Latin Latin abecedarium
Type	Alphabet
Languages	Latin
Time period	~700 BC–present
Parent systems	Egyptian hieroglyphs Proto-Sinaitic Phoenician alphabet Greek alphabet Etruscan alphabet Latin Latin abecedarium
Child systems	Numerous Latin alphabets; more divergent derivations such as Osage
Sister systems	Cyrillic Coptic Armenian Runic/Futhark
ISO 15924	Latn, 215
Direction	Left-to-right
Unicode alias	Latin
Unicode range	See Latin characters in Unicode
Note: This page may contain IPA phonetic symbols.

Calligraphy

Arabic Chinese Georgian Indian Japanese Korean Kufic Nepalese Persian Sini Tibetan Western

The classical Latin alphabet or Roman alphabet evolved from a western variety of the Greek alphabet called the Cumaean alphabet, which was adopted and modified by the Etruscans who ruled early Rome. The Etruscan alphabet was in turn adopted and further modified by the ancient Romans to write the Latin language.

During the Middle Ages, the Latin alphabet was adapted to Romance languages, direct descendants of Latin, as well as to Celtic, Germanic, Baltic, and some Slavic languages. With the age of colonialism and Christian evangelism, the Latin script was spread overseas, and applied to indigenous American, Australian, Austronesian, Austroasiatic, and African languages. More recently, western linguists have also tended to prefer the Latin script or the International Phonetic Alphabet (itself largely based on Latin script) when transcribing or creating written standards for non-European languages, such as the African reference alphabet.

The term Latin alphabet may refer to either the alphabet used to write Latin (as described in this article), or other alphabets based on the Latin script, which is the basic set of letters common to the various alphabets descended from the classical Latin one, such as the English alphabet. These Latin-derived alphabets may discard letters, like the Rotokas alphabet, or add new letters, like the Danish and Norwegian alphabet. Letter shapes have changed over the centuries, including the creation for Medieval Latin of lower case forms which did not exist in the Classical period.

History[link]

Origins[link]

The Duenos inscription, dated to the 6th century BC, shows the earliest known forms of the Old Latin alphabet.

It is generally believed that the Romans adopted the Cumae alphabet, a variant of the Greek alphabet, in the 7th century BC from Cumae, a Greek colony in Southern Italy. (Gaius Julius Hyginus in Fab. 277 mentions the legend that it was Carmenta, the Cimmerian Sibyl, who altered fifteen letters of the Greek alphabet to become the Latin alphabet, which her son Evander introduced into Latium, supposedly 60 years before the Trojan War, but there is no historically sound basis to this tale.) The Ancient Greek alphabet was in turn based upon the Phoenician alphabet. From the Cumae alphabet, the Etruscan alphabet was derived and the Romans eventually adopted 21 of the original 26 Etruscan letters:

The letter ⟨C⟩ was the western form of the Greek gamma, but it was used for the sounds /ɡ/ and /k/ alike, possibly under the influence of Etruscan, which lacked any voiced plosives. Later, probably during the 3rd century BC, the letter ⟨Z⟩ — unneeded to write Latin properly — was replaced with the new letter ⟨G⟩, a ⟨C⟩ modified with a small vertical stroke, which took its place in the alphabet. From then on, ⟨G⟩ represented the voiced plosive /ɡ/, while ⟨C⟩ was generally reserved for the voiceless plosive /k/. The letter ⟨K⟩ was used only rarely, in a small number of words such as Kalendae, often interchangeably with ⟨C⟩.

After the Roman conquest of Greece in the 1st century BC, Latin adopted the Greek letters ⟨Y⟩ and ⟨Z⟩ (or readopted, in the latter case) to write Greek loanwords, placing them at the end of the alphabet. An attempt by the emperor Claudius to introduce three additional letters did not last. Thus it was that during the classical Latin period the Latin alphabet contained 23 letters:

The apices in this first-century inscription are very light. (There is one over the ó in the first line.) The vowel I is written taller rather than taking an apex. The interpuncts are comma-shaped, an elaboration of a more typical triangular shape.

