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Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her children, sets her house on fire, and dispossesses Jason of his sons' corpses. But Deuber-Mankowsky argues that it is ultimately not these acts that render the film particularly disturbing and disconcerting, but, rather, the fact that the spectator is left behind in suspension precisely because Medea cannot be easily condemned for her acts. Pasolini's film and its cinematographic aesthetics thereby not only subvert the projection of Medea into the prehistorical world of madness and perversion, but also undermine belief in the validity of the kind of moral rationality developed and constituted in an exemplary way by Immanuel Kant in his "Critique of Practical Reason". In particular, Pasolini seems to relate conceptually to Nietzsche's artistic-philosophical transfiguration of Dionysus and to accuse belief in a world of reasons of failing to grasp the groundlessness, irrationality, or even a-rationality of reason itself.
Im Blick auf seine künstlerische Motivation befragt, warum er eigentlich eine Oper über den frühneuzeitlichen Gelehrten Galileo Galilei komponiert habe, bekennt sich Philip Glass zu einem lebensbegleitenden Interesse und einer anhaltenden Faszination durch Galileis Persönlichkeit, die ihn schon seit frühester Kindheit angezogen und zu eigenen Experimenten angeregt habe. Offensichtlich lässt sich Glass’ Bewunderung für Galilei auf vielfältige Ursachen zurückführen, nicht zuletzt auf kindliche Neugier und Experimentierfreudigkeit. In der Tat spielen in Glass’ Opernkomposition die wissenschaftlich-philosophische Vorstellungskraft und die Kreativität, die den Beruf des Naturwissenschaftlers mit dem des Künstlers verbinden, eine zentrale Rolle. Glass erkundet in seiner Opernkomposition unter anderem, wie die naturwissenschaftliche Neugier, die aufmerksame Beobachtungstätigkeit und konstruktive Hypothesenbildung des Forschers mit dem künstlerischen und ästhetischen Imaginären zusammenhängen und sich wechselseitige Impulse vermitteln können. Diesen Zusammenhang anhand der Figur Galileis beispielhaft auszuloten bildet, wie wir noch sehen werden, das Hauptinteresse des Komponisten. Interessanterweise führt Glass’ Galilei-Oper das ruhelose Erkenntnisinteresse des Forschergeists in einer geschickten entwicklungspsychologischen Durchleuchtung, die der Oper als ‚Stück im Stück’ in Form einer Rückblende eingeschrieben ist, auf eine prägende sowie formative ästhetische Erfahrung im Kindesalter zurück. Wir möchten in unserem Beitrag im Folgenden der Frage nachgehen, was den amerikanischen Komponisten Philip Glass, Ikone der so genannten ‚minimal music’, dazu bewogen haben mag, eine Oper über Galilei zu verfassen und welche dramatischen, musikalischen und ästhetischen Zielsetzungen er dabei im Einzelnen anstrebt bzw. realisiert. Inwiefern, so wäre darüber hinaus zu überlegen, bieten die Musik und die Oper der Gegenwart ein geeignetes Medium für ein zeitgenössisch angemessenes Galilei-Porträt?
Herders Agency
(2012)
Die Titelgebung des vorliegenden Beitrags ist eine wortkarge und durchaus irritierende Formulierung. Wer weiß, ob ein wiedergeborener Herder hier nicht gleich die aktuelle Version von „Gallikomanie“, das fortgeschrittene Stadium des englisch-amerikanischen Sprachimperialismus des anfänglichen 21. Jahrhunderts diagnostizieren und darin ein ihm vertrautes Problem, das eigene Fremde im Fremden des Anderen wiedererkennen würde? Und da würde er bezüglich des Titels eigentlich richtig liegen, geht es hier doch um eine Entfremdung, um die Aufstellung eines hermeneutisch nur bedingt zulässigen Vergleichs eines neueren Kulturkritikers mit einem älteren, oder was noch schlimmer ist, des älteren mit einem neueren - um einen Begriff von Handlungsmacht, agency. Darüber hinaus ist bei dieser Anknüpfung an Herder aus mindestens zwei weiteren Gründen Vorsicht geboten. Zum einen haftet Herders Werk und dessen Rezeptionsgeschichte ein unguter Nachgeschmack an, der den Namen Herder gerade in politischen, ideologiekritischen und auch postkolonialen Diskursen zu einem Label geraten lässt, das die falsche Strategie der Identitätsschaffung bezeichnet. Zum anderen ist der postkoloniale Diskurs auf ein politisches Handeln ausgerichtet, dessen Konsequenz man bei Herder bei noch so großer Anstrengung - schon aus historischen Gründen - nicht zufriedenstellend finden würde. In Bezug auf beide Einwände gilt es also das Gebot zu beherzigen, „jede Form der politischen Aktualisierung im Interesse Herders mit äußerster Vorsicht und geschärftestem Blick für historische Differenzen aufzunehmen.“ Die Rettung ist im vorliegenden Zusammenhang just aus dem unerlässlichen hermeneutischen Bewusstsein zu holen, dass die Beachtung der genannten Differenz, die Bewahrung einer Differenz zwischen „Nachahmung“ und „Nacheiferung“, wie Herder sagen würde, die produktive Aneignung des älteren Kulturkritikers im Kontext des neueren nicht nur vorstellbar und sinnvoll macht, aber auch zu beherzigende Resultate für die Lektüre beider Autoren verspricht.
