Auf Der Research Articles

Introduction: Austria in Transit: Displacement and the Nation-State

Austrian Studies 26 (2018), 1–17© Modern Humanities Research Association 2019 Introduction Austria in Transit: Displacement and the Nation-State Áine McMurtry King’s College London On 27 August 2015, the drive-by photograph on the cover of this issue was sent as a tweet by the News International Editor of UK broadcaster Channel 4 with the text: ‘Just drove past truck on A4 in Austria with 50 dead refugees inside. Terrible smell of death as we passed.’1 In fact, the abandoned lorry, discovered just hours before on the hard shoulder of the motorway between Neusiedl and Parndorf in Burgenland, was later found to contain the dead bodies of seventyone people in total — fifty-nine men, eight women and four children.2 Mobile phone records show that the Volvo truck left the city of Kecskemét in central Hungary and collected the refugees close to the municipality of Mórahalom after they had crossed the border from Serbia on foot in the early hours of 26 August. Those on board had come from Afghanistan, Iraq and Syria and, after being sealed into the airtight lorry, they suffocated within hours of their departure in the full knowledge of those driving the lorry.3 Four men — one Afghani and three Bulgarians — were convicted of human trafficking and received twenty-five-year jail terms in Hungary.4 Prosecutors alleged that the group had smuggled 1,200 people from Hungary to Austria between February and August 2015, with its ringleader earning more than €300,000.5 The Parndorf atrocity — whose horrific scale was only but intimated in the drive1 [accessed 20 October 2018]. 2 Luke Harding, ‘Hungarian Police Arrest Driver of Lorry that had 71 Dead Migrants Inside’, The Guardian, 28 August 2015, [accessed 20 October 2018]. 3 Gregor Mayer, ‘71 Tote auf der A4: Telefonprotokolle bei Prozess vorgespielt’, Der Standard, 24 January 2018, [accessed 20 October 2018]. 4 Boris Kálnoky, ‘Bis zu 25 Jahre Heft: Urteile im Todeslasterprozess’, Die Presse, 14 June 2018, [accessed 20 October 2018]. 5 Anon., ‘Prozess im A4-Flüchtlingsdrama: “Die können auch alle sterben”’, Kurier, 21 June 2017, [accessed 20 October 2018]. Áine McMurtry 2 by tweet — was to change the course of the EU’s response to the increasing numbers of people attempting to cross its borders on a daily basis. When the news broke, German Chancellor Angela Merkel, who at the time was attending the Western Balkans Summit just forty kilometres away in Vienna, reacted immediately, declaring ‘[d]as mahnt uns, das Thema der Migration schnell und im europäischen Geist, das heißt im Geist der Solidarität anzugehen und auch Lösungen zu finden’ [that compels us to tackle the issue of migration quickly and in the European spirit, that’s to say in the spirit of solidarity and to find solutions, too].6 The day before the lorry set out, the Bundesamt für Migration und Flüchtlinge [Federal Office for Migration and Refugees] had confirmed on Twitter that Germany was now accepting unregistered refugees from Syria.7 In this context, the tragedy at Parndorf can be read as a significant catalyst in the subsequent landmark decision of the Hungarian, Austrian and German governments to open borders just one week later when — on 4 September — thousands of refugees marched from Budapest and made for Austria on foot.8 Buses organized by both Hungary and Austria facilitated the passage of refugees through both countries to Vienna’s Westbahnhof, where many continued their journeys north to Germany and Sweden. In considering the forced mass displacement of the past decade, Austria’s central status as a transit state in the European context is clear.9 According to UN estimates, 600,000 people passed through the country between September and December 2015 on their way to seek asylum in Europe.10 The interdisciplinary contributions gathered in this volume examine cultural responses to issues of forced migration, displacement and humanitarianism in order to consider the particularity of the contemporary Austrian case, as the country’s government adopts an increasingly hard-line response to admitting and granting asylum to refugees. As the holder of the Presidency of the Council of the European Union from July to...

Making Sacrifices: Visions of Sacrifice in European and American Cultures. Opfer bringen: Opfervorstellungen in europäischen und amerikanischen Kulturen ed. by Nicholas Brooks, Gregor Thuswaldner

