxury with a hint of rebellion and laissez-faire." (Johanna Kühl)

The fashion that they created in a two-bedroom appartment in east Berlin for the first years initially gained recognition outside of Germany. In September 2006 they were awarded the "Visionary Award" in London. Following this they were nominated for the prestigious "Swiss Textile Award" in Zurich. The beginning of their national success was marked by winning the first prize of the "New Generation Fashion Award" at Berlin Fashion Week in 2007. The magazine "Stern" named the duo behind Kaviar Gauche one of Germany's 10 most important fashion designers.

Kaviar Gauche have been showcasing their collections regularly as a part of Berlin Fashion Week since January 2009. In spring 2009 they showcased their prêt-à-porter collection at London Fashion Week and in March 2013 for the first time in Paris.

Week 6
Style

Kaviar Gauche's fashion represents luxury avant-garde designs made in Germany.

Alexandra Fischer-Roehler and Johanna Kühl refer to their style as "modern glamour". Their summer collection in 2009 was inspired by the dancer and femme fatale Mata Hara, who enriched Paris' nightlife in the early 20th century. They combined her oriental look with modern and western elements. This lead to their signature flowy dresses made from multiple layers of chiffon in white, black and beige.

Customers

Their evening gowns are worn by German actresses and topmodels, such as Heike Makatsch, Marie Bäumer and Nadja Auermann, who have been clients from the very beginning. For the Berlinale 2013, a German film festival, Kaviar Gauche dressed actress Nora von Waldstätten.

Alongside their clothing collections Kaviar Gauche is succesful with their bags, which have been seen on international movie stars, such as Charlize Theron and Brittany Murphy. One of their signature bags is the Lamella Bag.

Bridal Fashion

Since January 2009 Kaviar Gauche have been designing their bridal collection "Bridal Couture" in the style of the glamorous red carpet looks of the international film festivals. The line was first presented on the runway in July 2009 as a part of Berlin Fashion Week. In March 2014 their Bridal Couture collection was showcased on the TV show Germany's Next Topmodel.

Collaborations

Kaviar Gauche have been involved in muliple collaborations in the last years. They designed three collections for the traditional German shoe retailer Göertz. Besides their collaborations with Karstadt (a German department store), Dr. Hauschka and Swarovski Elements they have designed limited edition camera bags and tablet covers in partnership with Sony Germany. In 2012 Alexandra Fischer-Roehler and Johanna Kühl designed an exclusive collection for the online retailer Zalando. A second collection for Zalando Collection followed in March 2013.

Stores

Kaviar Gauche is sold in ten countries, including the Galeries Lafayette in Paris, in Rome, London, New York, Zurich, Tokyo, Toronto and Dubai. In March 2010 Kaviar Gauche opened their first flagship store in Berlin. Another store was opened in Munich in April 2013.

Week 7
The Goethe Gymnasium is a German High School in Karlsruhe, a town in Southern Germany. It specialises in the natural sciences and modern languages and is named after Johann Wolfgang von Goethe. The school offers a bilingual English profile, which makes it unique in Karlsruhe.

Profile and school life today

English and French or Latin are taught from fifth grade at the Goethe Gymnasium. From seventh grade they offer a bilingual English profile. In eighth grade students have the option to chose between a language profile, with Italian as their third foreign language, or a natural science profile in which science and technology are compulsory.

The bilingual orientation of the school entails intensive English lessons in fifth and sixth grade. In twelfth grade students have the option to take the Cambridge Certificate of Advanced English.

The Goethe Gymnasium has their own Big Band and multiple choirs that perform inside and outside of school. A German drama group completes the cultural extracurricular activities of the school.

The next section is translated from http://ka.stadtwiki.net/Goethe-Gymnasium

Foundation (1908-1918)

The Goethe School was founded in 1908. Dr. Peter Treutlein was the first headmaster. Classes started with 417 students and 16 full-time teachers in the magnificent building that was built for 1 million German marks (now approximately 500 000 USD).

During World War I the school was used as a barracks while classes were moved elsewhere.

Time between the wars and World War II (1919 - 1945)

The time between 1919 and 1933 was shaped by headmaster Dr. Karl Ott. In this period the school's reputation as a prestigious school that successfully combined the natural sciences and modern languages was established.

