Refine
Year of publication
- 2022 (1717) (remove)
Document Type
- Article (1036)
- Preprint (205)
- Doctoral Thesis (134)
- Working Paper (111)
- Part of a Book (101)
- Part of Periodical (61)
- Conference Proceeding (53)
- Book (4)
- Master's Thesis (4)
- Review (3)
Language
- English (1717) (remove)
Is part of the Bibliography
- no (1717)
Keywords
- taxonomy (90)
- new species (37)
- morphology (22)
- COVID-19 (21)
- biodiversity (19)
- Reenactment (15)
- distribution (11)
- Performance <Künste> (10)
- inflammation (9)
- phylogeny (9)
Institute
- Medizin (402)
- Physik (285)
- Frankfurt Institute for Advanced Studies (FIAS) (150)
- Wirtschaftswissenschaften (130)
- Biowissenschaften (121)
- Informatik (112)
- Sustainable Architecture for Finance in Europe (SAFE) (112)
- Biochemie, Chemie und Pharmazie (86)
- Center for Financial Studies (CFS) (79)
- House of Finance (HoF) (69)
The ways in which Self and Other are represented in fiction play a significant role in the formation of racial and other stereotypes in any culture. This article is a reading of the children's book "The Brave Rabbit in Africa" (1931) by Slovak modernist author Jozef Cíger-Hronský. It attempts to point out and analyse the ways in which racial and national identities are constructed in the written text of the book. Arguably, the story deploys colonialist motifs typical of Western literature in order to appraise the modern, civilized identity of the young Slovak nation.
In "'Preventing Malicious and Wanton Cruelty to Animals': Historical Animal Welfare and Animal Rights Education," Andreas Hübner outlines future historical animal welfare and animal rights education, sketching concepts and themes such as animal agency and historicity as well as the relational, spatial, and material practices employed between humans and animals. Hübner then historicizes present-day attitudes toward anthropocentricism and discusses educational and learning processes that (can) help to overcome human-animal dichotomies in the history classroom. Hübner presents subject-specific recommendations for critically integrating topics into future curricula and shows that it is possible to teach in a way that acknowledges the role of nonhuman actors. He thereby challenges conventional human-centered narratives of historical learning.
The book deals with a comprehensive constellation of narrative and visual, often counterposed representations of the causes, course, and results of the assault on the Palace of Justice of Colombia by a guerrilla commando and the immediate counterattack launched by state security forces on November 6, 1985, as well as with the local memorial traditions in which the production, circulation and reproduction of these representations have taken place between 1985 and 2020. The research on which it is based was grounded in the method and perspective of classical anthropology, in as much as qualitative fieldwork and the search for the perspective of the actors involved have played a central role. Within that context, memory entrepreneurs belonging to diverse sectors, from the far-right to the human rights movement, were followed through multisited fieldwork in various locations of Colombia, as well as in various countries of America and Europe. The analyses of fieldwork data, documental sources, and visual representations that constitute the core of the argument are framed in the field of memory studies and mainly based on theoretical and methodological resources from Pierre Bourdieu’s Field Theory, Jeffrey Alexander’s theory of social trauma, and Ernst Gombrich’s characterization of iconological analysis.
The book is composed of four chapters preceded by an introduction and followed by the conclusions and documental appendices, and substantiates three main theses. The first is that the Palace of Justice events were a radio- and television-broadcasted dispersed tragedy that affected the lives of actors from different social sectors and regions of Colombia, who have launched since 1985 multiple memorial initiatives in different fields of culture, thereby contributing to the formation and intergenerational transmission of a widespread cultural trauma. The second is that the narrative and visual representations at the core of that trauma express a vast universe of local representational traditions that can be traced at least until the early 20th century, and therefore preexists the so-called Colombian “memory boom”, dated to the mid-1990s. As an example of the preexistence and longstanding impact of these traditions, the local usage of the figure of “holocaust” for representing the effects of politically motivated violence is analyzed regarding the Palace of Justice events, but also traced to other representations emerged in the decade of 1920. The third thesis is that analyzing the diverse, frequently counterposed accounts of political violence elaborated within these traditions provides an opportunity to explore a wide variety of understandings of the causes and characteristics of the longstanding Colombian social and armed conflict.
