Latin Roman
Type	Alphabet
Languages	Latin, Romance languages, Germanic languages, many others
Time period	~700 BC–present
Parent systems	Egyptian hieroglyphs Proto-Sinaitic Phoenician alphabet Greek alphabet Etruscan alphabet Latin Roman
Child systems	Numerous: see Alphabets derived from the Latin
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.

Latin script, or Roman script, is a writing system based on the letters of the classical Latin alphabet and extended forms thereof. It is used as the standard method of writing most Western and Central European languages, as well as many languages from other parts of the world. Latin script is the basis for the largest number of alphabets of any writing system,^[1] and is also the basis of the International Phonetic Alphabet. The 26 most widespread letters are the letters contained in the ISO basic Latin alphabet.

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.

With the spread of Western Christianity during the Middle Ages, the Latin alphabet was gradually adopted by the peoples of northern Europe who spoke Celtic languages (displacing the Ogham alphabet) or Germanic languages (displacing earlier Runic alphabets) or Baltic languages, as well as by the speakers of several Uralic languages, most notably Hungarian, Finnish and Estonian. The script also came into use for writing the West Slavic languages and several South Slavic languages, as the people who spoke them adopted Roman Catholicism. The speakers of East Slavic languages generally adopted Cyrillic along with Orthodox Christianity. The Serbian language uses both scripts, with Cyrillic predominating in official communication and Latin elsewhere.^{[citation needed]}

As late as 1500, the Latin script was limited primarily to the languages spoken in Western, Northern, and Central Europe. The Orthodox Christian Slavs of Eastern and Southeastern Europe mostly used Cyrillic, and the Greek alphabet was in use by Greek-speakers around the eastern Mediterranean. The Arabic script had widespread within Islam, both among Arabs and non-Arab nations like the Iranians, Indonesians, Malays, and Turkic peoples. Most of the rest of Asia used a variety of Brahmic alphabets or the Chinese script.

The distribution of the Latin script. The dark green areas shows the countries where a Latin alphabet is the sole main script. Light green shows countries where Latin co-exists with other scripts. Latin alphabets are sometimes extensively used in areas coloured grey due to the use of unofficial second languages, such as French in Algeria and English in Egypt, and to Latin transliteration of the official script, such as pinyin in China.

Over the past 500 years, the Latin script has spread around the world, to the Americas, Oceania, and parts of Asia, Africa, and the Pacific with European colonization, along with the Spanish, Portuguese, English, French, Swedish and Dutch languages. It is used for many Austronesian languages, including the languages of the Philippines and the Malaysian and Indonesian languages, replacing earlier Arabic and indigenous Brahmic alphabets. Latin letters served as the basis for the forms of the Cherokee syllabary developed by Sequoyah; however, the sound values are completely different.

In the late nineteenth century, the Romanians adopted a Latin alphabet, primarily because Romanian is a Romance language. The Romanians were predominantly Orthodox Christians, and their Church had promoted Cyrillic prior to that.

Under French rule and Portuguese missionary influence, a Latin alphabet was devised for the Vietnamese language, which had previously used Chinese characters.

In 1928, as part of Kemal Atatürk's reforms, Turkey adopted a Latin alphabet for the Turkish language, replacing an Arabic alphabet. Most of Turkic-speaking peoples of the former USSR, including Tartars, Bashkirs, Azeri, Kazakh, Kyrgyz and others, used the Latin-based Uniform Turkic alphabet in the 1930s, but in the 1940s all were replaced by Cyrillic. After the collapse of the Soviet Union in 1991, several of the newly independent Turkic-speaking republics, namely Azerbaijan, Uzbekistan, and Turkmenistan, as well as Romanian-speaking Moldova, officially adopted Latin alphabets for their languages. Kyrgyzstan, Tajikistan, and the breakaway region of Transnistria kept the Cyrillic alphabet, chiefly due to their close ties with Russia. In the same period of the 1930s and 1940s, the majority of Kurds replaced the Arabic script with two Latin alphabets. Although the only official Kurdish government uses an Arabic alphabet for public documents, the Latin Kurdish alphabet remains widely used throughout the region by the majority of Kurdish-speakers.

