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The truth in psychiatry and neurosciences in: Psychiatry and neuroscience update, Dordrecht : Springer. We have said: spatial models of an ecology work through a distinction. This distinction needs to be understood as a continuous movement towards an outer. In every moment, our bodies decide which bacteria is good or bad and which ones then need to be exuded or excreted.

But presumably, also that what is excreted is part of the ecology and used, for example, to separate even smaller organisms. For instance, which of the sensations are absorbed by our psyche as an assurance for its hold in the world? The light, the smell, the warmth, all of that that our outer senses can perceive, or the things and the people, which the psyche gains through the inner senses, the memories? Which impressions are so negative and threatening that they should better be isolated, incommunicado? Which impression should become conscious?

It is constantly being re-formed; this is a poietic process, which not only has something to www. This is why there is a fundamental relationship between poetics and ecology. All life does this. But human beings have a greater scope of indeterminacy than some other living beings. In the terms of system-theoretical approaches, a differentiation is quite helpful here. This one goes back to Fritz Heider and was taken up by Niklas Luhmann: the distinction between thing and medium.

For many living beings a distinction between thing and medium is hardly possible. For instance, for the tick, which is a particularly strong example of a relationship between a living creature and its environment: Even though this is certainly very reduced, what we can observe from their behaviour is that it seems that in the poieses of their environment, they are strongly limited to perceiving the approach of a warm-blooded animal, and then fall upon it. Thing and medium concur so much that one can hardly speak of a medium. But, as I said, this is probably far too simple and will no longer be applicable to complex and socially organised living beings.

So for human beings, there is a difference between thing and medium from birth on. A new-born hears a voice, and very soon knows how to distinguish familiar and unknown voices. Babies are able to distinguish the affects that are expressed and communicated through the voice. The same applies to the face. What we describe with Sigmund Freud, Donald W. Winnicott and others as a play with objects in a transitional space, is then the medium drifting away from the thing, because the transitional object can always be both thing and medium.

Therefore, speech can emerge and, with it, the difference between a thing voice, object, letter and a meaning. Peter Fonagy, for example, represents this thesis. Both constructs are metastable, except that the normal environment is borne by everyday. In Modes de existence, Bruno Latour calls this metastability N Unlike for the environment, we do not forget the metastability of the novel.

There may perhaps even be something active coming from this metastability, a force that emerges because it has to hold itself, as it were, always in the act of appearing, it does not stand still. Such an activity can, of course, also come from a picture or a poem or music.

It is, as though that which shows its ability to create itself as agencement, awakens a solidarity in us or even concern, a compassion which applies to the appearance itself, not to the appeared. When this happens to us, we feel the sensation of seeing, hearing or experiencing something beautiful, regardless of whether it is something cheerful or something sad, whether it is something light or hard, whether the colours are light or dark, whether it is something concrete or something abstract. Surely, there can be something like a death wish. But the real power, which we call the beautiful, proceeds from this emergence, from this N-1, which, if we allow it, awakens our solidarity and anxiety, our tenderness and our hope.

Can these thoughts be reverted to the everyday life of the environment?

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Is it perhaps that we are connected to our environment in a similar way, but that we do not realise it, because our everyday life is always the metastability in which we live in? A metastability that we create just as much as it creates us. It consists of spaces and colours, of things and relationships, of rhythms and movements, of gestures of thought and gestures of the body, which are all in a kind of tension between map and territory.

And if we take it seriously that subject and world mutually produce one another, that the subject does not exist beyond the agencement, then it might be possible to abandon the old opposition of subject and object that dominates European thought and instead talk of the subject as an ecology of practices Isabelle Stengers , which in turn is embedded or grounded in further ecologies of practices. Then, the subject is not standing towards the world, but to an ecology that always includes an environment or an everyday life and other ecologies.

And this raises the question www. And if you can think it, then how can it actually happen? Does experiencing art make this possible? Is it because it brings us into solidarity with the emerging? This would need to be described in more detail though. Wer denkt sich die aus? Wie werden sie vor Ort umgesetzt? Wie hast du Dich auf das Thema vorbereitet? Forschung ohne Grenzen — Internationalisierung an der a. Vor diesem Hintergrund verbindet die a. Getreu dem a. Forschen vs.

In den wenigen Monaten, die seitdem vergangen sind, habe ich bereits achtzehn Archive und Sammlungen besucht und bearbeitet, wovon ein paar wenige in der Erhebung noch nicht abgeschlossen sind.