After Hitler seized power in 1933 Dr. Ott was de facto replaced by convinced Nazi Dr. Oeß and actually dismissed in 1934. Like other schools the Goethe-School could not avoid Gleichschaltung - Nazi terminology for the process of establishing a totalitatian system of control over society.

In World War II the school was once again used as accomodation for various organizations. The school was severely damaged by a series of airstrikes, especially on 26/27 September and 4 December 1944.

Das Goethe-Gymnasium Karlsruhe ist ein neusprachliches und naturwissenschaftliches Gymnasium, benannt nach Johann Wolfgang von Goethe. Der englisch-bilinguale Zug ist ein Alleinstellungsmerkmal für das Gymnasium in Karlsruhe.

Week 8/11
New beginning and stabilisation (1945-1965)

In the early years classes were taught in several buildings, sometimes even in the teachers' private homes. The rebuilding of the school started in 1947 and was formally reopened three years later in 1950. The Goethe Gymnasium still offers two profiles in continuation of the old tradition: a profile focused on modern languages with Latin as the first foreign language, and a profile focused on maths and the natural sciences with special emphasis on maths.

In these years the school established a particularly good reputation through its contacts with the US, France, Italy and Finland.

Professor Dolland (1945-1951) and Mr. Eisele (until 1966) were headmasters of the school at the time.

Years of change (1966-1995)

In the course of the babyboom years and a general lack of schools, teachers and funding (the so-called Bildungsnotstand), the school gained more and more students. However, the economic recession and multiple political and societal disruptions forced the school to reconsider things that were previously taken for granted. Not even the Goethe Gymnasium was spared from the repercussions of these events. After a period of conflict the school managed to resume a state of constructive collaboration with parents and students in 1973, granting them more say in school matters.

At the same time the school was evolving in other areas: French was offered as a first foreign language from 1971. In the same year, coeducation was introduced, thereby ending the 45-year period as a school for boys.

In 1977 the school started implementing the tracking system, where students are divided into separate classes according to their choice of courses, instead of continuing to educate them in the same class in all subjects, for their last two years of education.

Like many other schools in Karlsruhe, the Goethe Gymnasium experienced a decrease in the number of students during the 1980s. However, their cooperation with the nearby Fichte Gymnasium allowed them to maintain a broad choice of courses.

Mr. Steinbacher (until 1976) and Mr. Mangler (until 1993) were headmasters during these years.

A new profile (from 1995)

In the 1990s the school was further put to the test. Europeanization and globalization, as well as an ever-changing student body and new career expectations presented new challenges. The school reacted to these changes by creating a new profile that met the new requirements: in addition to the language profile, which offers Italian as a third foreign language, a natural science profile was introduced, which makes courses dedicated to scientific work compulsory. The students immediately accepted these new profiles.

Centennial

The school celebrated its centennial in 2008. In anticipation of this event the history club was founded in 2006. A book to commemorate the event was compiled from private and official archives and an exhibition was organized. The festivities culminated in a ceremony and celebration on February 23rd.

Alumni

Every year on the first Friday in February at 8pm the school organizes a reunion for all alumni.

Week 12
Jil Sander (born as Heidemarie Jiline Sander, *27. November 1943 in Hedwigenkoog or Wesselburen, Dithmarschen) is an internationally well-renowned German fashion designer from Hamburg.

Since the 1980s Sander has been well-known for her women's fashion, which has been described as simple and timeless, and since 1997 also for her men's fashion and cosmetics line. Alongside Karl Lagerfeld and Wolfgang Joop, Sander is considered one of the few internationally renowned German fashion designers. Because of her minimalistic designs and love of luxurious fabrics the press has nicknamed her the 'Queen of Less' and the 'Cashmere Queen'. The company and the corresponding brand JIL SANDER were founded in Hamburg in 1968. After turbulent initial years, which were overcome by a lucrative expansion into the perfume market, the decision to float on the stock market in 1989 and international success in the 1990s, Sander decided to sell the company, which was now operating globally, in 1990. In the course of expansion plans the company was sold to the Prada Group and in early 2000 Sander left the company because of differences of opinion with the new owners. After a short return as head designer in 2003 she resigned again only a year later. After a five-year absence from the fashion world Sander was hired to design a collection for the Japanese fashion brand UNIQLO, which she finished in late 2011. On 28 February 2012 Jil Sander returned to the company that she had founded almost 44 years earlier, as their new creative director. In the meantime, the company had been sold by Prada to a Japanese textile corporation. Shorlty before her 70th birthday in October 2013 she left the company once more.