Extensions[link]

In the course of its use, the Latin alphabet was adapted for use in new languages, sometimes representing phonemes not found in languages that were already written with the Roman characters. To represent these new sounds, extensions were therefore created, be it by adding diacritics to existing letters, by joining multiple letters together to make ligatures, by creating completely new forms, or by assigning a special function to pairs or triplets of letters. These new forms are given a place in the alphabet by defining an alphabetical order or collation sequence, which can vary with the particular language.

Ligatures[link]

A ligature is a fusion of two or more ordinary letters into a new glyph or character. Examples are ⟨Æ/æ⟩ (from ⟨AE⟩, called "ash"), ⟨Œ/œ⟩ (from ⟨OE⟩, sometimes called "oethel"), the abbreviation ⟨&⟩ (from Latin et "and"), and the German symbol ⟨ß⟩ ("sharp S" or "eszet", from ⟨ſz⟩ or ⟨ſs⟩, the archaic medial form of ⟨s⟩, followed by a ⟨z⟩ or ⟨s⟩).

Wholly new letters[link]

Some examples of new letters to the standard Latin alphabet are the Runic letters wynn ⟨Ƿ/ƿ⟩ and thorn ⟨Þ/þ⟩, and the letter eth ⟨Ð/ð⟩, which were added to the alphabet of Old English. Another Irish letter, the insular g, developed into yogh ⟨Ȝ/ȝ⟩, used in Middle English. Wynn was later replaced with the new letter ⟨w⟩, eth and thorn with ⟨th⟩, and yogh with ⟨gh⟩. Although the four are no longer part of the English or Irish alphabets, eth and thorn are still used in the modern Icelandic and Faroese alphabets.

Some West, Central and Southern African languages use a few additional letters which have a similar sound value to their equivalents in the IPA. For example, Adangme uses the letters ⟨Ɛ/ɛ⟩ and ⟨Ɔ/ɔ⟩, and Ga uses ⟨Ɛ/ɛ⟩, ⟨Ŋ/ŋ⟩ and ⟨Ɔ/ɔ⟩. Hausa uses ⟨Ɓ/ɓ⟩ and ⟨Ɗ/ɗ⟩ for implosives, and ⟨Ƙ/ƙ⟩ for an ejective. Africanists have standardized these into the African reference alphabet.

Digraphs and trigraphs[link]

Main articles: Digraph and Trigraph

A digraph is a pair of letters used to write one sound or a combination of sounds that does not correspond to the written letters in sequence. Examples are ⟨ch⟩, ⟨ng⟩, ⟨rh⟩, ⟨sh⟩ in English, or the ⟨Dutch ij⟩ (note that ⟨ij⟩ is capitalized as ⟨IJ⟩ or the ligature ⟨IJ⟩ and sometimes as the single letter ⟨Y⟩ despite it being a different letter, but never as ⟨Ij⟩, and that it often takes the appearance of a ligature ⟨ij⟩ very similar to the letter ⟨ÿ⟩ in handwriting). A trigraph is made up of three letters, like the German ⟨sch⟩, the Breton ⟨c’h⟩ or the Milanese ⟨oeu⟩. In the orthographies of some languages, digraphs and trigraphs are regarded as independent letters of the alphabet in their own right. The capitalization of digraphs and trigraphs is language-dependent, as only the first letter may be capitalized, or all component letters simultaneously (even for words written in titlecase, where letters after the digraph or trigraph are left in lowercase).

Diacritics[link]

The letter ⟨a⟩ with an acute diacritic.