Keywords: Political violence, Cultural trauma, Collective Memory, Iconology, Holocaust, Colombia.
Taking her cue from Margo de Mello's "Teaching the Animal", Maria Moss employs a hands-on, didactic approach to teaching human-animal studies (THAS), introducing texts that she has used in her seminars in the past - from philosophical background materials and sociological surveys to novels, short stories, and poems. In her article, "'The skin and fur on your shoulders': Teaching the Animal Turn in Literature," Moss uses texts that "look at the animals from inside out," ending with a discussion of SF and chimp fiction. From James Lever's "Me Cheetah" to George Saunders's story "Fox 8", she focuses on animal agency within the narrative form, presenting texts that feature animals as narrators. Once we acknowledge that notions of language, cognition, and thinking about the future are no longer limited to human narrators and that "storying" is no longer specific to humans, Moss writes, interspecies storied imaginings mark one possible alternative to the long history of human dominance and exceptionalism - not just in life, but in literature, too.
The article re-examines the relationship between the works of Alfred Schütz and Harold Garfinkel, focusing on their respective approaches to temporality in interaction. Although there are good reasons to emphasize the differences between Schütz’s notion of individual projects of action and Garfinkel’s interest in communicative sequencing, there is also an interesting historical connection. In order to elucidate this connection, the article provides a close reading of the steps that lead Schütz from his premise of ‘egological’ time consciousness to his understanding of the reflexive and interactive process of meaning establishment and interpretation developed in his first book, The Phenomenology of the Social World (1967 [1932]). The article reflects further upon which aspects of Schütz’s considerations resonated with Garfinkel in his formative years and how Garfinkel related to them variously in his later development of ethnomethodology. Hence, it appears that Garfinkel’s ethnomethodology successively departs from many of Schütz’s premises while simultaneously incorporating and further developing some of his notions on the sequential organization and temporal flux of interactive processes.
This article contributes to the European history of musical nationalism with regard to operatic debates in the eighteenth century. The investigation reveals that within operatic debates national categories were used for all levels of the multimedia genre of opera: music, text, composer, and actor. Moreover, the relationship between national character and national taste was a highly critical point: there was general agreement that only outstanding aesthetic abilities enable composers to go beyond their own particular national character. Only in this respect could aesthetic abilities stand above national taste, which was said to be shaped by national character.
Italy has experienced a high number of earthquakes. However, the identity of "the Italians" has not yet been defined by their "landscape of wounds." Referring to an earthquake in central Italy (Amatrice) in August 2016, the French satirical magazine Charlie Hebdo published a controversial caricature of two wounded Italians standing alongside the "Lasagnes," a pile of bodies layered like the well- known Italian pasta dish. By analysing the caricature's text, intertext, and context, while drawing on imagology and geopoetics, this article aims to show how earthquakes are linked to Italian cultural stereotypes and national identity.
A sense of repetition pervades contemporary South African political and cultural debate. Several recent studies have drawn attention to the fact that the renewed student protests since March 2015 parallel several features of the resistance and liberation movements of the 1970s and 1980s. At a pivotal position between the two moments of political struggle stands the 'miracle' of the peaceful transition in 1994. Within this set of circumstances a group of curators, artists, and writers, Gabi Ngcobo and Kemang Wa Lehulere, amongst others, formed a collective under the name CHR (Center for Historical Reenactments) in Johannesburg in 2010. The CHR has pursued several questions that interrogate the complexity of a shared memory bridging segregated Apartheid legacy: how do readings of the past inform contemporary urgencies, and what are the political potentials of artistic interpretations of histories? How do they participate in the formation of new subjectivities?
