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In a time when 'internationalization' and 'diversity' have become key areas universities are expected to excel in, it may seem an almost self-evident endeavor to install a memorial for a figure as influential and internationalist as Du Bois, whose connection to the Humboldt University outlasted two ideologically very different political systems. Planned to be positioned in the ground floor of the main building, the memorial, which will start production as soon as the last funding has been secured, reveals an image right at its center that "exist[s] in virtually every student's life and family album, and commonly serve[s] as vehicle[s] of recognition, remembrance and commemoration": the class photograph. What are the main considerations underlying the W. E. B. Du Bois Memorial's concept and design? How has it evolved so far? And what can such a memorial realistically achieve?
Jameson argues that in 'a society bereft of all historicity', 'what used to be the historical novel can no longer set out to represent the historical past'. The 'postmodern fate' of the historical novel is to be forced to come to terms with 'a new and original historical situation in which we are condemned to seek History by way of our own pop images and simulacra of that history, which itself remains forever out of reach. Salman Rushdie's "Midnight's Children" (1981) and Patrick Süskind's "Das Parfum. Die Geschichte eines Mörders" (1984) stand out as two hugely successful novels from this period that raise questions about historical representation within the space of the popular. They might therefore be used as test cases for Jameson's concerns. "Midnight's Children" is a sprawling story of Indian and British imperial and post-imperial history across the twentieth century. "Das Parfum" tells the tightly framed tale of a murderous perfumer in eighteenth-century France. Seemingly very different texts, they bear one curious similarity: both feature a protagonist with an unusually sensitive sense of smell.
The conference "Kunst und Gebrechen" ("Art and Defects"), which was scheduled from March 19th to March 21st and then postponed due to Covid-19, finally took place from November 5th through to November 7th. [...] The conference had a clear biographical focus: Most of the fourteen presentations sought to disentangle the influence any clear "defects" artists might have had on their work or their reception. Of course, this already poses a problem that many of the speakers addressed: the idea of "defects" presupposes a teleological norm, be it physical, mental or concerning age or gender, from which it is possible to deviate. A defect is a defect first and foremost in the eye of the beholder and, as Manfred Kern mentioned in his introduction, it can be seen not just as an impediment, but as a catalyst for artistic expression, too.
"A groundbreaking decision"
(2018)
Three-taxon statement analysis (3TA) is a method that may help to formalize the taxonomical intuition of the synapomorphy of the clade as a combination of its diagnostic traits, even if each trait, if taken separately, may be found in one or many other taxa of the same relationship. Using example based on the real morphological data, we are showing that 3TA can recognize clade in case of the complete lack of it synapomorphies, as optimized under the criterion of standard parsimony.