BOOK REVIEWS 205 ment is clearly laid out in her introduction, and she meaningfully engages in interdisciplinary debates about religion in modernity. Kelly presents a diverse account of modern Russian Orthodox culture—in both traditional and unorthodox manifestations—that complements and complicates existing scholarship on Western European poetry in the more familiar contexts of Catholicism and Protestantism. Jefferson Gatrall Montclair State University Making Sacrifices: Visions of Sacrifice in European and American Cultures. Opfer bringen: Opfervorstellungen in europäischen und amerikanischen Kulturen Edited by Nicholas Brooks and Gregor Thuswaldner new academic press, 2016. 216 pp. € 29.90 paperback. This book represents the first volume of Symphilologus, the book series of the Salzburg Institute of Religion, Culture, and the Arts, and comprises twelve articles that reflect on the meaning of sacrifice in modern European and American culture. The title “Symphilologus” is based on German classics scholar Friedrich Creuzer’s term Symphilologie—meaning to collaboratively transcend traditional academic boundaries—and is intended by the volume editors as a bringing together of different disciplines in which religion will play a special role. The subjects in this collection fulfill the volume ’s eclectic goal of interdisciplinarity interwoven with religious themes. By design, this volume in the series is neither an exhaustive approach to the topic of sacrifice nor a new thesis about the understanding of sacrifice in the West. The introduction by Nicholas Brooks does, however, provide a very useful overview of the history of sacrifice in Western culture, particularly as it relates to the rise of Christianity and its relationship to both the marginalization of ritual physical sacrifice (regarded as superfluous superstition by Enlightenment thinkers Picart, Bernard, Jancourt, and Voltaire) and the theological/philosophical redefinition of sacrifice as an inner state of obedience (Tertullian, Augustine, Kant, Fichte, and Hegel). Brooks concludes his introduction by explaining how modern thinkers have: (1) viewed sacrifice as insignificant with respect to modern theories of political and economic life (Hobbes, Rousseau); (2) denied the clarity needed for dutiful sacrifice (Marx, Nietzsche, Freud); and (3) challenged the very idea of sacrifice itself Religion & Literature 206 given its association with twentieth-century revolutionary politics. Written by scholars from a variety of disciplines and academic institutions (both American and European), the collection includes a fascinatingly rich array of individual studies from a variety of genres: medieval and modern German literature, French literature, music and literature in translation, Yiddish Midrashic poetry, philosophy, visual culture, film, political discourse, and twentieth-century British religious art. Three of the articles are written in German and nine are in English. The style and content will appeal both to the specialist and non-specialist academic reader alike. Abraham’s willingness to sacrifice his son Isaac is a key theme revisited across several of the articles. Armin Eidherr’s essay focuses on the modern Midrashic interpretation of the Akejdeß-Jizchok-Mythos (“Binding-of-IsaacMythos ”) by Yiddish authors Itzik Manger und Hirsch Oscherowitsch. Eidherr suggests that these Biblically grounded Midrashic texts be understood in terms of Lyotard’s definition of myth, thus allowing for a re-narration via legend that could be applied exegetically to other historical contexts. J. M. Baker examines the poetics of the singular from recent discussions (Agacinski , Levinas, Nancy, and Ricoeur) that have drawn on or been inflected by Kierkegaard’s pseudonymous treatment of Abraham’s sacrifice in his work Fear and Trembling. Timothy B. Malchow analyzes Turkish-German relations and sacrifice in Fatih Akin’s film Auf der anderen Seite (On the Other Side) and shows how the film applies Koranic and Biblical narratives of the sacrifice of Isaac by Abraham to the lives of the film’s characters living in modernday Turkey and Germany (depicted in the film as a single cultural space). Malchow explains how Akin reconfigures these sacred sacrificial narratives, effectively destabilizing the ideological hostility between individual duty and universal ethics, and ultimately portraying sacrifice not as the destruction of the other out of duty, but as a “courageous, forgiving willingness to reimagine the boundaries of one’s own identity” in an encounter with the threatening other (159). The volume also considers the wide-ranging influence of Christ’s sacrifice both symbolically and liturgically. Lyrica Taylor’s “Jacob Epstein, Barbara Hepworth, and...

Die Geburt der Finsternis: Thomas Bernhards Roman Frost: Entstehung-Wirkung—Interpretation by Matthias Knopik