A diacritic, in some cases also called an accent, is a small symbol which can appear above or below a letter, or in some other position, such as the umlaut sign used in the German characters ⟨ä⟩, ⟨ö⟩, ⟨ü⟩. Its main function is to change the phonetic value of the letter to which it is added, but it may also modify the pronunciation of a whole syllable or word, or distinguish between homographs. As with letters, the value of diacritics is language-dependent.

Collation[link]

Modified letters such as the symbols ⟨å⟩, ⟨ä⟩, and ⟨ö⟩ may be regarded as new individual letters in themselves, and assigned a specific place in the alphabet for collation purposes, separate from that of the letter on which they are based, as is done in Swedish. In other cases, such as with ⟨ä⟩, ⟨ö⟩, ⟨ü⟩ in German, this is not done, letter-diacritic combinations being identified with their base letter. The same applies to digraphs and trigraphs. Different diacritics may be treated differently in collation within a single language. For example, in Spanish the character ⟨ñ⟩ is considered a letter, and sorted between ⟨n⟩ and ⟨o⟩ in dictionaries, but the accented vowels ⟨á⟩, ⟨é⟩, ⟨í⟩, ⟨ó⟩, ⟨ú⟩ are not separated from the unaccented vowels ⟨a⟩, ⟨e⟩, ⟨i⟩, ⟨o⟩, ⟨u⟩.

Romanization[link]

Words from languages natively written with other scripts, such as Arabic or Chinese, are usually transliterated or transcribed when embedded in Latin text or in multilingual international communication, a process termed Romanization.

Whilst the Romanization of such languages is used mostly at unofficial levels, it has been especially prominent in computer messaging where only the limited 7-bit ASCII code is available on older systems. However, with the introduction of Unicode, Romanization is now becoming less necessary. Note that keyboards used to enter such text may still restrict users to Romanized text, as only ASCII or Latin-alphabet characters may be available.

English alphabet[link]

As used in modern English, the Latin alphabet consists of the following characters

In addition, the ligatures ⟨Æ⟩ of ⟨A⟩ with ⟨E⟩ (e.g. "encyclopædia"), and ⟨Œ⟩ of ⟨O⟩ with ⟨E⟩ (e.g. "cœlacanth") may be used, optionally, in words derived from Latin or Greek, and the diaeresis mark is sometimes placed on the letters ⟨o⟩, ⟨i⟩ and ⟨e⟩ (e.g. "coöperate", "naïve" or "preëxisting") to indicate the pronunciation of ⟨oo⟩, ⟨ai⟩ or ⟨ee⟩ as two distinct vowels, rather than a long one. Hyphenation may also be used, to avoid having to type accented characters: "co-operate" or "pre-existing". Outside of professional papers on specific subjects that traditionally use ligatures in loanwords, however, ligatures and diaereses are seldom used in modern English. Note, however, that some fonts for typesetting English contain commonly used ligatures, such as for ⟨tt⟩, ⟨fi⟩, ⟨fl⟩, ⟨ffi⟩, and ⟨ffl⟩. These are not independent letters, but rather allographs.

Latin alphabet and international standards[link]

By the 1960s it became apparent to the computer and telecommunications industries in the First World that a non-proprietary method of encoding characters was needed. The International Organization for Standardization (ISO) encapsulated the Latin alphabet in their (ISO/IEC 646) standard. To achieve widespread acceptance, this encapsulation was based on popular usage. As the United States held a preeminent position in both industries during the 1960s the standard was based on the already published American Standard Code for Information Interchange, better known as ASCII, which included in the character set the 26 x 2 letters of the English alphabet. Later standards issued by the ISO, for example ISO/IEC 10646 (Unicode Latin), have continued to define the 26 x 2 letters of the English alphabet as the basic Latin alphabet with extensions to handle other letters in other languages.

See also[link]

• Romic alphabet
• Leet

References[link]

External links[link]

• Diacritics Project — All you need to design a font with correct accents

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]