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Nachwort
(2008)
In den letzten drei Jahrzehnten expandierten Supermarktketten aus dem Globalen Norden in Länder des Globalen Südens. Insbesondere Länder mit einem raschen wirtschaftlichen Wachstum und damit neuen Marktpotentialen waren dabei Expansionsziele. Zugleich zeigt sich innerhalb der Länder des Globalen Südens eine Ausbreitung von regionalen Supermarktketten. Mittlerweile gehört frisches Obst und Gemüse fast immer zum Sortiment dieser Einzelhandelsunternehmen.
Bisher untersuchte eine Reihe von Studien die Auswirkungen der Kooperation mit den Einzelhändlern auf die landwirtschaftlichen Produzierenden. Weniger ist dagegen bekannt, welche Liefersysteme und Intermediäre für die Verbindung zwischen landwirtschaftlichen Produzierenden und Supermarktketten in Ländern des Globalen Südens bestehen und sich entwickeln. Insbesondere für leicht verderbliche Frischeprodukte (Obst und Gemüse) ist die Herausbildung dieser Intermediäre eine große Herausforderung. Die vorliegende Studie betrachtet den Zusammenhang zwischen der räumlichen und zeitlichen Ausbreitung von Supermärkten und der Etablierung von Liefersystemen sowie Intermediären am Beispiel von Kenia und Tansania.
Natural walking in virtual reality games is constrained by the physical boundaries defined by the size of the player’s tracking space. Impossible spaces, a redirected walking technique, enlarge the virtual environment by creating overlapping architecture and letting multiple locations occupy the same physical space. Within certain thresholds, this is subtle to the player. In this paper, we present our approach to implement such impossible spaces and describe how we handled challenges like objects with simulated physics or precomputed global illumination.
Immersive virtual environments provide users with the opportunity to escape from the real world, but scripted dialogues can disrupt the presence within the world the user is trying to escape within. Both Non-Playable Character (NPC) to Player and NPC to NPC dialogue can be non-natural and the reliance on responding with pre-defined dialogue does not always meet the players emotional expectations or provide responses appropriate to the given context or world states. This paper investigates the application of Artificial Intelligence (AI) and Natural Language Processing to generate dynamic human-like responses within a themed virtual world. Each thematic has been analysed against humangenerated responses for the same seed and demonstrates invariance of rating across a range of model sizes, but shows an effect of theme and the size of the corpus used for fine-tuning the context for the game world.
Modern immersive multimodal technologies enable the learners to completely get immersed in various learning situations in a way that feels like experiencing an authentic learning environment. These environments also allow the collection of multimodal data, which can be used with artificial intelligence to further improve the immersion and learning outcomes. The use of artificial intelligence has been widely explored for the interpretation of multimodal data collected from multiple sensors, thus giving insights to support learners’ performance by providing personalised feedback. In this paper, we present a conceptual approach for creating immersive learning environments, integrated with multi-sensor setup to help learners improve their psychomotor skills in a remote setting.
Immersive, sensor-enabled technologies such as augmented and virtual reality expand the way human beings interact with computers significantly. While these technologies are widely explored in entertainment games, they also offer possibilities for educational use. However,their uptake in education is so far very limited. Within the ImTech4Ed project, we aim at systematically exploring the power of interdisciplinary, international hackathons as a novel method to create immersive educational game prototypes and as a means to transfer these innovative technical prototypes into educational use. To achieve this, we bring together game design and development, where immersive and interactive solutions are designed and developed; computer science, where the technological foundations for immersive technologies and for scalable architectures for these are created; and teacher education, where future teachers are educated. This article reports on the concept and design of these hackathons.
This paper analyzes the mental development of the main character Salvador in the Spanish movie Los girasoles ciegos (2008) by José Luis Cuerda, based on the camera perspective and focalization, as well as the three-instance model according to Sigmund Freud. For this purpose, screen captures from the movie are examined to see how Salvador’s loss of control is pictured. This is applied to Freud’s three-instance model to prove the takeover of the Id. Throughout the whole movie, the inner conflict between his Ego and Id, i.e. his life as a deacon versus his life as a soldier, is present. The whole process of the breakdown of his mental state is revealed through the camera perspective and visual focalization.