Reviewed by: Die Geburt der Finsternis: Thomas Bernhards Roman Frost: Entstehung-Wirkung—Interpretation by Matthias Knopik Paul Buchholz Matthias Knopik, Die Geburt der Finsternis: Thomas Bernhards Roman Frost: Entstehung-Wirkung—Interpretation. Würzburg: Königshausen und Neumann, 2017. 436 pp. In 2014, the Thomas Bernhard Archive in Gmunden, housed in a villa a few paces from the shore of the Traunsee, was abruptly closed after thirteen years of operation, following an undisclosed change in the terms of support by the State of Upper Austria. The archive had made possible, among other things, the publication of the twenty-two-volume edition of Bernhard's complete works (completed in 2015) as well as a short selection of Bernhard's unpublished prose from the early 1960s, when he was working on the novel Frost (the Suhrkamp volume Argumente eines Winterspaziergängers from 2013). Sadly, the scholarly potential of the archive—which is still set to open in Vienna in a new form—had only begun to be explored at the time of its closure. Only a handful of scholarly publications, such as Markus Janner's 2003 book Der Tod im Text, have engaged with the vast collection of chaotic drafts that Bernhard produced prior to his literary breakthrough Frost, including the project known as Schwarzach Sankt Veit/Der Wald auf der Straße, which was only accessible in the archive. Matthias Knopik's ambitious new monograph Die Geburt der Finsternis is, [End Page 102] then, among the last studies of Bernhard that could avail itself of the Gmunden archive. It is undoubtedly the most meticulous analysis of a particular part of its holdings, namely the folios containing Bernhard's drafts for Frost (1963). Knopik's book covers similar territory to that of Claude Haas's 2007 Kristevean study of Frost, Arbeit am Abscheu (a work he unfortunately does not cite), in its microtextual study of the dynamics of control and influence in the relationships between the novel's two main characters. Like Haas, Knopik is interested in how the apparently dominant speaker (the painter Strauch) controls or is controlled by the unnamed student who narrates and transcribes Strauch's monologues. Yet instead of understanding this relationship through the lens of psychoanalytic theory, Knopik takes a more stringently philological, textimmanent approach to the relationship between the quoter and the quoted, delving into the archival drafts of Frost to learn more about how Bernhard originally constructed this relationship on the page before it was cleaned up by the editor. Out of a comparative work with the published and unpublished versions of Frost, Knopik develops a compelling thesis: that Frost enacts, both on the level of story but also on the level of text, a narrative and poetological process of Verfinsterung. The specific associations of Finsternis are central to Knopik's argument, as the word refers not only to an absence of light but to something or someone that accompanies the "darkening" and so implies a subject for whom things are darkened; Finsternis is not only a visual phenomenon but also a psychic state. Bernhard enacts both in Frost's stringent negation of all clarity and orientation. To be sure, the idea that Frost is a novel that generates darkness is by no means new (see for instance Fellinger and Huber's afterword to Argumente eines Winterspaziergängers from 2013). Yet Knopik manages to show that Bernhard's drafts are oriented toward maximizing an effect of disorientation, both in the author's many deletions and in their profound ambiguities in marking direct speech (that is, who is speaking and quoting, and when). In delineating this textual process of Verfinsterung, Knopik rereads a range of aspects of Frost in a new (lack of) light, from the relationships between student, painter, and the latter's brother, to the negative theological implications of the novel. Knopik is diligent in contrasting his readings to existing scholarship on Bernhard and deftly addresses the intertexts of Frost including Pascal, Kierkegaard, and Brueghel. However, in focusing its thesis on the veritable Tower of Babel that is Frost (Brueghel's painting is featured on the book's cover), Knopik misses the opportunity to put the [End Page 103] Frost model of Finsternis in dialogue...

Introduction: Reflecting on the human right to social security

AbstractThe United Nations Universal Declaration of Human Rights of 1948 asserts that social security is an inalienable human right. Realizing this human right is often considered, simply, as a matter of political will and of administrative aptitude. In these terms, the progressive realization of the human right to social security may be viewed as the outcome of an appropriately‐resourced political and bureaucratic process. Such a perspective, however, is clearly inadequate. Characteristically, bureaucracies are designed to cater to the needs of all, based on common procedures and common deliverables designed for the “typical” case. Yet such approaches often lack the necessary flexibility and resources to make a distinction between individuals, which acknowledge their respective differences and needs. To meet the international commitment to progressively realize universal social security coverage, social security administrations are key actors. However imperative this role may be, if the pursuit of this commitment fails to respect people's differences this will put at risk the meeting in full of what is envisioned by the human right to social security. To this end, this special issue aims to foster an understanding that the goal of universal coverage must necessarily also respect and respond to the individual needs of each and every person.

DEM RAC AUF DER SPUR

DEM RAC AUF DER SPUR

Chiral Resolution of Lanthanoid Cryptates with Extreme Configurational Stability.

Chiral resolution is achieved for racemic tris(2,2'-bipyridine)-based lanthanoid cryptates by chiral HPLC. The resolved complexes exhibit very rare configurational stability under extreme conditions.

Categories all the way down

Categories All the Way Down Marion Fourcade & Kieran Healy ∗ Abstract: »Kategorien auf der ganzen Linie«. Scores and classifications are dual to one another. Cardinal and ordinal measures are repeatedly used to produce nominal classifications of essential worth. Conversely, presumptively natural kinds provide the basis for new measurement and scoring systems. Over time, the iterative application of nominal classifications and quantifying measures produce involuted, nested systems whose structure and origins are hard to dis- entangle. While careful studies of earlier systems and methods have often un- covered these arbitrary aspects, newer technical tools for classification are at once substantially more opaque than their predecessors and more likely to be employed on very large scales. The classification situations to which they give rise thus have the potential to produce the sort of naturalized facticity charac- teristic of classical social facts. Keywords: Market classifications, scores, categories, classification situations, market sociology. The articles in this HSR Special Issue “Market Classifications” explore scoring and classification tools across a range of economic settings, and from a variety of perspectives. The settings range from the German wine market (Diaz-Bone 2017) to the American subprime credit sector (Rona-Tas 2017), from the sus- tainability and social investment sector to the British fashion world (Nagel et al. 2017; Schiller-Merkens 2017; all in this issue). The perspectives taken vari- ously see scoring and classification methods as tools for solving coordination or action problems in markets, as means for establishing and maintaining iden- tities (Pridmore and Hamalainen 2017, this issue) and as portable judgment devices with the capacity to be put to use beyond their original context (Chia- pello and Godefroy 2017, this issue). Across the contributions is the sense that, as Citron and Pasquale (2014) have suggested, we now live in “scored socie- ties” where increasingly large tracts of social life are subject to these methods, and in an increasingly automated manner. Discussing the credit crisis of 2007-08, MacKenzie (2011, 1830) asks “Should we understand the conduct of those practices and the use of their results as having been driven by belief in them, or should it be seen as cynical, as driven simply by the pursuit of gain (e.g., by Marion Fourcade, Department of Sociology, University of California, Berkeley, CA 94720- 1980, USA; fourcade@berkeley.edu. Kieran Healy, Department of Sociology, Duke University, Durham, NC 27708, USA; kjhealy@soc.duke.edu. Historical Social Research 42 (2017) 1, 286-296 Ň© GESIS DOI: 10.12759/hsr.42.2017.1.286-296

