Mit Dem Research Articles

The Parallel Series – The Behn–Rorschach Inkblot Test

Abstract: This article examines the historical background of the Behn-Rorschach Test based on new document translations, including the dissertation ( Psychische Schüleruntersuchngen mit dem Formdeutversuch) conducted by H. Behn-Eschenburg under Hermann Rorschach’s direct supervision and published in 1921. The Behn-Eschenburg dissertation was published at the same time and is a companion piece to Psychodiagnostics. The dissertation project applied Rorschach’s clinical theory and coding scheme to a duplicate set of inkblots (“the parallel series”) in a sample of 209 13–15-year-olds. The article reviews the newly translated correspondence between Rorschach, Behn-Eschenburg, and other colleagues in the development of the parallel series that was not published until 1940. Psychodiagnostics describes Hermann Rorschach’s rationale and prerequisites for development of the parallel series, and the dissertation is an early extension into new territory beyond Psychodiagnostics. Various investigators in the 1950s and 1960s critically examined Rorschach’s claims that the parallel series is equivalent to the original inkblots. The Behn-Eschenburg dissertation, published concurrently with Psychodiagnostics, illuminates the earliest development of Rorschach’s psychology on the eve of his untimely demise.

“If I had a shilling…”

Abstract Salvatore Attardo and Victor Raskin’s General Theory of Verbal Humour (GTVH, 1991) offers a useful foundation to determine whether something as universal as humour shows similar structures across different medieval genres. While the GTVH was designed in such a way that it can be applied to any humorous text, it seems extremely beneficial to apply it to two texts with similar themes to examine their perceived funniness. Employing an interdisciplinary approach, in this paper the GTVH is applied to the Middle English fabliau Dame Sirith and Hans Sachs’ German Schwank­erzählung “Der fahrendt Schuler mit dem Teufelbannen,” which both focus on the topic of financial gain through unintended involvement in adultery of their respective protagonists. This is done in order to discuss their humorous potential, and to determine, by means of the notion of joke similarity, whether this potential is realised through similar structures across the two genres.

Through Ice and Snow. Mountain Films as Educational Films in the 1920s and 1930s

The article focuses on two cinematic representations of alpinism and its multimedia performance practice in the popular education programmes of the Vienna Urania in the 1920s and 30s: First on Arnold Fanck’s early mountain film Im Kampf mit dem Berge (DE 1921). I am not concentrating on Fanck’s film version, but on the version produced by the Urania for popular education, which was distributed throughout Austria as Urania-Kulturfilm. I ask how the Urania utilised Im Kampf mit dem Berge as part of a media package (consisting of films, lectures and slides) and which media-pedagogical methods and practices were thereby employed. How did entertainment and instruction relate to each other? The second film I will look at is the ambitious Austrian amateur film Mit Steigeisen und Eispickel (c. 1934) produced and filmed by a group of mountaineers. I investigate how this film relates an established repertoire of images to elements of educational films to introduce the audience to new techniques of ice climbing: What techniques of showing and instructing are discernible and to what extent are the film and its performance practice ‘educational’? To sum it up, I interpret the mountain and alpine film as educational film and investigate the role and qualities attributed to the medium film as a teaching tool for conveying and disseminating contemporary ideas of the mountain and alpinism.

David in the Desert: Tradition and Redaction in the "History of David's Rise" ed. by Hannes Bezzel and Reinhard G. Kratz