The Latin names of some of these letters are disputed. In general, however, the Romans did not use the traditional (Semitic-derived) names as in Greek: the names of the plosives were formed by adding /eː/ to their sound (except for ⟨K⟩ and ⟨Q⟩, which needed different vowels to be distinguished from ⟨C⟩) and the names of the continuants consisted either of the bare sound, or the sound preceded by /e/. The letter ⟨Y⟩ when introduced was probably called "hy" /hyː/ as in Greek, the name upsilon not being in use yet, but this was changed to "i Graeca" (Greek i) as Latin speakers had difficulty distinguishing its foreign sound /y/ from /i/. ⟨Z⟩ was given its Greek name, zeta. For the Latin sounds represented by the various letters see Latin spelling and pronunciation; for the names of the letters in English see English alphabet.

The primary diacritic was the apex used to mark long vowels, which had previously been written double. However, in place of taking an apex, the letter i was written taller: ⟨á é ꟾ ó v́⟩. For example, what is today transcribed lūciī was written ⟨lv́ciꟾ·a·filiꟾ⟩ in the inscription at right.

The primary mark of punctuation was the interpunct, which was used as a word divider, though it fell out of use after 200 CE.

Old Roman cursive script, also called majuscule cursive and capitalis cursive, was the everyday form of handwriting used for writing letters, by merchants writing business accounts, by schoolchildren learning the Latin alphabet, and even emperors issuing commands. A more formal style of writing was based on Roman square capitals, but cursive was used for quicker, informal writing. It was most commonly used from about the 1st century BC to the 3rd century, but it probably existed earlier than that. It led to Uncial, a majuscule script commonly used from the 3rd to 8th centuries AD by Latin and Greek scribes.

New Roman cursive script, also known as minuscule cursive, was in use from the 3rd century to the 7th century, and uses letter forms that are more recognizable to modern eyes; ⟨a⟩, ⟨b⟩, ⟨d⟩, and ⟨e⟩ had taken a more familiar shape, and the other letters were proportionate to each other. This script evolved into the medieval scripts known as Merovingian and Carolingian minuscule.

Medieval and later developments[link]

Jeton from Nuremberg, ca. 1553

De chalco graphiae inventio (1541, Mainz) with the 23 letters. W, U and J are missing.

It was not until the Middle Ages that the letter ⟨W⟩ (originally a ligature of two ⟨V⟩s) was added to the Latin alphabet, to represent sounds from the Germanic languages which did not exist in medieval Latin, and only after the Renaissance did the convention of treating ⟨I⟩ and ⟨U⟩ as vowels, and ⟨J⟩ and ⟨V⟩ as consonants, become established. Prior to that, the former had been merely allographs of the latter.

With the fragmentation of political power, the style of writing changed and varied greatly throughout the Middle Ages, even after the invention of the printing press. Early deviations from the classical forms were the uncial script, a development of the Old Roman cursive, and various so-called minuscule scripts that developed from New Roman cursive, of which the Carolingian minuscule was the most influential, introducing the lower case forms of the letters, as well as other writing conventions that have since become standard.

The languages that use the Latin script today generally use capital letters to begin paragraphs and sentences and proper nouns. The rules for capitalization have changed over time, and different languages have varied in their rules for capitalization. Old English, for example, was rarely written with even proper nouns capitalized; whereas Modern English of the 18th century had frequently all nouns capitalized, in the same way that Modern German is written today, e.g. "Alle Schwestern der alten Stadt hatten die Vögel gesehen" (All of the Sisters of the old City had seen the Birds).

Spread[link]

The Latin alphabet spread, along with the Latin language, from the Italian Peninsula to the lands surrounding the Mediterranean Sea with the expansion of the Roman Empire. The eastern half of the Empire, including Greece, Turkey, the Levant, and Egypt, continued to use Greek as a lingua franca, but Latin was widely spoken in the western half, and as the western Romance languages evolved out of Latin, they continued to use and adapt the Latin alphabet.

Latin alphabet world distribution. The dark green areas show the countries where this alphabet is the sole main script. The light green show the countries where the alphabet co-exists with other scripts.

With the spread of Western Christianity during the Middle Ages, the script was gradually adopted by the peoples of northern Europe who spoke Celtic languages (displacing the Ogham alphabet) or Germanic languages (displacing earlier Runic alphabets), Baltic languages, as well as by the speakers of several Uralic languages, most notably Hungarian, Finnish and Estonian. The alphabet also came into use for writing the West Slavic languages and several South Slavic languages, as the people who spoke them adopted Roman Catholicism.