The present article aims to examine images of the Mediterranean Sea in Jean-Daniel Pollet’s essay film Méditerranée (1963), with a particular focus on its representation as a multifaceted space of cultural memory. After some preliminary observations on the relation between the essay film as a genre and images of the Mediterranean, I shall, on the one hand, have a look at the semantic processes through which the film builds up a recognizable image of the Great Sea. On the other hand, however, I will argue that, at the same time, Méditerranée calls this signifying process into question by representing the sea as a space of cultural memory understood as a space of becoming and of deferral of meaning.
To this day, Lorca’s most popular plays, the Trilogía dramática de la tierra española, are considered to be among the most widely read texts of twentieth century Spanish literature. By combining elements from Antiquity with classic and modern features of Spanish theatre and placing them in new functional contexts, the author succeeds in creating an innovative theatre of sociocritical nature in times of political repression. This article analyses several of these innovations and aims to demonstrate the influence Lorca’s Tragedias rurales still have on today’s literature and culture. Simon Stone’s play Yerma (2017) and the Netflix series Las Chicas del Cable (2017-2020) are approached here with this purpose.
This article deals with discursive and argumentative strategies used by Brazilian President Jair Bolsonaro to bring science in discredit during the 2020’s COVID-19-pandemic. Based on official statements and Tweets launched over the crisis the Discourse-Historical Approach is applied to make strategies brought into play by Bolsonaro visible. While the President declares scientific advice such as distancing and quarantine as ineffective, he recommends the use of hydroxychloroquine as well as old fashioned prayers for staying safe and healthy. He evokes that there are «fake news» and «partners of paralysis», to which he responds by demasking and bringing the one and only truth towards «the people». The analysis points out that Bolsonaro is downplaying the virus and the risk of transmission and puts the economy ahead of health. His supporters as a consequence tend to ignore the
WHO recommendations how to behave during the pandemic.
The present article examines the narrative modes in which Lebanese author Amin Maalouf investigates his roots in Origines a hybrid work which stands in contrast with his previous essays and fictions as to its (auto)biographical dimension. Resembling what Dominique Viart and Bruno Vercier in their analysis of predominant themes and narrative strategies in contemporary French literature name «récit de filiation», Maalouf’s quest for his familial past explores the concept of intergenerational transmission of memory. However, despite this individual postmemorial approach, Maalouf’s intimate writing is intrinsically linked with the complex history of the Ottoman Empire and therefore with collective narratives of war, diasporic identities, and migration relating to the present time or the recent past.
France, Italy, and Spain are three Romance-speaking countries which – at least in Europe – have been affected to a very high degree by the consequences of the Corona pandemic. This paper examines discursive strategies on social media (Twitter and Facebook) by the three heads of government/state of the aforementioned countries – namely Emmanuel Macron (France), Giuseppe Conte (Italy), and Pedro Sánchez (Spain)- from a corpuslinguistic point of view. For this purpose, a corpus was created which contains all Twitter and Facebook messages posted by these heads of government/state from the beginning of February until the end of April 2020. By applying corpus-linguistic methods we find that all three politicians consciously use social media to sensitize, inform, and – in view of a dramatic pandemic situation – unite their respective populations behind them.
With her famous suggestion to «give her [the woman] a room of her own and five hundred a year, let her speak her mind» from 1929, Virginia Woolf verbalized a core issue of female
writing by hinting at the socioeconomic circumstances and domestic obligations of most women – valid at her times, but still today. Both Elena Ferrante and Annie Ernaux discuss, in their respective novels, the topics of being women in the particular sociocultural landscape (in Italy and, respectively, in France) after World War II and up to these days, the themes of marriage and motherhood, employment and especially (female) authorship. This article aims to show in a close reading of both Ferrante and Ernaux that the two writers play with the literary form of the (auto-)biography on a diegetic, but also extradiegetic level, while formulating at the same time a collective work that embraces the experience of womanhood but circumvents the hazard of a merely subjective and sensitive writing, as female writing has sometimes been claimed to be.