Psychotherapie in der Adoleszenz – eine Behandlung auf der Couch

No AccessPsychotherapie in der Adoleszenz – eine Behandlung auf der CouchBirgitt HoffmeisterBirgitt HoffmeisterAuthors email:[email protected]Dipl.-Heilpädagogin, von 2010 bis 2016 Ausbildung zur analytischen Kinder- und Jugendlichenpsychotherapeutin am Alfred-Adler-Institut Aachen-Köln (DGIP, VAKJP).Search for more papers by this authorPublished Online:May 2017https://doi.org/10.13109/zind.2017.42.2.123SectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinkedInRedditEmail AboutSummaryPsychoanalytic psychotherapy in adolescence – treatment on the couchCan the couch be used in the psychoanalytic treatment of adolescents, or is that an overstepping of the child psychotherapist’s professional limitations? This paper describes the psychoanalytic treatment of a young adult who was 18 years old at the start of therapy. The case report is partly taken from the author’s qualifying paper at the end of her psychotherapy training. The treatment was conducted twice a week on the couch over a period of 3 ½ years. Previous article Next article FiguresReferencesRelatedDetails Download book coverVolume 42Issue 2May 2017 ISSN: 0342-393XeISSN: 2196-8330HistoryPublished online:May 2017 Keywordsgetting in contact with the patientbuilding a psychotherapeutic relationshipthe couch as a potential third elementthe fragmented selfnarcissistic ragePDF download

Local and Transnational Claims in the Films of Fatih Akin: Recognition and the Gaze at the Body in Akin and Fassbinder’s Films

Fatih Akin heads the newest wave of prize-winning filmmakers in Germany with his productions, which often rely upon chronotopes such as rootlessness and homecoming to increase the marketability of films within the realm of what Hamid Naficy termed ‘accented cinema,’ films portraying “an aesthetic response to displacement through exile, migration or diaspora.” However, Akin moves beyond those themes and plays with expectations around raced and gendered bodies particularly with his casting choices. Akin’s films depict bodies that elicit visceral responses from the audience that have allowed him to be viewed as more than a mere “representative of Turkish German film.” In this article, I analyze Gegen die Wand (2004), Kebab Connection (2004), and Auf der anderen Seite (2007) to explore how Akin claims “membership” in a local and transnational film community and which intertextual references Akin makes to Rainer Werner Fassbinder’s films, highlighting how he draws upon Fassbinder’s gaze at the body. (PL)