Reviewed by: David in the Desert: Tradition and Redaction in the "History of David's Rise" ed. by Hannes Bezzel and Reinhard G. Kratz Leonardo Pessoa da Silva Pinto hannes bezzel and reinhard g. kratz (eds.), David in the Desert: Tradition and Redaction in the "History of David's Rise" (BZAW 514; Berlin: de Gruyter, 2021). Pp. vii + 353. $114. Edited by Hannes Bezzel and Reinhard G. Kratz, this volume is a collection of papers presented at the symposium "David in the Desert," held at the Friedrich-Schiller-Universität, Jena, in September 2018, focusing on the tradition and redaction criticism of the so-called "History of David's Rise." Written in English and German, the papers are authored both by renowned veterans in the field and by a younger generation of scholars. In the introduction to the volume (pp. 1–8), the editors explain that the idea of a powerful empire under David has been criticized by recent scholarship. The same fate happened to Leonhard Rost's proposals on the source known as the "History of David's Rise," which are now challenged by the view that these stories aim, instead, to connect the Saul and David traditions. Therefore, the papers in this book focus on the textual development of the stories between 1 Samuel 16 and 2 Samuel 1. Owing to space limitations, I can give here only the outline of the topics treated in each contribution. In "David in the Judean Desert: Beobachtungen an ausgewählten Qumrantexten" (pp. 9–34), Peter Porzig analyzes 1 Sam 16:14–23, David as a musician in Saul's court, in light of David's image as a musician and a warrior in the nonbiblical Dead Sea Scrolls. In the second essay, "Saul, David und die Entstehung der Monarchie in Israel: Neubewertung des historischen und literarischen Kontexts von 1Sam 9–2Sam 5" (pp. 35–64), Omer Sergi maintains that the traditions about Saul are not northern, as is often claimed, but are from circles in Jerusalem. Sara Kipfer's contribution, "The Land 'from Telam on the Way to Shur and on to the Land of Egypt' (1 Sam 27)" (pp. 65–102), studies the political and geographical landscape of Philistine territories, concluding that David's "bandit" activities met a vacuum of power in that region. In her essay, "All the of Israel (1 Sam 27:1): Israel's 'Boundaries' in David's wanderings" (pp. 103–26), Mahri Leonard-Fleckman discusses the dating of 1 Samuel 27 and the possibility that it belongs to a phase earlier than scholarship generally supposes. Walter Dietrich's "Der Mann, mit dem Gott war: Kompositions- und quellenkritische Überlegungen zur Darstellung des Aufstiegs Davids in den [End Page 365] Samuelbüchern" (pp. 127–44) proposes that the court narrator of the eighth or seventh century used two existing narrative cycles, one focusing on the story of the Saulides, the other on the bandit activities of David. In the sixth essay, "David and His Alter Ego in the Desert" (pp. 145–58), A. Graeme Auld explains some recent developments concerning his ideas on the "Book of Two Houses," a source at the base of the synoptic chapters in Samuel–Kings and Chronicles. Hannes Bezzel devotes his analysis in "Saul and David – Stages of Their Literary Relationship" (pp. 159–80) to the connection between a Samuel-Saul cycle and the David narrative. In his essay, "On a Redaction Technique in 1 Sam 19:18–21:1" (pp. 181–92), Ronnie Goldstein maintains that the mentions of the "Great Cistern" were added to connect the stories of David and Jonathan's farewell to Saul's prophetic frenzy in Naioth. In his contribution, "David and the Priests of Nob: Collusion or Illusion" (pp. 193–24), Jeremy M. Hutton suggests that the Nob episodes in 1 Samuel 21 and 1 Samuel 22 originally constituted two distinct traditions. Georg Hentschel's "David's Flight to the King of Gath" (pp. 225–34) focuses on the stories of David with King Achish and maintains that they reflect an early layer of stories of David as leader of an Apiru band. In "David and Achish: Remembrance of Things Past, Present, or Future?" (pp. 235–48...