See also[link]

Wikimedia Commons has media related to: Latin alphabet

• Beghilos (Calculator spelling)
• Calligraphy
• Collation
• Euboean alphabet
• Keyboard layout
• Latin characters in Unicode
• Latin-derived alphabet
• Latin-1
• Legacy of the Roman Empire
• List of Latin letters
• Palaeography
• Penmanship
• Phoenician alphabet
• Pinyin
• Roman letters used in mathematics
• Typography
• Western Latin character sets (computing)

Further reading[link]

• Jensen, Hans (1970). Sign Symbol and Script. London: George Allen and Unwin Ltd. ISBN 0-04-400021-9. . Transl. of Jensen, Hans (1958). Die Schrift in Vergangenheit und Gegenwart. Deutscher Verlag der Wissenschaften. , as revised by the author
• Rix, Helmut (1993). "La scrittura e la lingua". In Cristofani, Mauro (hrsg.). Gli etruschi - Una nuova immagine. Firenze: Giunti. pp. S.199–227. 
• Sampson, Geoffrey (1985). Writing systems. London (etc.): Hutchinson. 
• Wachter, Rudolf (1987). Altlateinische Inschriften: sprachliche und epigraphische Untersuchungen zu den Dokumenten bis etwa 150 v.Chr. Bern (etc.). : Peter Lang.
• W. Sidney Allen (1978). "The names of the letters of the Latin alphabet (Appendix C)". Vox Latina — a guide to the pronunciation of classical Latin. Cambridge University Press. ISBN 0-521-22049-1 (Second edition). 
• Biktaş, Şamil (2003). Tuğan Tel. 

External links[link]

• Lewis and Short Latin Dictionary on the letter G
• Latin-Alphabet
• Latin alphabet at omniglot.com

vep:Latinan kel'

Irina Bokova
Irina Bokova at the 6th World Water Forum
Born	(1952-07-12) 12 July 1952 (age 59) Sofia, Bulgaria
Residence	Paris, France
Alma mater	Moscow State Institute of International Relations
Occupation	Director-General of UNESCO
Spouse	Lubomir Kolarov (divorced), Kalin Mitrev
Children	Paul and Naia
Website
www.irinabokova.com

Irina Georgieva Bokova (Bulgarian: Ирина Георгиева Бокова) (born 12 July 1952) is a Bulgarian politician and incumbent Director-General of UNESCO. She was member of the Bulgarian Parliament from the Bulgarian Socialist Party for two terms, minister and deputy minister of foreign affairs in the socialist cabinet of Prime Minister Zhan Videnov,^[1] and was Ambassador of the Republic of Bulgaria to France^[2] and to Monaco, Permanent Delegate of Bulgaria to UNESCO and Personal Representative of the President of Bulgaria to the Organisation internationale de la Francophonie (2005–2009). On 22 September 2009, Bokova's candidacy was proposed for the post of Director-General of UNESCO. On 15 October 2009, The 35th Session of the General Conference elected Irina Bokova of Bulgaria as the tenth Director-General of UNESCO. Bokova is the first female and Eastern European to head UNESCO.

Childhood and early years[link]

Irina Bokova is the daughter of the controversial communist-era politician Georgi Bokov, editor-in-chief of Rabotnichesko Delo, the official newspaper and organ of the Bulgarian Communist Party.^[3] By descent Bokova is Bulgarian from Macedonia.^[4] Bokova is a graduate of the Moscow State Institute of International Relations. Subsequently, she worked at the Ministry of Foreign Affairs of Bulgaria, eventually becoming Minister in the winter of 1996 - 1997. She was a member of the Bulgarian communist party until 1990.