'[C]ulture as text' initially proved to be a pivotal bridging metaphor between cultural anthropology and literary studies. Following an admittedly ambivalent career path, the concept of 'culture as text' has nevertheless continued to rise and has become an over-determined general principle, an emphatic key metaphor, even an overall "programmatic motto for the study of culture" […]. At first, this concept was still closely connected to ethnographic research and to the semiotic framework of interpretive cultural anthropology. However, since the end of the 1990s it has been utilised to encompass a much broader interdisciplinary horizon for the study of culture. 'Culture as text' advanced from being a conceptual metaphor for the condensation of cultural meanings to a rather free-floating formula frequently referred to in analyses within disciplines involved in the study of culture. Surprisingly, 'culture as text' has remained a consistent key phrase throughout the discourses concerned with the study of culture—even after the culture debate had long since turned away from the holistic understanding of culture implied by the formula.
Verbal storytelling – in a sense broad enough to include all forms from casual conversation across oral folklore to written literature – seems to be a universal human activity and has thus been considered an evolutionary adaptation several times in the past few years. The fact that a particular trait is a species-wide universal, however, does not automatically make it an adaptation; it could also be a contingent universal, that is, a cultural behavior which notably relies on biological substrates and therefore emerges in similar fashions in all human cultures, times, and milieus. Yet verbal storytelling is not only universal but also distinct to our species. The uniqueness of a trait can indeed be indicative of a biological adaptation1 in that we have reason to assume that this trait emerged newly in the given animal lineage and thus might owe its existence to the process of natural selection. However, since verbal storytelling completely depends on language, that is, another uniquely human faculty, the uniqueness of storytelling is hardly surprising and cannot serve as a conclusive argument for considering storytelling itself to be a specifically selected trait. Storytelling could simply be a particular use of language (though we shall see below that the relationship between language and narration is a little more complicated). A third possible indication of a biological adaptation, however, is the fact that storytelling seems to be a notably self-rewarding activity. It occurs on a much larger scale than would seem justified by rational choice or other reasons. As fitness-enhancing behaviors should, as a rule, be intrinsically motivated under certain conditions, the unusually high frequency of storytelling might indeed be revealing of an innate preference for this behavior.
Management Summary: Conducted within the project “Economic Implications of New Models for Information Supply for Science and Research in Germany”, the Houghton Report for Germany provides a general cost and benefit analysis for scientific communication in Germany comparing different scenarios according to their specific costs and explicitly including the German National License Program (NLP).
Basing on the scholarly lifecycle process model outlined by Björk (2007), the study compared the following scenarios according to their accounted costs:
- Traditional subscription publishing,
- Open access publishing (Gold Open Access; refers primarily to journal publishing where access is free of charge to readers, while the authors or funding organisations pay for publication)
- Open Access self-archiving (authors deposit their work in online open access institutional or subject-based repositories, making it freely available to anyone with Internet access; further divided into (i) CGreen Open Access’ self-archiving operating in parallel with subscription publishing; and (ii) the ‘overlay services’ model in which self-archiving provides the foundation for overlay services (e.g. peer review, branding and quality control services))
- the NLP.
Within all scenarios, five core activity elements (Fund research and research communication; perform research and communicate the results; publish scientific and scholarly works; facilitate dissemination, retrieval and preservation; study publications and apply the knowledge) were modeled and priced with all their including activities.
Modelling the impacts of an increase in accessibility and efficiency resulting from more open access on returns to R&D over a 20 year period and then comparing costs and benefits, we find that the benefits of open access publishing models are likely to substantially outweigh the costs and, while smaller, the benefits of the German NLP also exceed the costs.