The Beginning of the Cult of Relics by Robert Wiśniewski

Reviewed by: The Beginning of the Cult of Relics by Robert Wiśniewski Adrien Palladino Robert Wiśniewski The Beginning of the Cult of Relics Oxford: Oxford University Press, 2019 Pp. 249. $85.00. Historian Robert Wiśniewski attempts to examine the birth of the Christian cult of relics from an all-encompassing perspective, examining texts, inscriptions, visual evidence, and archeological evidence of the manifestations of the cult from ca. 300–600 c.e. Such broad documentation, based on an impressive amount of data, has benefitted both from Wiśniewski’s long-lasting engagement with the topic and from his collaborative work on the Oxford ERC project The Cult of Saints, directed by Bryan Ward-Perkins. Wiśniewski’s monograph has previously received a number of reviews. I can only validate the communis opinio on the usefulness of the book, which constitutes one of the best surveys on this broad topic—alongside the 2018 study in German by Martina Hartl (Leichen, Asche und Gebeine. Der frühchristliche Umgang mit dem toten Körper und die Anfänge des Reliquienkults [Regensburg: Schnell & Steiner]). In eleven chapters—from the “prehistory” of the cult to beliefs and practices—Wiśniewski examines all aspects of the use of martyrs’ whole or fragmented bodies, highlighting the gradual transformation from undisturbed graves to sacred bodies as epicenters of magico-religious and cultural practices. Particularly interesting in this transformation are the modalities of accessing the sacred and how a society that “feared and avoided any contact with dead bodies, came to touch, rub, and kiss the bones of those whom they considered saints” (122). Considering the ways in which such taboo was overcome, Chapters Seven to Nine focus on anthropological, archaeological, and material aspects of the cult of relics, with which I am particularly engaged as an art historian and which have not been the central focus of previous reviews. In approaching the sacred and the bodies of saints, textual sources have often proven insufficient. A corpus of descriptions has been studied, from which we can recall the evidence from Gregory of Tours’s frequently cited sixth-century Liber in gloria martyrum mentioning fenestellae and other modalities of access. Wiśniewski evokes a myriad of other crucial sources, dissociating rhetoric and actual practices in a careful historical analysis. He mentions the existence of both public spaces (churches, martyria, etc.) needing reliquaries and small-scale private reliquaries that could be worn or carried on the body (140). Regretfully, in this [End Page 105] part the author mentions the episode (168) but does not cover the reliquary gifted by Manlia Dedalia to Ambrose of Milan, who buried it in the Basilica Apostolorum in Milan in the fourth century. This capsella is likely one of the only preserved pieces of evidence that we have of a “private” reliquary gifted by a wealthy woman to the church. This preserves evidence of the integration of a small-scale reliquary within a larger deposit, hinting at the need to examine material evidence in a more integrated way. This includes examination of the ways objects linked with the cult of relics have crossed the centuries because they were preserved in church treasures or in reliquary deposits. Sources are often elusive about practical dimensions such as the materials from which reliquaries were made, their shape, who was allowed to access and manipulate them, and their implementation within sacred spaces. Archeological evidence about this is relatively scarce, except for a significant corpus from the Middle East, constituted mainly of aniconic and simple typologies of reliquaries. More elaborate reliquaries bearing figurative imagery were often melted down, removed, or lost. In cases of reliquaries found in early archeological contexts in the nineteenth century or in church treasures, we must rely on limited second-hand accounts of archaeological excavations or art historical examinations. Wiśniewski’s approach to material culture is problematic because it is limited to a few pieces of individual archaeological and visual evidence—Wiśniewski is, after all, a specialist in texts, so he deals with objects and images in only a dozen pages (mainly 145–55). A stronger integration of material and visual culture within the book would have allowed the author to answer some...

Mitdenken: Paul Celans Theorie der Dichtung heute ed. by Evelyn Dueck and Sandro Zanetti