Education[link]

• 1971: First English Language School, Sofia.
• 1976: Moscow State Institute of International Relations, M.Sc. in international relations.
• Jan. - Aug. 1989: University of Maryland, School of Public Affairs, Washington, D.C., Program on US foreign policy decision-making process.
• 1992 - 1994: NATO fellow, Program for Central and Eastern Europe on democratic institutions focusing on the national and legal mechanism for the protection of minorities.
• Nov. - Dec. 1999: Harvard University, John F. Kennedy School of Government, Executive Program in Leadership and Economic Development.^[5]

Awards and decorations[link]

Career[link]

Current positions[link]

• Director-General of the United Nations Educational, Scientific and Cultural Organization (UNESCO)
• Ambassador Extraordinary and Plenipotentiary of the Republic of Bulgaria to France.
• Ambassador Extraordinary and Plenipotentiary of the Republic of Bulgaria to the Principality of Monaco.^[5]
• Permanent Delegate of the Republic of Bulgaria to UNESCO.
• Representative of the Bulgarian Government to the Executive Board of UNESCO (since the election of Bulgaria in October 2007).
• Personal Representative of the President of the Republic of Bulgaria to Organisation Internationale de la Francophonie (OIF).
• Deputy Chairperson, Group of Francophone Countries at UNESCO.
• Chairperson of the Second Extraordinary Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage (February 2008, Sofia).
• Member of the Literary group Prix des Ambassadeur.

Parliamentary experience[link]

• Deputy Chairperson of the Foreign Policy, Defense and Security Committee.
• Member of the European Integration Committee.
• Deputy Chairperson of the Joint Parliamentary Committee Bulgaria – European Union.

Civil Society experience[link]

• Founder and Chairperson of the European Policy Forum (since its inception in Sofia in 1997), a non-profit, non-governmental organization.

Ministry of Foreign Affairs experience[link]

November 1996 - February 1997:

• Minister of Foreign Affairs, cabinet of Zhan Videnov, Bulgarian Socialist Party

June 1995 - February 1997, other positions held in the cabinet of Zhan Videnov, Bulgarian Socialist Party:

• First Deputy Minister for Foreign Affairs in charge of UN, OSCE, EU and NATO.
• Chief co-ordinator of Bulgaria–EU relations.^[5]
• Co-Chairperson, Bulgaria – EU Association Committee.^[5]
• National PHARE Co-ordinator.^[5]
• Chairperson, Inter-Agency Co-ordination Commission on European Integration (at deputy ministerial level).
• Took part as head of delegation or keynote speaker in a number of international fora.
• Member of the Board of Trustees of the Centre for European Studies.

UNESCO[link]

On 22 September 2009, Bokova was elected Director-General of UNESCO.^[1] She defeated nine candidates at the election in Paris, with Farouk Hosny ultimately being defeated by 31-27 in the fifth and last round of voting.^[1][2] Hosny had been expected to win but attracted criticism from figures such as Nobel Peace laureate Elie Wiesel over his anti-Israel statements.^[1][6] She takes over the position from Koïchiro Matsuura of Japan.^[1] She will serve in this office for a four-year period.^[2] Bokova is both the first woman and the first Eastern European to take this role.^[1] On 15 October 2009, The 35th Session of the General Conference elected Irina Bokova of Bulgaria as the tenth Director-General of UNESCO. The investiture took place in a ceremony in Room I in the afternoon of Friday 23 October 2009.

Controversy[link]

While some of the Bulgarian media was supportive^[7] of Ms. Bokova's future role at the helm of UNESCO, others raised questions about her pas as a member of the totalitarian communist elite.^[8] Thus, the Bulgarian-born Germany-based writer Iliya Troyanov criticised Bokova's election as Director-General of UNESCO in the Frankfurter Allgemeine Zeitung, calling it "a scandal," in light of Bokova's past.^[9] The Moscow Institute of International Relations was infamous for preparing the communist cadre to be planeted abroad. On the other hand, the left-leaning New York Times supported her nomination on the grounds that "[s]he played an active role in Bulgaria’s political transformation from Soviet satellite to European Union member. That should be a strong asset in leading an organization badly buffeted in the past by ideological storms." ^[10] The logic of this endorsment is unclear, however: how does the former member of a deeply ideological, communist party help an organinization ``buffeted in the past by ideological storms?"

References[link]

External links[link]

• Official website (under Creative Commons License)

Christian Ide Hintze giving a lecture at University of Barcelona, 2009

Christian Ide Hintze (* December 26, 1953, in Vienna , died February 2012) ) was an Austrian poet and performance artist, who focused on the transition from literary to cross-media forms.