This analysis of the potential benefits of more open access to research findings suggests that different publishing models can make a material difference to the benefits realised, as well as the costs faced. It seems likely that more Open Access would have substantial net benefits in the longer term and, while net benefits may be lower during a transitional period, they are likely to be positive for both ‘author-pays’ Open Access publishing and the ‘over-lay journals’ alternatives (‘Gold Open Access’), and for parallel subscription publishing and self-archiving (‘Green Open Access’). The NLP returns substantial benefits and savings at a modest cost, returning one of the highest benefit/cost ratios available from unilateral national policies during a transitional period (second to that of ‘Green Open Access’ self-archiving). Whether ‘Green Open Access’ self-archiving in parallel with subscriptions is a sustainable model over the longer term is debateable, and what impact the NLP may have on the take up of Open Access alternatives is also an important consideration. So too is the potential for developments in Open Access or other scholarly publishing business models to significantly change the relative cost-benefit of the NLP over time.
The results are comparable to those of previous studies from the UK and Netherlands. Green Open Access in parallel with the traditional model yields the best benefits/cost ratio. Beside its benefits/cost ratio, the meaningfulness of the NLP is given by its enforceability. The true costs of toll access publishing (beside the buyback” of information) is the prohibition of access to research and knowledge for society.
The results of the microscopic transport calculations of -nucleus interactions within a GiBUU model are presented. The dominating mechanism of hyperon production is the strangeness exchange processes → γπ and → ΞK. The calculated rapidity spectra of Ξ hyperons are significantly shifted to forward rapidities with respect to the spectra of S = −1 hyperons. We argue that this shift should be a sensitive test for the possible exotic mechanisms of -nucleus annihilation. The production of the double Λ-hypernuclei by Ξ− interaction with a secondary target is calculated.
Aim: Ventilation with pure oxygen (hyperoxic ventilation: HV) is thought to decrease whole body oxygen consumption (VO(2)). However, the validity and impact of this phenomenon remain ambiguous; until now, under hyperoxic conditions, VO(2) has only been determined by the reverse Fick principle, a method with inherent methodological problems. The goal of this study was to determine changes of VO(2), carbon dioxide production (VCO(2)), and the respiratory quotient (RQ) during normoxic and hyperoxic ventilation, using a metabolic monitor.
Methods: After providing signed informed consent and institutional acceptance, 14 healthy volunteers were asked to sequentially breathe room air, pure oxygen, and room air again. VO(2), VCO(2), RQ, and energy expenditure (EE) were determined by indirect calorimetry using a modified metabolic monitor during HV.
Results: HV reduced VO(2) from 3.4 (3.0/4.0) mL/kg/min to 2.8 (2.5/3.6) mL/kg/min (P < 0.05), whereas VCO(2) remained constant (3.0 [2.6/3.6] mL/kg/min versus 3.0 [2.6/3.5] mL/kg/min, n.s.). After onset of HV, RQ increased from 0.9 (0.8/0.9) to 1.1 (1.0/1.1). Most changes during HV were immediately reversed during subsequent normoxic ventilation.
Conclusion: HV not only reduces VO(2), but also increases the respiratory quotient. This might be interpreted as an indicator of the substantial metabolic changes induced by HV. However, the impact of this phenomenon requires further study.
In diesem Beitrag gehe ich der Frage nach, welche Bedeutung der Herkunft von Autorinnen und Autoren, die in die deutsche Sprache eingewandert sind, im literaturwissenschaftlichen Diskurs, in Rezensionen ihrer Bücher und in biographischen Darstellungen beigemessen wird. Ich nehme dabei sowohl auf ihre Selbstpositionierungen in Essays und Interviews als auch auf die biographischen Darstellungen im Diskurs über sie und ihre Literatur Bezug. Wie wird der Zusammenhang zwischen den jeweiligen Lebensgeschichten und den Texten wahrgenommen und dargestellt? Welche Bedeutung hat ihre Migrationsbiographie für ihre Position im deutschsprachigen literarischen Feld? Letztlich stellt sich dabei die Frage nach den Möglichkeiten, einen transkulturellen bzw. transnationalen literarischen Raum zu schaffen, für den Mehrfachzugehörigkeiten konstitutiv sind und in dem die Herkunft von AutorInnen keine bestimmende Rolle spielt.
Cyber-Mobbing im Web 2.0
(2012)