After the Red Army Faction: Gender, Culture, and Militancy by Charity Scribner

Reviewed by: After the Red Army Faction: Gender, Culture, and Militancy by Charity Scribner Gary L Baker After the Red Army Faction: Gender, Culture, and Militancy. By Charity Scribner. New York: Columbia University Press, 2015. Pp. 294. Cloth $45.00. ISBN 978-0231168649. Charity Scribner investigates the enduring influence of the Red Army Faction in several cultural productions that were created both during and after the heyday of the group's activity. In doing so she provides her readers with an account of the history of the terrorist movement but also perceptive analyses of RAF actions as cultural [End Page 462] moments. Her study is based on the fact that RAF activities resonated for decades with artists in the German-speaking realm and internationally, even after its disbanding in 1998. Scribner presents her readers with a comprehensive study as she investigates the prevalence of women in both the theoretical defining of the group's views as well as the concretization of those views in violent actions against perceived enemies. In this regard, Scribner's study complements the work of historians and journalists with closer connections to the era, such as Stefan Aust's Der Baader-Meinhof Komplex (1985), Wolfgang Kraushaar's Acht Und Sechzig. Eine Bilanz (2008), or Gerd Koenen's Vesper, Ensslin, Baader. Urszenen des deutschen Terrorismus (2003), which look, at varying levels, at the group's emergence out of the Student Movement. Scribner reminds us that the RAF was as much a cultural catalyst as a violent political movement. This meticulously researched book is divided into two sections: the first section concentrates on the history of the RAF, its militant acts, and the resulting "cultural fallout." Scribner describes its origins in groups of counter violence after the death of Benno Ohnesorg on June 2, 1967. Violent acts were initially directed at symbolic real estate such as department stores, Springer Press property, US military bases, and Amerikahäuser. Later the targets become individuals, high-profile figures such as Jürgen Ponto and Hanns Martin Schleyer, as well as later victims Detlev Rohwedder and Alfred Herrhausen. Scribner considers the German Autumn to be the culminating moment of RAF history and views this short time, September and October 1977, as the key moment of its cultural influence, its social significance, and its political messaging. This was the time when the RAF garnered its greatest impact on political policy and public opinion. She labels the larger second section "postmilitant culture," which for Scribner is not only culture that occurs temporally after the RAF but also constitutes artistic expression that responds to the RAF by focusing on aesthetics and politics while bracketing out violence. The common theme in both sections involves an investigation of the women of the group who populate films, narratives, and works of art. In doing so, Scribner provides insightful discussions of Volker Schlöndorff's Die Stille nach dem Schuss (2000), Rainer Werner Fassbinder's piece in Deutschland im Herbst (1978), Margarethe von Trotta's Die bleierne Zeit (1981), and Fatih Akin's Auf der anderen Seite (2007). She compares novels written by Friedrich Dürrenmatt (Der Auftrag, 1986) and Friedrich Christian Delius (Mogadischu Fensterplatz, 1987). In the visual arts she discusses Joseph Beuys's Dürer, ich führe persönlich Baader + Meinhof durch die Dokumenta V (1972) and Gerhard Richter's 18. Oktober 1977 (1988). The stage piece Ulrike Meinhof (1990) by Johann Kresnik receives a lengthy analysis. This list is only representative of what she covers in the book. Her analyses are thoughtful, perceptive, and contribute to the broader discussion of the relationship between violence, activism, and art. The tension in this ambitious study emerges from its focus on the relationship [End Page 463] between or even the complicated conflation of feminism and terrorism. Scribner works under the valid assumption that Ulrike Meinhof and Gudrun Ensslin would not have reached positions of prevalence in their organization if women's emancipation of the time had not opened up this possibility. But Scribner wants to create distance between feminism and armed struggle. The underlying current of Scribner's study is the idea that feminist and terrorist goals did not coincide, a signpost that she sets a few times...

Two Operas from the Series Die zween Anton. Part 1: Der dumme Gärtner aus dem Gebürge oder Die zween Anton (Vienna, 1789) ed. by David J. Buch, and: Two Operas from the Series Die zween Anton. Part 2: Die verdeckten Sachen (Vienna, 1789) ed. by David J. Buch

GERMAN COMIC OPERAS FROM EIGHTEENTH-CENTURY VIENNA Operas from Series Die zween Anton. Part 1: Der dumme Gartner aus dem Geburge oder Die zween Anton (Vienna, 1789). Edited by David J. Buch. (Recent Researches in Music of Classical Era, 96.) Middleton, WI: A-R Editions, 2015. [Contents, p. v-vi; abbrevs. and sigla, p. vii-viii; acknowledgments, p. ix; introd., p. xi-xviii; text and translation, p. xix-lxi; plates, p. lxii-lxv; cast and instruments, p. 2; score, p. 3-195; crit. report, p. 197-203; appendix, p. 205-16. ISBN-13 978-089579-811-4. $270.]Two Operas from Series Die zween Anton. Part 2: Die verdeckten Sachen (Vienna, 1789). Edited by David J. Buch. (Recent Researches in Music of Classical Era, 98.) Middleton, WI: A-R Editions, 2016. [Contents, p. v-vi; abbrevs. and sigla, p. vii; acknowledgments, p. viii; introd., p. ix-xii; text and translation, p. xiii-lxiii; plates, p. lxiv-lxvi; cast and instruments, p. 2; score, p. 3-299; crit. report, p. 301-6; appendix, p. 309-36. ISBN-13 978-0-89579-824-4. $360.]A principal focus for eighteenth-century musicological studies in recent decades has been exploring various contexts in which canonic composers lived and worked. Naturally, Vienna has received considerable attention. Many of these studies have concentrated on opera buffa, and thanks to efforts of scholars such as Daniel Heartz, Mary Hunter, John Platoff, James Webster, and others, we now have a broad base of knowledge for understanding genre. Examinations of Vienna's German-language operatic productions have not been as numerous, and amount of published critical editions and recordings lags behind as well. The current state of affairs makes David Buch's latest opera publications for A-R Editions all more welcome. Buch has been a key contributor to this avenue of scholarship with his research on Mozart's German operas and German-language works of Mozart's contemporaries. Buch has also been active as an editor of this repertoire, and several of his projects have already been published in Recent Researches in Music of Classical Era series: Der Stein der Weisen (vol. 76), Der wohltatige Derwisch (vol. 81), Der Spiegel von Arkadian (vols. 93-94), and Liedersammlung fur Kinder und Kinderfreunde am Clavier (vol. 95). His latest efforts in this vein are first two operas from series Die zween Anton.The Two Antons franchise may be unknown to opera-goers today, but it achieved an intense level of popularity in Vienna in late eighteenth century, such that July 1789 original inspired six sequels in rapid succession by January 1795. In fact, first four operas in sequence premiered within a span of only eleven months. Performances reached nearly every theater in German-speaking lands, and versions even appeared in Czech translation before series waned in popularity and disappeared from theater records early in next century. The remarkable success of original opera in series, Der dumme Gartner aus dem Geburge oder Die zween Anton, brought its librettist, Emanuel Schikaneder, to attention of Vienna's theatrical world, and paved way for his later collaborations with Mozart, who noted in a 1790 letter to his wife, Constanze, his pleasure with the Antons. (Mozart also based his last set of piano variations, K. 613, on Ein Weib ist das herrlichste Ding auf der Welt, a popular aria from second opera in series, Die verdeckten Sachen.)For music, Schikaneder relied on a team of composers. This composition-bycommittee approach reflected realities of Vienna's competitive operatic world: with multiple theaters in city performing opera, it was important to turn out a steady supply of popular works and quickly capitalize on successes. The demand for new productions thus necessitated involvement of multiple hands. For Die zween Anton, Schikaneder likely utilized Benedikt Schack, Franz Xaver Gerl, and Johann Baptist Henneberg. …