Biography[link]

Between 1972 and 1974 Christian Ide Hintze worked as a Super-8 film-maker and street singer in Scandinavia, England, France and Spain, between 1974 and 1978 – in addition to studying theater and communications at the University of Vienna ­– as a distributor of megaphone, poster and leaflet texts in Austria, Germany, Switzerland and Holland.^[1] His actions resulted in numerous charges of "obstructing pedestrian traffic" and "contamination of public buildings".^[2] In 1976 he was arrested and interrogated by the police in East Berlin.^[3] In 1978 he was expelled from the book fair in Stuttgart^[4] and convicted of criminal damage in Vienna (for pasting banners, posters and poems onto the Burgtheater).^[5] In 1979 the Austrian film-maker Alfred Kaiser published a film about his work in public spaces.^[6]

In the 1980s Hintze undertook several 'pilgrimages' to the Greek island of Lesbos to celebrate his favourite poet, Sappho,^[7] and created a series of multi-media poem cycles ("tetralogies"), using "gestures", "graphemes", "phonemes", "audio", and "video" as elements.^[8] The works oscillate between semantic and non-semantic structures and are multilingual.^[9] They have been presented at ateliers, festivals and public areas and have led to collaborations with Allen Ginsberg,^[10] Henri Chopin,^[11] Emil Siemeister^[12] and Falco.^[13] "What Ide aims at is a poetry to be perceived not only with the brain, but also with the whole body; the sensorial poetry, capable of achieving the 'communication monopoly' he had long pined for."^[14]

• 

  1973: "Prolog 1", super 8 film

• 

  1974-78: Street poet

• 

  1982: "iumotui", painted video still

In 1984 Hintze built a poet's temple near the underground station of Karlsplatz in Vienna. The "LI-TE“, a closed-circuit installation in public space, consisted of 4 letter sculptures, a wooden trumpet cross and a hut where the author lived and worked for three weeks. The temple was sponsored by GRUNDIG-Austria and had 3 live cameras and 11 monitors equipped to run the 16 video loops.^[15]

"The golden flood", a volume of written poetry that portraits the conditions of vagrancy, appeared in 1987,^[16] was translated into several languages and received comprehensive reviews in Germany, Switzerland, Cuba, Vietnam and Argentina. "His searches have something in common with the best "exteriorismo" of Nicaraguan poetry (Cardenal, Coronel Urtecho) or with the striking uninhibitedness of the American "beatnik" movement."^[17] "Pindar, Klopstock, Whitman, Rilke, Eliot, Ginsberg, Brinkmann. It is to this tradition that Hintze’s book "The golden flood" belongs."^[18]

In 1993 Hintze undertook, at the invitation of Miguel Barnet and the Cuban writers’ union UNEAC, a reading tour of Cuba.^[19] In the same year he taught, as the first Western author, at the Institute of Literature Nguyên Du in Hanoi (Vietnam).^[20] In 1995 he was the first German-language author who taught at the Jack Kerouac School of Disembodied Poetics in Boulder, Colorado (USA). In 1996, he was the co-initiator of the "escuela de poesía" in Medellín (Colombia)^[21]

• 

  1984: "LI-TE" draft

• 

  1991: score to performative poem

• 

  1993: with his students, Hanoi

His project "Writing in Water" was realized in 1998 in the spa Oberlaa, Vienna. Hintze wanted to find out whether the emergence of language and phenomena such as rhyme and refrain have something to do with the phylogenetic origin of man out of water.^[22]

In 2004 he took part in the Austrian pre-selection show of the Eurovision Song Contest and reached the third place. His contribution, the song "Link Love!", is a statement against racism and for mutual cultural understanding. The text consists of multilingual versions of "I love you".^[23]

In 2008 and 2009 he presented his concept of a "7fold poetics" at the Orivesi college of Art, the University of Barcelona^[24] and at the Poetry Festival in Oslo. Hintze considers the genesis of poetry to comprise 3 stages (mythical: oral-performative poetry, historical: literary poetry, digital: multi-media poetry)^[25] and introduces 7 categories of creation and communication: acoustic, visual, literary, performative, interactive, infrastructural and instructive.^[26] "Hintze's unusual theory holds that only after a long period of domination by writing, with the discovery of new media, audio and video tapes, and subsequently of digital technologies and the internet, did poetry return to its roots."^[27]