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Da ich ja aber will, dass ihr alle meine Dissertation freudig erwartet, verrate ich an dieser Stelle nicht, wo sich diese Goldgruben versteckten. Im besten Fall stellen sie auch den Kontakt her. Erste Reaktion darauf war in einer leider doch konkurrenzbasierten Wissenschaftslandschaft: Panik! Dieser Austausch ist es auch, der neben den Archivfunden meine Arbeit inhaltlich und konzeptionell vorantreibt.

A place where the soul happily dwells under a clear, moonlit sky; a place where forests, streams, and daffodils become synonyms for human emotions. Modernity has taught us that Nature is a thing existing somewhere beyond the human sphere called culture. Greenpeace, Ecopolitics, and Science Fiction are trying to teach us that today, we are facing ecological consequences too great to imagine. Places are transforming as we. Technologisation, globalisation, and economisation have turned the world into a chaotic mesh, where even an innocent chat about the weather is symptomatic of the uncertainties associated with climate change.

What is happening to Nature? How do we handle the mesh? How can we even use language, a tool eventually also entangled in monopolies of power, to ask these questions? From Ego to Eco All these considerations are underlying the contemporary movement dubbed ecopoetry. However demolished, we are all part of the oikos. With all we knew. With all we knew that we knew. It is surrounding us all the time, it can neither be ignored nor admired from afar, and it is currently undergoing some of the most fatal changes in the history of the universe, which has existed long before the human being turned up just before noon.

Its superordinate desideratum is a greater environmental justice for all human and non-human creatures to share, although this effort clashes against practical, literary, and knowledge boundaries. Sounding the world This is what fascinates me most. The languages of ecopoetry are deconstructive, www. The concept of ecopoetry encompasses all of it; the remaining beauty and a guilty mourning for the lost, hopes for preservation and thoughts on a future without Nature, ambivalences.

Perhaps a newly informed rediscovery of the latter might help to stop us from destroying ourselves. It means trying to contribute to the awareness that being in this world comes with responsibility and respect towards all living and non-living creatures. This is what ecopoetry ultimately means to me. Distilling the ecopoetic moment: a moment that makes you listen to the entanglements between human and earth, and respond with the wish that plastic carpets will not cover everything. Die a. Im Berichtzeitraum wurden 10 neue Cotutela-Vereinbarungen geschlossen.

Diese Ausweitung des internationalen Partnernetzwerks ist auch dem a. Insgesamt ist im kommenden Jahr eine weitere Internationalisierung der Kooperationen zu erwarten. Im Berichtzeitraum lag die Zahl der abgeschlossenen CotutelaPromotionen bei elf. Partner von Cotutela-Vereinbarungen seit Australien. Das so in mein Tagebuch zu schreiben half mir sehr, da mir so schlagartig bewusst wurde, dass die meisten Feldforschungen — auch von erfahreneren EthnographInnen — mit denselben Problemen aufwarten. Im Juni konnte ich den Prozess des Trommelbaus sowohl bei einem Meisterbetrieb als auch bei zwei Laiengruppen dokumentieren.

Materialien viele Trommelbauer verwenden den Pressspan aus alten Orangenkisten als auch durch die Konstruktionsweise von den Meisterkonstruktionen. Vicente allgemein als Meistertrommler und -Konstrukteur angesehen wird. Von ihm bekam ich im Vorfeld zu den Feiertagen drei Unterrichtstunden, in denen ich die verschiedenen Rhythmusvarianten der Tambor San Jon proben konnte. Antonius, St. Johannes und St. Petrus gespielt. Diese These habe ich mit meinen InformantInnen besprochen und im Feld getestet.

Vom Interviewer zum Interviewten Zwischen dem 9. Die Hauptfeierlichkeiten Juni und Diese und weitere Fragen habe ich dann auch bei verschiedenen Gelegenheiten — u. Die Zeit, in der die San Jon-Trommeln gespielt werden, endet informell am 5. Johannes-Kirche 7 St. Johannes-Statue mit Devotionalien. Diese Frage kam notgedrungen mit dem Erreichen des Master of Science auf mich zu. Sabine Deschler-Erb in den Ohren. Warum auch eigentlich nicht, was hinderte mich daran, weiter zu machen?

Der einzige Haken: Ohne eine Finanzierung wird es schwierig! Provinz von Germania superior einnehmen.