Die Arten des Schweizer Ranunculus-auricomus-Komplexes sind nur zu einem Teil bekannt. Zur vollständigeren Erfassung des Komplexes wurden Exkursionen in die südwestliche und östliche Schweiz unternommen. Es wurden sieben neue Arten entdeckt, die hier beschrieben und abgebildet sind. Ihre Taxonomie und Gefährdung wird diskutiert. R. chalarocarpus W. Koch ex Dunkel ist bereits bei Koch provisorisch erwähnt, R. clavicornis Dunkel wird nun gültig beschrieben. Beide Arten sind aufgrund ihres Vorkommens in Auwäldern und feuchten Laubwäldern stark gefährdet, R. clavicornis sogar fast ausgestorben. Der neu beschriebene R. thurgoviae kommt im Osten der Schweiz vor (Kanton Thurgau). Die bislang bekannte Verbreitung von R. allobrogorum Dunkel, R. crenulatus Dunkel, R. genevensis Dunkel und R. lineatus ist fast vollständig auf den Kanton Genf beschränkt. Die Arten des Ranunculus auricomus-Komplexes sind ein sensibler Indikator für Veränderungen der Vegetation und Umwelt und sollten diesbezüglich deutlich mehr Gewicht bekommen.
In recent years, cloud gaming has become a popular research topic and has claimed many benefits in the commercial domain over conventional gaming. While, cloud gaming platforms have frequently failed in the past, they have received a new impetus over the last years that brought it to the edge of commercial breakthrough. The fragility of the cloud gaming market may be caused by the high investment costs, offered pricing models or competition from existing "à la carte" platforms. This paper aims at investigating the costs and benefits of both platform types through a twofold approach. We first take on the perspective of the customers, and investigate several cloud gaming platforms and their pricing models in comparison to the costs of other gaming platforms. Then, we explore engagement metrics in order to assess the enjoyment of playing the offered games. Lastly, coming from the perspective of the service providers, we aim to identify challenges in cost-effectively operating a large-scale cloud gaming service while maintaining high QoE values. Our analysis provides initial, yet still comprehensive reasons and models for the prospects of cloud gaming in a highly competitive market.
The recently published ITU-T Recommendation G1.032 proposes a list of factors that may influence cloud and online gaming Quality of Experience (QoE). This paper provides two practical evaluations of proposed system and context influence factors: First, it investigates through an online survey (n=488) the popularity of platforms, preferred ways of distribution, and motivational aspects including subjective valuations of characteristics offered by today's prevalent gaming platforms. Second, the paper evaluates a large dataset of objective metrics for various gaming platforms: game lists, playthrough lengths, prices, etc., and contrasts these metrics against the gamers' opinions. The combined data-driven approach presented in this paper complements in-person and lab studies usually employed.
This article exemplifies Gunter Grimm’s concept of productive reception by analyzing César Fernández García’s young adult novel La última bruja de Trasmoz (2009) and the episode Tiempo de hechizos (2017) of the TV series El ministerio del tiempo as two modern works which artistically and creatively deal with Gustavo Adolfo Bécquer’s Cartas desde mi celda (1864). The study is based on the core assumption that the choice of genre greatly influences the treatment of motives such as the perception of nature and the idea of dreams, as well as the image of the witch. While Bécquer’s letters, which focus on the rural people’s superstition, present the witch of Aragonese folklore, the modern examples portray two of her fantastic counterparts: the novel depicts its magical protagonist as an evil supernatural being, whereas the TV episode of the science fiction series shows the witch as a time traveller and a victim.
When it comes to linguistic norms in France, one standard will be immediately evoked – le bon usage. This version of traditional French is taught at school and has been serving as a model ever since the French Revolution. Yet – and maybe as a counter-reaction to such strict and prescriptive norm – there exists a multitude of alternative forms, especially with regard to the lexis, which are marked by different registers or styles. Thus, the French language is characterized by lexical doublets in the transition area between standard and familier. A varied terminology in the description of styles in dictionaries as well as a stigmatisation of the nonstandard lead to speaker insecurities and to a general devaluation of the parallel vocabulary. What are the consequences of this in speech behaviour? Is there a remarkable difference between speech behaviour and prescriptive norm? Do speakers show any sign of linguistic insecurity when using nonstandard structures? The research issue will be addressed by means of a qualitative analysis of videoblogs from French YouTubers.
This article is dedicated to the analysis of the body, which is staged as sick and painful. El último cuerpo de Úrsula by Peruvian author Patricia de Souza is characterized by the connection between body, pain perception and eroticism. Illness and paralysis play a fundamental role in the narrative because they cause the recomposition of the ego, which leads the protagonist, Úrsula Res, to perceive and reflect the fragmentation of her identity and the increasing distance from her body. Through approaches to pain and disability, the expressiveness of the narrativized eroticism of this text, based on an obedient relationship to the body, is revealed.