• 

  1998: "Writing in water"

• 

  2004: "Link Love"

• 

  2010: "perfomative poem

Christian Ide Hintze engages in language policy, propagates lower case writing,^[28] organizes cross-cultural events and has run, since 1992, the vienna poetry school.^[29] Those who have taught there include Allen Ginsberg, Humberto Ak'abal, Nick Cave,^[30] H. C. Artmann, Anne Waldman, Blixa Bargeld, Falco, Wolfgang Bauer, Fernando Rendón, Henri Chopin, Ed Sanders, Ayu Utami and Inger Christensen.

Hintze's works have been presented at festivals and exhibitions in Hall in Tirol (1974), Esslingen (1976), Vienna (1981), Ljubljana (1983), Turino (1984),^[31] The Hague (1985),^[32] Tokyo (1986), Bern (1987), Buenos Aires (1993), Stockholm (1993), Medellín (1995/1996/2011),^[33] Rosario (1996), Berlin (1998), Barcelona (2000), Jakarta (2001), Milano (2007), Novi Sad (2008) and Oslo (2009).^[34]

Selected works[link]

acoustic

• 30 Rufe (30 Callings). Poems with audio-samples, drumcomputer, solo- und multitrack-voice. CD.^[35] German and phonetic language. extraplatte, Vienna 1992. EX 162C
• [ampf]. Notes, poems, sequences & songs. Asemantic acoustic poetry. CD. extraplatte, Vienna 2000. EX 462-2
• link love!. Songs and videoclips. CD. 73 languages. Alphabet / Modena, Vienna 2004. LC 08340

visual

• Der Blick aus meinem Fenster (Looking out my window). Super-8-film. ORF "Lumier's children", Austria 1974
• mmm, non-alphabetic letter signs. Video and 136 drawings. P-Tapes, Vienna 1983, and WTG, Vienna 2006
• Act in A and AH. Poem for 1 spoken sound, 1 live-camera, 1 monitor & 3 symbols. Video, Vienna 1985
• Lesson in looking. Insert-screen-poem. Video, 2 min., Vienna 1985

literary

• Zettelalbum. Street diary, leaflet poems, letters by passsers-by. Book.^[36] German. 222 pages. Michael Schönemann Verlag, Kisslegg 1978. ISBN 3-921825-12-1
• Die goldene Flut (The golden Flood).^[37] 129 poems. 200 pages. Book. German. Verlag Kiepenheuer & Witsch, Cologne 1987. ISBN 3-462-01815-9
• Autoren als Revolutionäre (Authors as revolutionaries). Dialogues with Henri Chopin, Mircea Dinescu, Gioconda Belli, Anne Waldman, Allen Ginsberg, Ryszard Dreger, Anna Leska. Book. German. edition selene, Vienna 2002. ISBN 3-85266-176-5

performative

• Kundgebung der Anwesenden (Manifestation of attendants). Instant street drama. Salzburg 1976
• Gold im Ofen (Gold in the oven). Theatre play. produced by Wiener Festwochen / the Vienna Festival. Vienna 1981
• nantzn.^[38] Asemantic performance poetry. DVD. Asemantic phonetic language. Modena / [a:o], Vienna 2010. ISBN 978-3-9502923-0-5
• mamama papapa. Dialogue writer – drawer, video performance & drawings. With Emil Siemeister. Modena / [a:o]. Vienna 2010. ISBN 978-3-9502923-1-2

interactive

• Zettel. Leaflets, flyers, hand outs. Distributed by the author in the street, in front of cinemas, theatres, stadiums etc. Ca. 1,2 million copies. Austria, Germany, Holland, Switzerland 1974-78
• Writing off the back of others. Chain-poem with passers-by. Vienna, Austria 1975
• E1. Card game. Alphanumeric symbols. Vienna, Austria 1977
• IPPOI. Interactive Internet Plattform. English. Austrian cultural forum New York, New York & internet 1995
• internet-icons. Emoticons. Interactive digital classroom. German. vienna poetry school, Vienna & Internet 1997