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Hubert Berke, Dr. Nadine Nolde und Doktorandin M. Nur so kann das Forschungsthema qualitativ an einer geeigneten Sample-Anzahl erarbeitet werden. Da das Forschungsthema sehr komplex ist — im Fokus steht das lebendige Tier aus vergangenen Zeiten — recherchierte ich nach weiteren geeigneten Methoden und ihren Anwendungsbereichen in Zusammenhang mit dem Forschungsthema.

Sabine Deschler-Erb, Prof. Auf 2. Banalisierung des Heiligen statt? Sein Vortrag arbeitete detailliert die Fortschreibungen bestimmter Theoriemomente in den Werken dieser drei Autoren heraus. Das zweite Panel am Nachmittag des ersten Workshoptages nahm dann aus kunsthistorischer Perspektive Aneignungsstrategien des Sakralen oder Profanen in der Kunst und Architektur in den Blick.

Jahrhunderts durch die wissenschaftlichen Untersuchungen der Physik und Physiologie zu wandeln beginnt. Aus der heiligen Transsubstantiation wird eine. Er deckte dabei eine analoge Struktur von heiligen, resp. Anja Lemke und Prof. Welche Menschen, Wissenschaftlerinnen und Wissenschaftler produziert es? Schnittmengen und Reibungspunkte der beiden titelgebenden Begriffe innerhalb verschiedener thematischer.

Sergei Shtyrkov European University of St. Die mitgereisten www. Transformation: Sie kann in alle Richtungen gehen. Privileg und Plattform: internationales Netzwerken Und das internationale Konzept der Konferenz ging auf! Glaube, Irrglaube und Glaubenskrisen Thomas Kuchlbauer [sic! August — Zugleich scheint er jedoch auf den Beleg angewiesen zu sein.

Das gleichnamige Summer Institute Cologne gibt sich dagegen mit solchem Notbehelf nicht zufrieden, sondern will tiefer bohren. Die Leitung haben Prof. Peter W. Tracy C. Wir untersuchten belief complexes auf gemeinsame Formen hin und befragten diese auf ihr Potential als Ausgangspunkt von historischem Denken und Theatergeschichte. Maria im Kapitol. Die individuellen Forschungsprojekte der Teilnehmenden standen vor allem bei den Poster Sessions im Mittelpunkt. Der durch [sic! Auch im kommenden Jahr Graduate School From July 10 to 22, , a.


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Although the group of advanced M. This year it also became the itinerary of the DAAD-funded summer school, which was held by the a. The introductions of individual research goals and discussion of common questions set the tone for the collective learning experience of the entire journey. The artistic director of documenta 14, Adam Szymczyk, made a decision to split the exhibition of between two cities: Athens and Kassel.

Following his concept of starting the documenta journey from the former to the latter, the summer school spent three days in the Greek capital. In order to understand the motivations of Szymczyk and his curatorial team in relation to the current situation in Athens, it was necessary to grasp the historical and socio-political context of the location. The visit of the exhibition in Kassel was well complemented by meetings with people working on and around documenta Birgit Jooss.

In particular, a private tour of the archives sparked a lot of interest in the group, while Dr. Jooss shared the short- and long-term plans of the archives and the documenta institute. The collective exploration of exhibition venues was marked by engaging on-thespot discussions and presentations of artworks or artists given by the summer school participants. The journey, or better said a great learning adventure, concluded in Cologne, where we were greeted and welcomed by a.

Working at the premises of the a. Over the course of two weeks, we have got to know one another and made friendships that we hope to preserve. In fact, as many of us pointed out, the variety of perspectives sharpened our experiences and facilitated the learning process. Pictures 1 Group works for public restitution at a. Forschungsschule ins Leben gerufen. Graduate School Aachener Str. Mai — Oktober Vernissage: Freitag, Juli Finissage: Freitag, In diesem kulturell-politischen Spannungsfeld war die Ausstellung des a. Mai bis Sehnsucht — was ist das? Liegt darin nicht auch das ganze Geheimnis der Wissenschaft?

Erkenntnisstreben ist nichts anderes als die Suche nach dem, von dem wir wissen, dass es uns daran mangelt. Sehnsucht als Frage von Verwurzelung und Entwurzelung. Erkennung als Form der Vertrautheit, in die sich durch leichte Entfremdung eine Befremdung mischt. Vernissage Die Ausstellung wurde am 5. Andreas Speer, dem Direktor der a. Ein Mann, der das Fenster eines Imbisses putzt. Menschen bei der Arbeit festzuhalten.