This article focuses on selected Latin American female rap artists (Anita Tijoux, Rebeca Lane, and the duo Krudas Cubensi), and the way they perform feminism, autobiography and testimony through their lyrics and performances. The analysis concentrates on the synergies between the texts themselves, the official music videos shared on YouTube and the background music. It aims to demonstrate that only such a synergistic approach to rap allows a profound understanding of its particularities and its contributions to feminist discourses and spaces for feminist testimony in the current rise of both right-wing politics and feminist movements on the continent.
This article explores the construction of Catalan masculinity and Catalan identity in literature on the Spanish-Moroccan War of 1859/60. During the war, an immense amount of patriotic literature in Catalan language was published in Catalonia, in which the authors glorified the deeds of the Catalan general Joan Prim i Prats and of the Catalan volunteers who fought in the war. The article aims to illustrate, on the basis of the analysis of poems, theatre plays, patriotic songs, reports and chronicles written by Catalan authors, the importance of the First Spanish-Moroccan War for the development of Catalan identity. It attempts as well to demonstrate that the authors used the literature about the war to diffuse a specific Catalan ideal of masculinity and to stylize General Prim and the volunteers into national heroes, who embodied the strength of the Catalan cultural nation, since the Catalan community needed new idols after a long time of political and cultural decline caused by the centralist policies of the Spanish state. The Catalan ideal of masculinity was utilized to differentiate the Catalans from the other Spaniards whose masculinity was considered to be in decadence by the other European nations.
This contribution deals with the phonetic heterogeneity of spoken Spanish in Andalusia in the sector of public auditory media, specifically in the program ¡Anda Levanta! of Canal Fiesta Radio. First, we take into consideration Article 10 of the Statute of the Autonomy of Andalusia, which enhances the protection, promotion, study, and prestige of the Andalusian modalities and its respective variety (cf. Parlamento de Andalucía 2007: 13). Second, we refer to the Libro de Estilo, a mandatory guide for presenters of public audiovisual media in Andalusia since 2014. The results of the qualitative analysis indicate divergences between the presenters and their audience with regard to their use of phonetic characteristics typical of the Andalusian varieties: where the presenters tend to avoid the salient aspects of the varieties, the audience employs a range of phonetic characteristics typical for Andalusian varieties, including some of the characteristics that are considered less prestigious.
Investigations focusing on the social criticism in La Regenta (1884-1885) by Leopoldo Alas «Clarín» have constantly referred to the unmasking of society’s hypocrisy and provincialism through the implementation of satire and irony in the novel. This observation, though, has to be defined more clearly. Vetustan society, specifically the bourgeoisie, is characterized primarily by the incessant exhibition of supposed wisdom and intelligentsia in public to generate social prestige and power. By analyzing the narrative strategies which are related to the composition of the secondary characters, the role of two specific public venues (Casino and Theatre of Vetusta) and the (de)construction of P. Ronzal, P. Guimarán and S. Bermúdez in the novel, this article illustrates how false wisdom and pseudo-intelligentsia become central motifs regarding social criticism in La Regenta.
This paper deals with the taxonomical position and the nomenclature of two taxa belonging to the genus Sedum (Crassulaceae), today treated as Phedimus, namely Sedum middendorffianum Maxim var. diffusum Praeger and Sedum oppositifolium Sims. The correct taxonomical application of names is based on the nomenclatural types designated here.
Für das Vorkommen einer Ranunculus auricomus-Sippe im Oberen Inntal bei Innnsbuck, Nordtirol, Österreich, existieren belegte Nachweise seit 135 Jahren. Diese Sippe sammelte L. Sarnthein am 08.06.1884, J. Murr 1887 bei Flaurling. Von beiden Aufsammlungen befinden sich Belege im Tiroler Landesmuseum (Herbarium Ferdinandeum Innsbruck; IBF). Trotz Trockenlegung der Sumpfwiesen und Eutrophierung des Biotops kommt die Art noch aktuell in einem kleinen Nasswiesenrest vor. Sie wird hier als R. sarntheinianus Dunkel beschrieben, abgebildet und ihre Taxonomie wird diskutiert. Der mutmaßlich letzte Wuchsort ist vom Aussterben bedroht. Eine graphische Darstellung soll bei Artbestimmung und Auffinden neuer Wuchsorte behilflich sein.