Werdegang

Heidemarie Jiline Sander wuchs in Hamburg bei ihrer Mutter und ihrem Stiefvater auf. Nach einem Textilingenieur-Studium an der Staatlichen Ingenieurschule für Textilwesen in Krefeld (heute der Hochschule Niederrhein angeschlossen) ging sie als Austauschstudentin nach Los Angeles. Nach zwei Jahren kehrte sie in ihre Heimatstadt zurück, um dort als Moderedakteurin für verschiedene Frauenzeitschriften (Constanze und Petra) zu arbeiten.

1967 eröffnete die damals 24-Jährige im Hamburger Stadtteil Pöseldorf unter dem Namen Jil Sander eine Modeboutique, gründete 1968 die Jil Sander GmbH und verkaufte ab 1974 neben Mode von Sonia Rykiel, Thierry Mugler und anderen auch ihre eigenen Kollektionen. Eine Präsentation ihrer puristischen Mode in Paris 1975 stieß in einer Zeit der opulenten, farbenfrohen Mode allerdings auf wenig Begeisterung. Erst 1976 schaffte sie mit dem so genannten Zwiebel-Look, der aus vielen miteinander kombinierbaren Einzelteilen aus hochwertigen Materialien bestand und ab Anfang der 1980er Jahre besonders bei berufstätigen Karrierefrauen Anerkennung fand, den internationalen Durchbruch. 1978 erweiterte sie in Zusammenarbeit mit dem Kosmetikhersteller Lancaster (seit 1996 Coty) ihre Produktpalette um die Duft- und Pflegeserie Jil Sander Woman Pure, die sie jahrelang mit dem eigenen Konterfei bewarb. Die lukrative Parfüm-Lizenz und die damit verbundene Werbung ermöglichten die Expansion des Unternehmens. Das erste Herrenparfüm, Jil Sander Man Pure, folgte 1981. Seither wurden zahlreiche Düfte für Damen und Herren – darunter Klassiker wie Jil Sander Sun (ab 1989) – lanciert, von denen auch einige wieder eingestellt wurden.

In den 1980er Jahren – einer Zeit, in der schlicht-zurückhaltende Mode und dezente Farben auf den internationalen Laufstegen wenig präsent waren – präsentierte Sander ihre Kollektionen bei den Mailänder Modenschauen, um das internationale Publikum besser zu erreichen. Sie übernahm zudem 1983 als Hochschullehrerin im Bereich Modedesign die Leitung der Modeklasse an der Universität für angewandte Kunst Wien; ihr Vorgänger dort war Karl Lagerfeld gewesen.[9] 1989, als mittlerweile erfolgreiche Unternehmerin, wandelte sie die GmbH in eine Aktiengesellschaft um und führte ihr Unternehmen als eines der ersten Modeunternehmen an die Frankfurter Börse.

Anfang der 1990er Jahre wurde die von den internationalen Laufstegen propagierte Mode im Gegensatz zu den 1980er Jahren androgyner und dezenter. Sander war ihrer Zeit mit ihren minimalistisch-simplen Entwürfen um zehn Jahre voraus gewesen. Die von Jil Sander in hauchzarten und doch schlichten Kreationen über den Mailänder Laufsteg geschickten Supermodels wirkten so elfengleich, dass sich der Spruch „Jil Sander is hot, Armani not.“ etablierte und die Verkaufszahlen des Unternehmens stetig anstiegen.[10] Besonders im asiatischen Raum wurde die Präsenz von Jil Sander mit zahlreichen Boutiquen stark ausgebaut. In Tokio, Hongkong und Taipei entstanden elegante Jil Sander Flagshipstores, an deren Design Sander in Zusammenarbeit mit renommierten Architekten wie etwa Michael Gabellini persönlich mitwirkte. 1993 kam eine elegante Boutique auf der Edelmeile Avenue Montaigne in Paris zum Netzwerk hinzu. Die erste Hälfte der 1990er Jahre gilt als die Blütezeit der Marke Jil Sander.

Ihre Konzentration auf die Frauenmode änderte Sander erst 1997, als sie erstmals – im gewohnt schlichten Stil – auch Kollektionen für Männer entwarf. Der Launch der Männerkollektion war zuvor immer wieder von Sander verschoben worden. Die Männermode trug bald etwa 20 Prozent zum Konzernumsatz bei.