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Interpretationen verfahren bei längeren literarischen Texten gekonnt selektiv: Sie nehmen bestimmte Stellen wichtig und vernachlässigen andere. Wie verfährt dieser Selektionsprozess und wie müsste eine Interpretationstheorie konzipiert sein, die die Praxis der gekonnten Aufmerksamkeitsfokussierung angemessen berücksichtigt?
Zu Thomas Mann und seiner Familie gab es einen beeindruckenden Film-Dreiteiler im Fernsehen, und es gibt verschiedene Biographien zum Thema. Der Eindruck drängt sich mir förmlich auf, dass es offenbar Menschen gibt, die ihre eigenen Befindlichkeiten (und die anderer) bis ins Detail analysieren können. Und es gibt Leute, die dazu 'keine Zeit' haben, weil sie sich um das tägliche Essen bemühen und um ihre Arbeit kümmern müssen. Es scheinen zwei sehr unterschiedliche Ansichten einer Welt zu sein, die nur sehr bedingt zusammenpassen wollen. Entsprechend kann man salopp zwischen Hoch- und Volksliteratur unterscheiden. Die Methoden Literatur überhaupt zu analysieren und zu interpretieren sind jedoch an der Hochliteratur entwickelt worden, und sie werden unserem Gegenstand von Texten aus mündlicher Überlieferung und in Medien auch außerhalb der Schriftlichkeit nur sehr bedingt gerecht. Wie kann man und wie weit kann man bei Volkslied-Texten trotzdem mit literaturwissenschaftlichen Begriffen umgehen? Solches gilt es zu untersuchen, und mit dieser Fragestellung wollen wir eine Annäherung versuchen.
From opening books to read them, through the continuous effort at opening one's heart to God, to the eventual disclosure of God's mysteries to human beings, Augustine seems to trace an implicit conceptualization of openness in his "Confessions". The words of Matthew 7. 7–8 underlie Augustine's engagement with openness up to the very last sentence of the book, which ends with a sequence of verbs in the passive voice that culminates with the desired manifestation of the divine. The entire endeavour of opening oneself up undertaken in the "Confessions" aims at this final passive openness, which is (always) yet to come as much as human opera are (always) yet to come to completion.
UNFOLD : the strategic importance of reinterpretation for media art mediation and conservation
(2022)
UNFOLD: Mediation by Reinterpretation is a research project and interdisciplinary network initiated by LIMA, Platform for Media Art in Amsterdam, that examines reinterpretation as an emerging practice for artistic production, presentation, and preservation of media works. New elements stretch the boundaries of traditional preservation methods and require insights from both the artist and the curator to decide how pieces can be restaged. This essay investigates how to deal with the changes of digital/media artworks over time, and how to preserve and mediate their performative aspects.
To support the practice of preservation and mediation of video works in the LIMA Collection (Amsterdam), the authors explore the possibilities of reinterpretation as a rather common practice in the performing arts. As a choreographer and a dramaturge, they establish a correlation between reinterpretation and dramaturgy - as a way to deal with non-objective or transitory aspects of the works - and describe their method in relation to the video and performance artist Nan Hoover.
We apply seismic full waveform inversion to SH‐ and Love‐wave data for investigating the near‐surface lithology at an archaeological site. We evaluate the resolution of the applied full waveform inversion algorithm through ground truthing in the form of an excavation and sediment core studies. Thereby, we investigate the benefits of full waveform inversion in comparison with other established methods of near‐surface prospecting in terms of resolution capabilities and interpretation security. The study is performed in a presumed harbour area of the ancient Thracian city of Ainos. The exemplary target is the source of a linear magnetic anomaly oriented perpendicular to the coast, which was found in a previous magnetic gradiometry survey, suggesting a mole. The SH‐wave full waveform inversion recovered a subsurface SH‐wave velocity model with submeter resolution showing lateral and vertical velocity variation between 40 and 150 m/s. To tame the non‐linearity of the full waveform inversion, a sequential inversion of frequency bands has to be combined with time‐windowing in order to separate the Love wave from the reflected SH wavefield. We compare the full waveform inversion results with multichannel analysis of surface waves, standard seismic reflection imaging, electrical resistivity tomography and electromagnetic induction. It turns out that the respective depth sections are correlated to a certain degree with the full waveform inversion results. However, the structural resolution of the other geophysical methods is significantly lower than for the full waveform inversion. An exception is the reflection seismic imaging, which shows the same resolution as full waveform inversion but can only be interpreted together with the full waveform inversion–based velocity model. An archaeological excavation as well as coring data allows ground truthing and a direct understanding of the geophysical structures. The results show that the target was a sort of near‐surface trench of about 3–4 m width and 0.8 m to 1.0 m depth, filled with silty sediment, which differs from the layered surrounding in colour and composition. The ground truthing revealed that only SH‐wave full waveform inversion and seismic reflection imaging could image the trench and sediment structure with satisfying lateral and depth resolution. We emphasize that the velocity distribution from SH‐wave full waveform inversion agrees closely with the excavated subsurface structures, and that the discovered changes in seismic velocity correlate with changes in the sand content in the respective sediment facies sequences. The study demonstrated that SH‐wave full waveform inversion is capable to image structural and lithological changes in the near subsurface at scales as low as 0.5 m, thus providing the high resolution needed for archaeological and geoarchaeological prospection.
Kultur - Sprache - Gewalt
(2018)
Zum Verständnis der Gewalt dürfte der Versuch beitragen, einen prointuitiven, in der Natur der Sache begründeten Begriff zu konstruieren, dessen Wert in seinem erhöhten Erklärungspotenzial liegt. Im vorliegenden Text wird der Versuch vorgenommen, den Begriff "Gewalt" aus drei fundamentalen menschenkonstitutiven Faktoren abzuleiten, der es ermöglicht, die Gewalt aus der Sicht des Betroffenen systematisch zu beschreiben und erklären. In die Erörterungen werden Kultur und Sprache involviert und innerhalb von drei Subthemen - Interpretation und Gewalt, sprachliche Ordnung und Gewalt, soziale Interaktion und Gewalt - wird ihre Einbeziehung in die "Welt der Gewalt" aus besonderen Perspektiven ins Visier genommen.
Patterns and interpretation
(2017)
One thing for sure: digitization has completely changed the literary archive. People like me used to work on a few hundred nineteenth-century novels; today, we work on thousands of them; tomorrow, hundreds of thousands. This has had a major effect on literary history, obviously enough, but also on critical methodology; because, when we work on 200,000 novels instead of 200, we are not doing the same thing, 1,000 times bigger; we are doing a different thing. The new scale changes our relationship to our object, and in fact 'it changes the object itself'.