infrastructural

• L-LI-OBO. 4-monitor installation in a wooden box. 4 looped videos. Body-voice-audio-video-dialogues. English, French and phonetic language. With Henri Chopin. Vienna 1983
• I-Tetralogy. Multimedia poetry. 1 box of playing cards, 1 audio tape, 2 video tapes. German and phonetic language. P-Tapes, Vienna 1984
• LI-TE. Closed circuit 4-media installation in public space. German, French, English and phonetic language. Sponsored by Grundig Austria, Vienna 1984
• ide7fold. Videoclip-based online platform. Inauguration: 2008. Work in progress

instructive

• Poly poetyka. video. How i work with audio, video, voice, body & script. Examples 1983-88. Rome & Vienna 1988
• Internet-icons. Documentation of a teaching process at the internet. Essay, german, in: 5 Internetklassen. Ed. by Orhan Kipcak and Barbara Ruhsmann. Vienna 2000. ISBN 3-85165-438-2
• Poetry in times of transition / 7fold poetics. Laptop lecture, english & catalan, in: Poesia contemporània, tecnologies i educació. Ed. by Glòria Bordons and Lis Costa. Book & DVD. Publicacions i edicions Universitat de Barcelona. Barcelona 2010. ISBN 978-84-475-3430-2

Teachings[link]

• 2011: Medellín, Colombia, Museo de Antioquia: "Poesía experimental", class. Organized by Escuela de Poesía de Medellìn & Prometeo
• 2009: Barcelona, Spain, University of Barcelona: Presentation of the "7fold poetics"-concept as part of a seminar on "Contemporary poetry, technologies and education". Organized by the research group "POCIO.Poetry and education".
• 2008: Orivesi, Finland, Orivesi College of Art: "Sound poetry, voice and body", class.^[39] Organized by Orivesi College of Art.
• 2005: Prague, Czech republic, Literární Akademie: "Spoken sound poetry", master class. Organized by Literárni Akademie & European Network of Creative Writing Programmes.
• 2003: Denpasar & Jakarta, Indonesia, Komunitas Utan Kayu: "Sound poetry pop", class, student-interviews, panels, colloquium, faculty-performance. Organized by Komunitas Utan Kayu & Vienna Poetry School (vps).
• 2001: Vienna, Austria, University of Music and Performing Arts: "From soundpoetry to pop", lecture & exercise. Organized by University of Music and Performing Arts.
• 2000: Internet: "European loveletter – latin, central european, cyrillic, greek letters, fonts & spelling systems", online class, lecture. Together with Renée Gadsen & Gertraud Marinelli-König. Organized by vps.
• 1998: Vienna, Austria, Thermalbad Oberlaa: "Writing in water", class, lecture, student-interviews. Together with Helga Pesserer. Teachers & students working in the water. Organized by Thermalbad Oberlaa & vps.
• 1997: Internet: "Internet-icons – hieroglyphs & modern icons", online class, lecture, chat. Organized by vps.
• 1996: Medellin, Colombia, Universidad de Antioquía: "Cultos y incultos", lecture, "Una piramida de luz", speech & "Voz y cuerpo – score-problems, vocal poetry, dadaism, jitanjafora", class. Organized by Prometeo, Escuela de Poesía & vps.
• 1995: Boulder, Colorado, USA, Jack Kerouac School of Disembodied Poetics: "Sound poetry", class, student-Interviews, panels, colloquium, faculty-performance, lecture. Organized by Naropa University.
• 1993: Hanoi, Vietnam, Institute of Literature Nguyên Du: "Trained & untrained - traditions of modern poetry", class & lecture. Organized by the Institute of Literature Nguyên Du.
• 1992: Vienna, Austria, University of Applied Arts: "Speaking the voice - oral traditions, poly-vocal poetry", class, lecture, student-interviews. Organized by vps.
• 1989: Rome, Italy, Deutsche Schule: "Experimental literature", workshop. Organized by the department of culture of the Austrian embassy in Rome.
• 1979: Linz, Austria, University of industrial design: "Hand-out, poster, performance", workshop talk, demonstration of examples. Organized by Wolf Sator & "Aktuelles Forum".
• 1976: Esslingen, Germany, Webergasse: "Durchsuchung eines Sprachraums - Handwerk, Mundwerk, Mailart", street lecture, exercises with passers-by. Organized by Michael Schönemann and the "qualerie" gallery.
• 1975: Salzburg, Summer Academy: "Interactive Action theatre", demonstrations, discussions & exercises. Together with german actress Christiane Schröder. Organized by Wolfgang Glück and the Summer Academy.