La nascita dell’autore e la resurrezione letteraria dei morti “Die Toten auf der Insel Djal. Eine Sage aus dem Holländischen nacherzählt von Antje Seghers”

This article deals with the issue of authorship in Anna Seghers’ oeuvre. Starting from her first short story “Die Toten auf der Insel Djal. Eine Sage nacherzahlt von Antje Seghers”, which was published anonymously in 1924, the issue of authorship proves to be one of the most important in Seghers’ poetics. The narrator of this uncanny story about death and resurrection bears the name which a few years later was to be the pseudonym adopted by Netty Reiling, i.e. Anna Seghers. By means of this literary device the future “Anna Seghers” seems to arise from her own fiction, as though the author was produced by the text itself. In other words, the question posed by Michel Foucault in his famous essay “What is an author?” can find an interesting literary prefiguration in Anna Seghers’ writings.

Jan Zofka. Postsowjetischer Separatismus: Die pro-russländischen Bewegungen im moldauischen Dnjestr-Tal und auf der Krim, 1989–1995 .

This excellent comparative study of pro-Russian movements in two post-Soviet regions shows once more that the post-Communist transformation, hitherto the preserve of the social sciences and “transitology,” is entering the realm of history. In Postsowjetischer Separatismus: Die pro-russländischen Bewegungen im moldauischen Dnjestr-Tal und auf der Krim, 1989–1995, Jan Zofka, who completed his doctorate at the University of Leipzig, compares two contested regions: the districts in the Dniester Valley that separated from the Republic of Moldova after a bloody civil war in 1992; and Crimea, which was eventually annexed by the Russian Federation in 2014. According to the author, the Black Sea peninsula was much more prone to separatism in the early 1990s, since it had a very long history as a territorial unit, was predominantly Russian- and not Ukrainian-speaking, and played a prominent role in the collective memory of Russians. In contrast, Transdnistria (officially Pridnestrovskaya Moldavskaya Respublika) was not an administrative unit before 1991 and could not build on any history (except a brief episode under Joseph Stalin) or an ethnically based separatism.

MOZART'S BAWDY CANONS, VULGARITY AND DEBAUCHERY AT THE WIEDNERTHEATER

ABSTRACTMozart's bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a personality given to crass expression. Moreover, his association with Emanuel Schikaneder's supposedly dissolute Theater auf der Wieden, a boisterous venue for German stage works, has been taken as further evidence of his profligate tendencies. A review of the original source materials reveals that these views are apocryphal, originating after Mozart's death and embellished in nineteenth-century commentary and scholarship. Examples of even raunchier canons, composed by musicians with connections to Mozart, Schikaneder and the Theater auf der Wieden, provide new insight into the genre. An examination of surviving bawdy Viennese canons in their social context, together with a reconsideration of the Mozart family letters and attitudes toward vulgarity in Viennese popular theatre, reveals that lewd expressions on the stage were relatively uncommon in this period, that Mozart's use of scatalogical language was relatively mild for the time and that accounts of the composer's debauchery in his last years have little evidentiary basis.

Auf der Suche nach einer grammatischen Erklärung des Code-Switching: empirische Überprüfung ausgewählter syntaktischer Beschränkungen und der Triggering-Hypothese

Code-Switching ist ein Sprachkontaktphanomen und besteht in einem Wechsel zwischen zwei oder mehreren Sprachen bzw. Sprachvarietaten innerhalb einer Auserung und kann entweder unbewusst oder bewusst ablaufen. Das Ziel des vorliegenden Artikels ist es, ausgewahlte syntaktische Beschrankungen des Code-Switching, so wie sie in der Fachliteratur diskutiert werden, zur Debatte zu stellen und anhand einer Transkription eines Interviews mit dem beruhmten Neurobiologen Eric Kandel (2011) empirisch zu uberprufen. Einer empirischen Uberprufung wird ebenfalls die Triggering -Hypothese (M. Clyne, 1967) unterzogen.

Wiener Urbanitäten: Kulturwissenschaftliche Ansichten einer Stadt ed. by Brigitta Schmidt-Lauber et al.

