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Background: Studies on the development of the nervous system and the musculature of invertebrates have become more sophisticated and numerous within the last decade and have proven to provide new insights into the evolutionary history of organisms. In order to provide new morphogenetic data on opisthobranch gastropods we investigated the neuromuscular development in the nudibranch Aeolidiella stephanieae Valdez, 2005 using immunocytochemistry as well as F-actin labelling in conjunction with confocal laser scanning microscopy (cLSM). Results: The ontogenetic development of Aeolidiella stephanieae can be subdivided into 8 stages, each recognisable by characteristic morphological and behavioural features as well as specific characters of the nervous system and the muscular system, respectively. The larval nervous system of A. stephanieae includes an apical organ, developing central ganglia, and peripheral neurons associated with the velum, foot and posterior, visceral part of the larva. The first serotonergic and FMRFamidergic neural structures appear in the apical organ that exhibits an array of three sensory, flask-shaped and two non-sensory, round neurons, which altogether disappear prior to metamorphosis. The postmetamorphic central nervous system (CNS) becomes concentrated, and the rhinophoral ganglia develop together with the anlage of the future rhinophores whereas oral tentacle ganglia are not found. The myogenesis in A. stephanieae begins with the larval retractor muscle followed by the accessory larval retractor muscle, the velar or prototroch muscles and the pedal retractors that all together degenerate during metamorphosis, and the adult muscle complex forms de novo. Conclusions: Aeolidiella stephanieae comprises features of the larval and postmetamorphic nervous as well as muscular system that represent the ground plan of the Mollusca or even the Trochozoa (e. g. presence of the prototrochal or velar muscle ring). On the one hand, A. stephanieae shows some features shared by all nudibranchs like the postmetamorphic condensation of the CNS, the possession of rhinophoral ganglia and the lack of oral tentacle ganglia as well as the de novo formation of the adult muscle complex. On the other hand, the structure and arrangement of the serotonergic apical organ is similar to other caenogastropod and opisthobranch gastropods supporting their sister group relationship.
Do you know what I think? asks Adrian Leverkuehn. "Musik ist die Zweideutigkeit als System." Music is Janus-faced by its very nature. It can move and paralyze. "What passion cannot music raise and quell," exclaims John Dryden in his Song for St. Cecilia's Day, 1687. Music is an expert in the use of opiates, asserts Settembrini in The Magic Mountain, and Nietzsche speaks of her dual, intoxicating and befogging, nature. Shakespeare's Desdemona "will sing the savageness out of a bear" (IV, i) and the merchants in Novalis' Heinrich von Ofterdingen tell the story of another Orpheus whose song so charms a sea "monster" that it saves the singer's life and returns his treasure to him. John Dryden's Thimotheus "to his breathing flute and sounding lyre, could swell the soul to rage, or kindle soft desire" (Alexander's Feast, 1697). "Musica Consolatrix" and "Musica Tremenda". She is the "Mysterium tremendum et fascinosum" in Kleist's novella about the power of music. While English late 17th and early 18th century literature offers a particularly rich harvest of poetry celebrating the contradictory qualities, or effects, of music, there is in fact testimony to this at all stages of our tradition.
Music
(2010)
The musical ending [of Goethe's Novelle] recalls the fascination with "music as metaphor", "the power of music", among recent and contemporary poets from Pope and Dryden and Collins to E.T.A. Hoffmann and Kleist and, of course to Goethe himself. Music saves Faust's life on Easter morning at the end of a dreadful night, and we'll encounter a similar role of music in his Trilogie der Leidenschaft which we'll read in this context.
A single mother and her grown children. A team now. The fathers have come and gone and are barely remembered. These are her children. By contrast, Matthew (27; 56) identifies an anonymous woman as "the mother of Zebedee's children." We'll talk about it, for what it may mean. More important is the fact that this group is headed by a dominant female. Let's see if it makes a difference. Demian, as you'll remember, was the product of matriarchy, as it were, and seemed to be none the worse for it. It wasn't even worth mentioning. Fifty years later, Edgar Wibeau of Plenzdorf's The New Sorrows of Young W. (1972), a modern version of Goethe's bestselling novel Werther written 200 years earlier, and one of the most brilliant pieces of theatre post-Brecht, does find it worth mentioning. He is "sick & tired" of being paraded as living proof that "a single mother can successfully raise a male."
At the beginning of The Judgment, we find Georg Bendemann, who has just finished a letter to his friend in Russia, reliving once more the agonizing decision to write the letter in the first place. The decision had not been easy. Like many of Kafka's characters, Georg Bendemann is obsessed with the idea of analysis, with the painstaking exploration of all sides of a given issue. "What could one write to such a man without hurting him?" had been the question. "On the other hand, by writing only casual gossip or not at all one would doubtless increase the friends isolation" had been the counter-argument. What follows now is an exercise in looking at alternatives that spawn new alternatives that leaves the reader dazzled. Each conclusion is in turn explored to its possible opposite implications, which are in turn qualified, which leads to more questions followed by more partial conclusions plus qualifications thereof. The process could continue ad infinitum, in fact, has gone on for years--we are merely presented with a condensed version of it.
Wozu Dichter?
(2010)
Goethe's Tasso is no "Dichter in duerftiger Zeit." He is rather duerftig himself, unbalanced and impulsive in the extreme. In fact, in an annoyed moment, the diplomat Antonio sees him as a useless and pampered brat and undiplomatically says so, triggering a fateful sequence of events that generate a seemingly unstoppable momentum.
The house of Tantalus
(2010)
The tentative title of my presentation is GENDER AMBIVALENCE (AMBIGUITY?) and deals with Renaissance iconography in Thomas Mann's Death in Venice. It will show that homosexual attraction, although obvious in the story (and Mann's life) is a secondary issue and that the main concern lies with the problem provided by an aesthetic principle. (Parallel narratives, the plot is not the real/only story).