Eine Liste der 205 Arten und 1561 Unterarten der Gattung Hieracium s. l. , die in Deutschland, aufgeschlüsselt nach Bundesländern vorkommen, wird vorgestellt. Da die meisten infraspezifischen Namen unter Hieracium publiziert wurden und um die Zahl der invaliden Namen unter Pilosella in der Liste zu minimieren, wird auf eine Aufteilung in Hieracium und Pilosella verzichtet. Durch Farbmarkierungen wird gekennzeichnet, welche Unterart ursprünglich aus einem Bundesland beschrieben wurde bzw. ob ein Syntypus aus einem Bundesland stammt.
Besides external characteristics and reading a piece of DNA (barcode), the DNA weight per nucleus (genome size) via flow cytometry is a key value to detect species and hybrids and determine ploidy. In addition, the DNA weight appears to be related to various properties, such as the size of the cell and the nucleus, the duration of mitosis and meiosis and the generation time. Sometimes it is even possible to distinguish between groups or sections, which can lead to new classification of the genera. The variation in DNA weight is also useful to analyze biodiversity, genome evolution and relationships between related taxa. Moreover, it is important to know how large a genome is before one determines the base sequence of the DNA of a plant. Flow cytometry is also important for understanding fundamental processes in plants such as growth and development and recognizing chimeras. In the literature, DNA weight measurements are usually limited to one genus and often only locally (Siljak et al. 2010; Bai et al. 2012). In this study, however, it was decided to investigate all vascular plants from one country. This can also contribute to the protection of rare plants. This study is the first flora in the world whose weight of DNA per nucleus and peak patterns has been determined. More than 6400 plants, representing more than 2350 (sub)species (more than 90%) have been collected, thanks to the help of almost 100 volunteers of Floristisch Onderzoek Nederland (Floron). Multiple specimens of many species have therefore been measured, preferably from different populations, in some cases more than fifty. For 1370 species, these values were not previously published. Moreover, a good number of the remaining 45% are new for The Netherlands. In principle, each species has a fixed weight of DNA per nucleus. It has also been found that, especially between the genera, there are strong differences in the number of peaks that determine the DNA weight, from one to five peaks. This indicates that in a plant or organ there are sometimes nuclei with multiples of its standard DNA weight (multiple ploidy levels). It is impossible to show graphs of more than 2350 species. Therefore, we have chosen to show the peak pattern in a new way in a short formula. Within most genera there are clear differences in the DNA weights per nucleus between the species, in some other genera the DNA weight is hardly variable. Based on about twenty genera that were previously measured completely in most cases (‘t Hart et al. 2003: Veldkamp and Zonneveld 2011; Soes et al. 2012; Dirkse et al. 2014, 2015; Verloove et al. 2017; Zonneveld [et al.] 2000−2018), it can be noted that even if all species of a genus have the same number of chromosomes, there can still be a difference of up to three times in the weight of the DNA. Therefore, a twice larger DNA weight does not have to indicate four sets of chromosomes. Finally, this research has also found clues to examine further the current taxonomy of a number of species or genera.
In the wake of the general tendency towards slow cinema which has been evolving in Mexican cinema, cinematographic devices have gained importance not only with regard to the construction of a persuasive narrative but also in terms of the aesthetic constitution of the movie itself. Not only is this observation evident in the absence of camera movements but also in the semiotic depth of mise en scène resulting from this circumstance. Natalia Almada’s movie Todo lo demás (2016) provides an impressive example of both the repercussions of this technique in the representation of loneliness as well as the suggestive power of the scenographical composition. Hence, the ensuing analysis of those scenes referring to water is to elucidate the semiotics of mise en scène and its influence on the representation of the main character and the repetitive routine constricting her freedom.
The normative use of past tenses is supposed to be a big challenge for learners of Spanish. Although they might understand the grammatical chapter in theory, adequate past tense use in spontaneous oral production is not guaranteed. Morphological errors, overgeneralizations of tenses and interferences with other languages characterize the interlanguage of the learners. Based on two corpuses, we analyse how the past tense use differs between secondary school students from Austria and Romance polyglots. Qualitative and quantitative analyses show that polyglot speakers surpass the secondary school students in some areas such as the distinction of verbal aspect. However, the students tend less to use the perfecto compuesto in an inadequate way in narration.
No abstract available.
No abstract available.