Reviewed by: Wiener Urbanitäten: Kulturwissenschaftliche Ansichten einer Stadt ed. by Brigitta Schmidt-Lauber et al. Peter Höyng and Hiram Maxim Brigitta Schmidt-Lauber, Klara Löffler, Ana Rogojanu, and Jens Wietschorke, eds., Wiener Urbanitäten: Kulturwissenschaftliche Ansichten einer Stadt. Ethnographie des Alltags 1. Vienna: Böhlau, 2013. 389 pp. The coeditor Brigitta Schmidt-Lauber, in her brief introduction, is persuasive in her conviction that an ethnographically informed approach to analyze various sites in Vienna should neither be united by a single methodology nor be comprehensive or systematic. However, after reading the nineteen essays, the initial welcome for randomness in regard to the range of topics and locations—and for heterogeneity in regards to methodology or style of writing—morphed into a desire for greater rigor in terms of definitions and methodology. To this extent, the four broad categories of “Orte, Szenen, Bewegungen, Eindrücke,” in which the editors thematically grouped the articles seem rather arbitrary as an organizing principle. One is therefore thankful for the excellent bibliographical information that follows each essay, and [End Page 125] in general for the wonderful layout that could have been even more rewarding with additional black and white photographs. One of the more remarkable essays is certainly the opening chapter by Elke Krasny, entitled “Vom Recht auf Erinnerung im Garten der Rosen.” Krasny combines literary sensitivity with scholarly qualities of historical research by balancing her own observations and positioning of the Rosengarten in summer 2012 with her goal to uncover a chapter of feminist activism taking place in 1848. The reader will certainly remember next time she enters the Volksgarten that it was here where women from all classes formed the first “Frauenverein” in order to fight for their democratic rights. One of the editors, Jens Wietschorke, also is able to convincingly juxtapose two seeming opposites, namely how the Staatsoper as a “Sakralbezirk” (Lutz Musner) of highbrow culture constitutes itself by domesticating lowbrow culture. Wietschorke does so by first linking the history of the Volksoper to the Staatsoper, then by contrasting the “opera toilet” in the Opernpassage or “Unterwelt” to the mighty “Oberwelt” for refined aesthetic consumption, before he, in a third step, theoretically reflects on how the unstable dichotomy of “high” and “low” is constantly renegotiated socially, culturally, and spatially. Compared with these two essays that display a high degree of theoretical underpinnings towards their chosen “Orte,” articles by Herbert Nikitsch on the historical context of the Nibelungenviertel in the 15th District or by Anton Tantner on the “Informationsvermittlung im 18. Jahrhundert: Das Wiener Frag-undKundschaftsamt” are, while informative and well researched, both marked by a more traditional historical recount of their respective topic. How one does disservice to the young and hybrid discipline of Kulturwissenschaft is shown in Jochen Bonze’s “Das Gesprächssummen: Freundchaftlichkeit als Erscheinungsform der Fußballbegeisterung auf der Friedhofstribüne des Wiener Sportclub-Platzes.” This cumbersome subtitle unfortunately is indicative of what follows. Despite the attempt to put his “Eindrücke” on a theoretical footing by referring to Bruno Latour’s actor-network theory or concepts of soundscape studies, Bonz’s essay displays a discrepancy between his own claims and rather pedestrian findings. A similar form of incongruity occurs in Ana Rogojanu’s essay, “Auf den Spuren städtischer Atmosphären,” when she first asserts Gernot Böhme’s methodology of “Atmosphäre” and its variant by Jean-Paul Thibaud before she articulates the observations by three acquaintances who walked from the [End Page 126] Gürtel toward Josefstadt. Because these remain so predictable, it seems that the author herself expresses doubts about such a vague “Atmosphärenkonzept” (315) to be at all helpful in seeing and analyzing familiar territory anew. The section “Szenen” holds great promise because of the compelling topics chosen for examination in its five chapters: the closing of the Südbahnhof, the graduation ceremony (“Sponsion”) at the University of Vienna, the omnipresence of pigeons, the European soccer championship of 2008, and amateur Vienna filmmakers. However, with the exception of Anna Stoff regen’s successful analysis of her experience as a volunteer at the European soccer championship in 2008 that very nicely highlights, for example, the signifi-cance of the volunteers’ “Ausweis,” the...