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.
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls 'political-timing-specific' artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives.
The reactivation of Rudi Fuchs' 1983 exhibition 'Summer Display' took place in 2009 as part of the collection series, 'Play van Abbe part 1: The Game and the Players', and was entitled 'Repetition: Summer Display 1983'. The reconstruction questioned the codes and systems used within (but also consciously and unconsciously outside) the museum and raised several questions, including: what story did the original composers want to tell, and how can this piece of history be understood today? Is the new presentation a separate exhibition entirely or a copy of the 'original' one? What is then the difference between the idea of copy, repetition, and reenactment? And what is the role of the museum's archive in the process of restaging? What can curatorial institutional archives tell us about the museum itself?
The principles of ERRANS are introduced by considering two radically different contexts: Within academic publishing, the literary form of the edited collection is as common as it is denigrated and rarely reflected upon. The account being offered (within an edited collection) seeks to not only reinterpret the status of the genre, but argues in favor of a curatorial errancy within scholarly communication. Yet errancy has also become a crucial touchstone in management and leadership studies, whether as 'disruptive innovation' or 'VUCA (volatility, uncertainty, complexity, ambiguity) worlds', inviting a different consideration of the relationship between capitalism and its political and artistic critiques than the one offered by Luc Boltanski and Ève Chiapello - one which does not consider itself untouched by the errant logics it discerns in its 'subjects'.
What is an exilic law? The Talmud was itself located 'in exile' without ever being considered 'exilic': the self-representation of the Talmud is consistent with the idea that Jewish law might be redacted in diaspora but is still centred on the Temple of Jerusalem. Yet the Zohar offers a unique representation of Jewish law as a central legal product and a metaphysically exiled reality. Hence, Jewish law has not only been born 'in exile' but also has an 'exilic' nature. An exilic law, then, is a tenebrous 'path' that inverts the 'moral ways' of Jewish law, as it departs from the 'exilic centre' of Babylon and installs a 'non-exilic centre' on Mount Moria, where Isaac was almost sacrificed and the Temple of Jerusalem was erected. When Scripture is brought out in an 'exodus', it departs from the solid terrain of an 'exilic law' and radicalizes the event of Abraham's being called to sacrifice his own son by producing a notable inversion of the notion of 'literal sense'. And yet this 'literal sense' that has always been there had almost been neglected, just like a 'purloined letter' - in every sense of the expression.
State security archives in Eastern Europe are shedding new light on the operative practices of the secret services and their interaction with performance art. Surveillance, tracking, undermining, disruption, writing of reports, and measure plans were different operative methods to be carried out in continuous repetitive processes. This paper argues that, through these repetitive working processes, state security agencies were permanently engaged in different forms of reenactments: of orders, legends, report writing, and inventing measure plans. With this operative reenactment, state security agencies not only tried to track down facts but also created 'fake facts' serving their agenda. These 'fake-facts' were then again repeated and reenacted by informants endlessly to be 'effective' in the surveillance and elimination of performance art.
In recent years, critics and art historians have pointed to an 'educational turn', a rise in participatory pedagogical art projects and artist-led experimental schools. This essay considers artist-led projects and museum programmes that restage or reenact educational experiments from the past, analysing their limits and possibilities in the study and presentation of modern art history. Much like performance art, pedagogy is ephemeral and contingent, and yet it differs in that it does not establish a fixed spectatorial role. To be understood it must be participated in, for, as Josef Albers described his teaching, 'we are gathering experience'.
We collect data on the size distribution of all U.S. corporate businesses for 100 years. We document that corporate concentration (e.g., asset share or sales share of the top 1%) has increased persistently over the past century. Rising concentration was stronger in manufacturing and mining before the 1970s, and stronger in services, retail, and wholesale after the 1970s. Furthermore, rising concentration in an industry aligns closely with investment intensity in research and development and information technology. Industries with higher increases in concentration also exhibit higher output growth. The long-run trends of rising corporate concentration indicate increasingly stronger economies of scale.