Aufnahmen, die abends und nachts vor allem in der Stadt ihrer Studienzeit, Newport in Wales, entstanden, auf welchen die Gesichter der Personen nicht oder kaum zu sehen sind. In dem Bereich hinter dem a. Zum anderen lichtet Magistro verschiedene Menschen entweder bei der Arbeit oder bei dem Zeitvertreib ab; Menschen, die das wahre Gesicht einer Stadt zeigen. Nach Verfolgungen durch muslimische Landsleute wegen seines Hindu-Glaubens wanderte er nach Libyen aus und ging dann nach Italien.

Aus diesem Grund erscheinen seine Fotos spontan und unmittelbar. Denn bekannte Marken erkennt man nicht nur an der Verpackung, sondern auch an ihrer Farbigkeit. Als Blickfang in dem Ausstellungsraum diente. Zum anderen macht dies auf ironische Weise die Diskrepanz zwischen der Ware, um die die Aral-Tankstellen werben, und dem Symbol, mit dem sie ehemals warben, deutlich sichtbar.

Somit veranschaulicht Rozbeh Asmani den kulturell- und konsumbedingten Wiedererkennungswert, der unmittelbar von kommerziell besetzten Formen und Farben ausgeht. Am Trump versuchte, die inklusiven Werte, das Positive und das Progressive in der patriotischen Wort- und Bildersprache zu aktivieren und zu exklusivieren. Eine Videoinstallation, die in Dauerschleife die Geschehnisse des Tages zeigte, war im Rahmen unserer Ausstellung vorbereitet. Fotograf jeweils miteinander verbunden sind.

Ganz besonders greifbar wird er in der medialen Bestimmung: Als Plakat soll die Kunst in die Hand genommen werden. Zur Ausstellung des a. Oktober statt. With the aim of keeping up the tradition of exploring intersections between art and science, four doctoral students from linguistics and philosophy came together in summer to organize the next a.

As in previous years, this exhibition offers the unique opportunity to transform the a. The term microcosm seems to imply a paradox in itself. Whereas micro pertains to the little, the representation in miniature, cosmos instead portraits a complex structure, the harmonic universe. In fact, the dialectical tension between microcosm and macrocosm is a classical principle of philosophical and esoteric schools of thought, found throughout human history.

One of the central principles of the relation between these two concepts is a similarity in both pattern and structure that can be found in nature: human beings and the universe. By studying the characteristics of one of these two, it is possible to improve the understanding of the other. In the same way, we can think about artists as attempting to represent reality through its fragmentation, offering their particular view on the world. In the exhibition, photographs and installations will come to stand for four smallscale models of the world: nature, femininity, city life and language.

In doing so, we will take a closer www. To give you a foretaste of what is to come, we want to shortly introduce two of the projects from the upcoming exhibition. Filippo Valtore is a farmer, educator and photographer who currently lives in Bologna. He has exhibited his work in Rome, Turin and Berlin.

Filippo Valtore explores the diverse possibilities of representing nature by experimenting with unique lighting conditions. His images bear a close resemblance to neural networks and galaxy clusters, thereby bridging the border between nature and mankind as well as creating a small-scale model of the universe. Ultimately, he intends to create arguments for the possibility of reciprocal communication between humanity and nature. The work of Claudia Difra offers an opportunity to approach the relationship between micro- and macrocosm from another perspective.

As a resident of Milan, she has worked for a number of Italian and international fashion magazines and exhibited her photographic projects in Milan and London. Claudia Difra celebrates the strength and power of femininity through a series of intimate portraits of women. By depicting woman as a microcosm of the larger social body encompassing it, she raises questions about the relationship between women and society as well as contradicting prominent ideas of womanhood. This leaves us with one last thing: We warmly invite you to join us at our vernissage, on May 4, , in the premises of the a.

Graduate School! Pictures 1 The a. Life hitherto had been frantic enough in all its shapes and dimensions. But then suddenly beneath the glass, foreign to a fault and so petite, that what they occupy in space can only charitably be called a spot. Still they decide our life and death. But time is short. I write. Eutopia Magazine eutopiamagazinearchive. Thiemo Breyer. Maike Lehmann. Andreas Zimmermann. Ralph Jessen. Benjamin Beil. Andreas Speer. Betreuer: Prof. Nikolaus P. Jahrhundert Betreuer: Prof. Karl Ubl. Christine Chwaszcza.