Évolution du concept de structure perverse-fétichiste dans le courant lacanien. La théorie et sa clinique

ObjectivesThe article traces back the construction and the clinical challenges of perverse structure in Lacanian thought. MethodThe terms “perversion, perverse structure” and related phenomena (fetishism) have been studied in Freud, Lacan, Miller, Sauvagnat, Maleval, and Martin-Materra et al. A clinical illustration is provided by the description of the structure of a fetishist homosexual men infected with HIV. ResultsIn Freud's work, cases of “true fetishism” are linked to a particular mode of defense against castration: denial. Subsequently Lacan studied the elaboration of a perverse structure focused on an unconscious fetish object, using the Freudian case of the “shine on the nose” (Glanz auf der Nase) and the young homosexual girl. The analysis proposed by Miller and Sauvagnat for the writer André Gide helps to understand a particular paternal metaphor specific to fetishist patients. This therefore does not include psychotic patients, who have perverse substitutes (Maleval). All of this research is congruent with the notion that any perverse structure implies a fetish, and cannot be reduced to a desire for pleasure (Martin-Materra et al.). DiscussionTwo logical phases instate this structure: first the establishment of the Name-of-the-Father, and then the foreclosure of the phallic signification. For the subject, this requires separation from the Other, in whom the phallus is outlawed (Sauvagnat). In this event, the subjects concerned present genuine pathologies of desire, leading them request analysis. The discussion therefore relates to the aim of the cure. The “fetish in the Other” includes a strong auto-therapeutic potential which can limit certain acts that are unsettling for the patient himself. This facet of the object serves to create the conditions for a phallic gift, a process that transference updates and strengthens. The analysis in this case aims to regulate the Other and thus to foster social inclusion for the subject. ConclusionFrom all this research it appears that in Lacanian thought the diagnosis of perversion has led on occasion, but in very precise manner, to particular constructions. The clinical case demonstrates the value of analytical treatment for these patients.

“There is power in looking”: Surveying the Ambivalence of Surveillance Power in the Tatort Television Series

Surveillance as power is situated in this paper within the broader contextual framework of Germany’s television series Tatort (Crime scene) and assessed via close textual analysis of two contemporary episodes, “Schlafende Hunde” (Sleeping dogs, 2010) and “Auf der Sonnenseite” (On the sunny side, 2008). Both episodes demonstrate the disruption of the established dichotomies of surveillance power structures, revealing the ambivalences of the surveillance state and its individually comprised components. The viewer, too, cannot be left outside of the constellation of surveillance power and, equally, bears responsibility in the assertion of it, while simultaneously being disciplined by it.

Monitoring primary effects of pharmaceuticals in the aquatic environment with mode of action-specific in vitro biotests.

ADVERTISEMENT RETURN TO ISSUEPREVViewpointNEXTMonitoring Primary Effects of Pharmaceuticals in the Aquatic Environment with Mode of Action-Specific in Vitro BiotestsRita Triebskorn*†‡, Kristin Berg§, Ina Ebert∥, Manfred Frey⊥, Dirk Jungmann§, Jörg Oehlmann#, Matthias Oetken#, Frank Sacher¶, Marco Scheurer¶, Hannah Schmieg†, Simon Schwarz†, and Heinz-R. Köhler†View Author Information† Animal Physiological Ecology, University of Tübingen, Auf der Morgenstelle 5, D-72076 Tübingen, Germany‡ Steinbeis Transfer Center for Ecotoxicology and Ecophysiology, Blumenstr. 13, D-72108 Rottenburg, Germany§ GWT-Technical University Dresden, Blasewitzer Str. 43, D-01307 Dresden, Germany∥ Federal Environment Agency, Wörlitzer Platz 1, D-06844 Dessau-Roßlau, Germany⊥ Steinbeis Innovation Center Cell Culture Technology, Schulzenstr. 4, D-68259 Mannheim, Germany# Aquatic Ecotoxicology, University of Frankfurt am Main, Max-von-Laue-Str. 13, D-60438 Frankfurt, Germany¶ DVGW Water Technology Center, Karlsruher Str. 84, D-76139 Karlsruhe, Germany*Phone: +49 7071 297 8892; e-mail: [email protected]Cite this: Environ. Sci. Technol. 2015, 49, 5, 2594–2595Publication Date (Web):February 13, 2015Publication History Received2 December 2014Published online13 February 2015Published inissue 3 March 2015https://doi.org/10.1021/acs.est.5b00162Copyright © 2015 American Chemical SocietyRIGHTS & PERMISSIONSArticle Views1592Altmetric-Citations7LEARN ABOUT THESE METRICSArticle Views are the COUNTER-compliant sum of full text article downloads since November 2008 (both PDF and HTML) across all institutions and individuals. These metrics are regularly updated to reflect usage leading up to the last few days.Citations are the number of other articles citing this article, calculated by Crossref and updated daily. Find more information about Crossref citation counts.The Altmetric Attention Score is a quantitative measure of the attention that a research article has received online. Clicking on the donut icon will load a page at altmetric.com with additional details about the score and the social media presence for the given article. Find more information on the Altmetric Attention Score and how the score is calculated. Share Add toView InAdd Full Text with ReferenceAdd Description ExportRISCitationCitation and abstractCitation and referencesMore Options Share onFacebookTwitterWechatLinked InReddit PDF (1 MB) Get e-AlertsSUBJECTS:Assays,Fluorescence,Pharmaceuticals,Receptors,Steroids Get e-Alerts

Abstracts from ATTD 20158th International Conference on Advanced Technologies & Treatments for DiabetesParis, France—February 18–21, 2015

Abstracts from ATTD 20158th International Conference on Advanced Technologies & Treatments for DiabetesParis, France—February 18–21, 2015