1H, 13C and 15N chemical shift assignment of the stem-loops 5b + c from the 5′-UTR of SARS-CoV-2
(2022)
The ongoing pandemic of the respiratory disease COVID-19 is caused by the SARS-CoV-2 (SCoV2) virus. SCoV2 is a member of the Betacoronavirus genus. The 30 kb positive sense, single stranded RNA genome of SCoV2 features 5′- and 3′-genomic ends that are highly conserved among Betacoronaviruses. These genomic ends contain structured cis-acting RNA elements, which are involved in the regulation of viral replication and translation. Structural information about these potential antiviral drug targets supports the development of novel classes of therapeutics against COVID-19. The highly conserved branched stem-loop 5 (SL5) found within the 5′-untranslated region (5′-UTR) consists of a basal stem and three stem-loops, namely SL5a, SL5b and SL5c. Both, SL5a and SL5b feature a 5′-UUUCGU-3′ hexaloop that is also found among Alphacoronaviruses. Here, we report the extensive 1H, 13C and 15N resonance assignment of the 37 nucleotides (nts) long sequence spanning SL5b and SL5c (SL5b + c), as basis for further in-depth structural studies by solution NMR spectroscopy.
Nodular lymphocyte-predominant Hodgkin lymphoma (NLPHL) can show variable histological growth patterns and present remarkable overlap with T-cell/histiocyte-rich large B-cell lymphoma (THRLBCL). Previous studies suggest that NLPHL histological variants represent progression forms of NLPHL and THRLBCL transformation in aggressive disease. Since molecular studies of both lymphomas are limited due to the low number of tumor cells, the present study aimed to learn if a better understanding of these lymphomas is possible via detailed measurements of nuclear and cell size features in 2D and 3D sections. Whereas no significant differences were visible in 2D analyses, a slightly increased nuclear volume and a significantly enlarged cell size were noted in 3D measurements of the tumor cells of THRLBCL in comparison to typical NLPHL cases. Interestingly, not only was the size of the tumor cells increased in THRLBCL but also the nuclear volume of concomitant T cells in the reactive infiltrate when compared with typical NLPHL. Particularly CD8+ T cells had frequent contacts to tumor cells of THRLBCL. However, the nuclear volume of B cells was comparable in all cases. These results clearly demonstrate that 3D tissue analyses are superior to conventional 2D analyses of histological sections. Furthermore, the results point to a strong activation of T cells in THRLBCL, representing a cytotoxic response against the tumor cells with unclear effectiveness, resulting in enhanced swelling of the tumor cell bodies and limiting proliferative potential. Further molecular studies combining 3D tissue analyses and molecular data will help to gain profound insight into these ill-defined cellular processes.
Murine acetaminophen-induced acute liver injury (ALI) serves as paradigmatic model for drug-induced hepatic injury and regeneration. As major cause of ALI, acetaminophen overdosing is a persistent therapeutic challenge with N-acetylcysteine clinically used to ameliorate parenchymal necrosis. To identify further treatment strategies that serve patients with poor N-acetylcysteine responses, hepatic 3′mRNA sequencing was performed in the initial resolution phase at 24 h/48 h after sublethal overdosing. This approach disclosed 45 genes upregulated (≥5-fold) within this time frame. Focusing on C5aR1, we observed in C5aR1-deficient mice disease aggravation during resolution of intoxication as evidenced by increased liver necrosis and serum alanine aminotransferase. Moreover, decreased hepatocyte compensatory proliferation and increased caspase-3 activation at the surroundings of necrotic cores were detectable in C5aR1-deficient mice. Using a non-hypothesis-driven approach, herein pro-regenerative/-resolving effects of C5aR1 were identified during late acetaminophen-induced ALI. Data concur with protection by the C5a/C5aR1-axis during hepatectomy and emphasize the complex role of inflammation during hepatic regeneration and repair.