Dieter Lohmar. Sabine von Heusinger. Dorothea E. Schulz, Ph. Aria Adli. Petra Schumacher. Manfred Thaller. Beatrice Primus. Habbo Knoch. Jahrhunderts Betreuerin: Apl. Ekaterini Kepetzis. Michaela Pelican. Saskia Wendel www. Nordsachsen Betreuer: Prof. Heinz Antor. Hanjo Berressem. Zur Konzeption und Funktion mythologischer Darstellungen in der griechischen Sakralarchitektur der archaischen bis hellenistischen Zeit Betreuer: Prof. Dietrich Boschung.

Brigitte Weingart. Ein historischer Kommentar zu Ciceros Rede pro Cn. Plancio Betreuer: Prof. Ursula Frohne. Thomas Grundmann. Petrons Satyrica im Musiktheater. Antikenrezeption zwischen Nischenkunst und dominierender Theaterkultur Betreuer: Prof.

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Michael Heinzelmann. Jahrhunderts Betreuerin: Prof. Ulrike Lindner. Christoph Helmig. Martine Grice. Tom Menger Integrated Track Klasse 4 The origins of colonial violence: colonial perpetrators in European comparative perspective, c. Stefan Hinterwimmer. Frank Hentschel.

Differentielle Objektmarkierung in den romanischen Sprachen. Martin Becker. Susanne Wittekind. Sina V. Thomas Widlok. Christof Hamann. Christiane M. Nicolas Pethes. Cornelia Richter. Gudrun Gersmann. Fahime Same Integrated Track Klasse 8 Coherence and topic shift in discourse: A comprehensive approach to sentence and discourse topics Betreuerin: Prof. Herrschaft — Alltag — soziale Praxis Betreuer: Prof. Federico Spinetti. Michael Bollig. Barbara Potthast. Michael Zeuske.

Caterina Ventura Integrated Track Klasse 8 Shift in attention as a function of the prosodic realisation of referents Betreuerin: Prof. Wilfried Hinsch. Klaus von Heusinger. Realismus, Konzeptualismus oder beides? Wohin mit der maiestas? Fonteius: die Frage nach der Abweichung der schriftlichen Fassung von der gehaltenen Rede. Januar , Doktoranden-Kolloquium Prof. Juli , Doktoranden-Kolloquium Prof. April , 5. August , 8. Medial Correlations between S. Eine Medien-Kultur-Geschichte Frankfurts a.

Kurt Eisner — , August , hsozkult. Rezension zu: Andrea Staiti Hg. Tessa Gengnagel Rezension zu: Anne Bohnenkamp et al. Ann-Kristin Kolwes Anders als andere? Die offenen Behausungen des experimentellen Interfacedesigns, in: Christina Bartz et al. Zur Philosophie und Gestaltung mobiler Medien, Bielefeld: transcript Mit Kathrin Schuchmann Hg. Simon Ritter Mit M. September , blog-zeitenblicke. April , hsozkult. Oktober , Basel, in: H-Soz-Kult April Tagungsbericht , hsozkult. Medien Nostalgie Retromanie, Berlin u. Melilla — a border town of international interest, in: Melilla. Alternativbewegungen im Jahrhunderts Mittlere und Neuere Geschichte www.

Das thematische Spektrum der Klasse setzt sich aus den Interessen der jeweiligen Einzelwissenschaften zusammen und ist dementsprechend weit gefasst. Der Fokus liegt hierbei auf der vergleichenden Analyse von Prozessen soziokulturellen Wandels. Dabei stehen die verschiedenen Regionen Europas und jene Teile der Welt, die in kolonialen und postkolonialen Beziehung zu Europa standen, im Vordergrund des Interesses.

Jahrhunderts, Malerei und Skulptur des Jahrhunderts, insbesondere Zeitgeschichte nach Die Unterrichtssprache der Klasse ist Englisch. Feldforschung insbes. Martin Zillinger a. Neben dem Bereich der Prosodie, wird Prominenz auch an der Schnittstelle zwischen Morphosyntax und Semantik sowie im Bereich der Diskurspragmatik erforscht. Assistant Professor Dr. Graduate School for the Humanities Cologne Prof. Andreas Speer Direktor und wissenschaftlicher Koordinator Tel. Saskia Wendel Stellvertretende Direktorin Tel. Herausgeber a. Graduate School for the Humanities Cologne Nimmt eine Gutachterin www.

Graduate School for the Humanities Cologne www. EUmanities www. Als Abschluss konnten wir, zusammen mit allen Mitgliedern von a. Diese These www.