Editor (selection)[link]

• Falco's many languages. Book. German. A collection of poetological essays by experts of language & literature on the austrian popstar. Edition schule für dichtung, Residenz Verlag. Vienna 2010. ISBN 978-3-7017-3183-1
• Falco: lyrics complete. Book. German (Falco's lyrics are a combination of German, English, Austrian, Spanish, Italian, French, Greek). Foreword by Christian Ide Hintze. Afterword by Peter Ernst: Edition schule für dichtung, Residenz Verlag. Vienna 2009. ISBN 978-3-7017-1529-9
• Viva la Poesía. Book & CD. German with some original texts in English. Nick Cave, Falco & Allen Ginsberg at the schule für dichtung. Songs, pictures, anecdotes. Residenz Verlag. Vienna – Salzburg – Frankfurt 2002. ISBN 3-7017-1337-5
• Sound poetry live. CD. English, German & asemantic acoustic language. poems by Allen Ginsberg, Wolfgang Bauer, Sainkho Namtchylak, Edward Sanders. sfd records 1998
• Poetiken (Poetics). Book. German. A collection of lectures. Edition schule für dichtung, Passagen Verlag 1993. ISBN 3-85165-127-8
• Über die Lehr- und Lernbarkeit von Literatur (On the teach- and learnability of literature). Book. German. Ed. together with Dagmar Travner. Edition schule für dichtung, Passagen Verlag. Vienna 1993. ISBN 3-85165-048-4

Comments[link]

• "Someone capable of taking the art of speaking and the expressiveness of the body as sources of renewal of poetic creativity." (Marylin Bobes, Cuba 1993)^[40]
• "Whether Hintze is referred to as a postmodern romantic, a descendant of the expressionists, a new goliard or a shamanistic pop singer, will not worry the enthusiast. He has found his own rhapsodic tone." (Süddeutsche Zeitung, Germany 1987)^[41]
• "I even noticed that he was received by the younger ones just like a Messiah – as if an artistic personality of this kind had never before emerged on the scene." (Friederike Mayröcker, Austria 1981)^[42]
• "He always stood up for and praised those who held dignity, poverty and humbleness high and fought against the power-abuse of oppression." (Vinh K. Huynh, Vietnam 1993)^[43]
• "He is the modern minstrel and an extraordinary poet. Because he does it the activist, the gestual, the histrionic way." (Miguel Barnet, Cuba 1993)^[44]
• "The Austrian Christian Ide Hintze likes the idea of merging the mundane with the spiritual, the female with the male, the avandgardist with the traditional, the oriental with the occidental, the characters of the alphabet with the new signs of the electronic world." (La Capital, Argentina 1996)^[45]
• "Christian Ide Hintze thrilled the audience at the international Novi Sad literature festival with his unusual performance. Hintze spoke poems, danced on stage, played a self-made instrument, and introduced a theory." (Vecernje Novosti, Serbia 2008)^[46]
• "Here is, i guess, a complete poet, both in oeuvre and in action." (Henri Chopin, France 1993)^[47]
• "He truly is a cosmopolitan, who seems to be faithful to the idea of poetry as a wide, global phenomenon." (Aleksis Salusjärvi, Finland 2009)^[48]
• "In his per- (or more appropriately) trans-formances he shows in disconcerting and frightening manner how thin the skin of civilisation that we have been given through Enlightenment really is." (Julian Schutting, Austria 2010)^[49]

External links[link]

• Christian Ide Hintze, authorized website: www.ide7fold.net
• Vienna Poetry School: www.sfd.at
• Austrian Independent Film And Video Database: www.filmvideo.at
• Revista Prometeo: Video
• Lyrikline Database: www.lyrikline.org
• World Poetry Movement: www.festivaldepoesiademedellin.org

References[link]