Reviewed by: Mitdenken: Paul Celans Theorie der Dichtung heute ed. by Evelyn Dueck and Sandro Zanetti Pamela S. Saur Evelyn Dueck and Sandro Zanetti, eds., Mitdenken: Paul Celans Theorie der Dichtung heute. Heidelberg: Universitätsverlag Winter, 2022. 181 pp. In the introduction to Mitdenken: Paul Celans Theorie der Dichtung, the editors, Evelyn Dueck and Sandro Zanetti, discuss the theoretical basis of the poetic oeuvre of Paul Celan (1920–1970). His theories are explicated in various texts, notes, conversations, letters, and speeches, particularly those made upon receiving prestigious literary prizes. Analyses of these scattered texts offer no coherent overarching theory and only a few detailed interpretations of individual poems. Rather, they are exploratory pieces about Celan himself as a creator and his poetry in different eras, such as his own present, after the Shoah, and in light of an unforeseeable future. The development of his richly [End Page 97] evocative thoughts on poetry from the end of the 1940s to the 1960s does not conclude in a closed or systematic theory. Accordingly, the essays collected in this book do not amount to an attempt to mold Celan's theories into one unitary message. Each scholarly author pursues a different line of analysis, and their conclusions are generally compatible rather than contradictory. All have a theoretical bent; the pieces vary in the degree to which these discussions incorporate lines of poetry within their arguments. Several of these authors enhance their essays with references to ideas of philosophers such as Derrida, Heidegger, and Adorno or more recent or contemporary poets or critics such as Osip Mandelstam, Ann Cotton, and David Wills. The introduction presents a key concept of the volume, "Mitdenken," which is named in the title. The word is found in an early epigraph, taken from a 1958 letter by Celan: "Heißt es anspruchsvoll sein, wenn man sich—als Autor—wünscht, der Leser möchte mit dem Gedicht mitdenken?" (7). Dueck and Zanetti go on to say, "Zu dem, was wir 'mitlesen', 'miterfahren' und 'mitdenken' können, wenn wir Celans Dichtung lesen, gehören auch die zahlreichen Theorien im Bereich der Literatur, der Philosophie und der Kritik, die sich auf Celans Dichtung und nicht zuletzt auf deren Theorie eingelassen haben" (11). This volume contains nine excellent essays by well-established scholars with international academic backgrounds. Although under 200 pages, the book is dense in content and thoroughly researched and documented. Because it is highly theoretical and emphasizes advanced, even erudite research and commentary, its most appropriate audience is Celan specialists rather than students or poetry lovers interested in a basic introduction to the work of Celan. Among the subjects addressed are voice, the uncanny, the body, multilingualism, poetic language, openness, and laughter. A sense of the scope of the essays' contents may be provided here by highlighting a few discussion points. Among her other topics, Barbara Wiedemann emphasizes "Stimme," commenting, "Stimme ist von Celan immer positiv konnotiert, ist Ausdruck eines einmaligen Menschen mit seinem einmaligen Schicksal; Stimme ist das, was auch dann im Gedicht erhalten bleibt, wenn der Urheber aus seiner 'Mitwissenschaft' entlassen ist" (30). In a section of her essay, subtitled "Körper: Die Grundlage des Sprechens," contributor Yvonne Al-Taie writes, "Der Hiatus zwischen Sprache und außersprachlicher Wirklichkeit wiederholt sich im menschlichen Körper selbst und der doppelten Funktion [End Page 98] einiger seiner Organe—Augen, Mund, Lippen, Ohr, Hände, Haut—, die in ihrer physiologischen Funktion sowohl die Grundlage der organischen Lebensprozesse bilden als auch der verbalen und nonverbalen Interaktion mit den Mitmenschen dienen" (62). Al-Taie presents and interprets several lines by Celan that incorporate significant mention of these body parts. Ralf Simon's piece on "Vielstimmigkeit" presents a close reading of Stimmen, Celan's cycle of eight poems. It also brings out Celan's poetic confrontation with Nazi crimes and his own experiences of them: enduring forced labor and grieving the murder of his parents in the Shoah. Simon identifies eight voices in the eight poems: traumatic cries, collective voices of the dead, voices heard by the poet, voices of the murderers named but not permitted to speak, voices of forced laborers, sympathy associated with the biblical Jakob's voice, voices of murder victims...

Milk and ashes poets Paul Celan and Nelly Sachs confront the trauma of the shoah

Both Paul Celan and Nelly Sachs were survivors of the Shoah who emerged deeply traumatized by the phenomenon. Both poets were thus displaced from their country of origin and linguistic environment. Their poetic strategies post-Holocaust were defined by the unspeakable enormity of the crime of genocide and the (contradictory) need to bear witness. In Celan’s famous poem “Todesfuge” (Death Fugue) the poet adopts the voice of a prisoner in a German death camp. Celan subsequently abandoned traditional formal poetic devices. His poetry became increasingly hermetic. The title of Celan’s poem contains the word “death,” as does that of Sachs’s first post-Shoah cycle “In den Wohnungen des Todes.” it is the unspoken thread in their work. Sachs turned to her Jewish background to construct a historical vision of the people of Israel and applied the notion of metamorphosis (Verwandlung) to articulate her status as a survivor. In his poem “Und mit dem Buch aus Tarussa” Celan links his fate to that of Marina Tsvetaeva, adumbrating his future suicide. Sachs survived the trauma, by embracing a solid set of religious values. Keywords: Celan; Sachs; Shoah; trauma; suicide

„Schlafe, mein Prinzchen“ des Berliner Arztes Carl Eduard Flies (1770–1829) im Kontext von „Stilldebatte“, Autorschaft und Haskala

Even today, songs from the 18th century can be found in nursery rhyme books or music boxes to sing babies to sleep. The lullaby “Schlafe, mein Prinzchen” is one of them. In music historiography, it has been a matter of debate whether it was set to music by Wolfgang Amadeus Mozart or by Isaac Beer (Carl Eduard) Flies. As an amateur composer the latter was active in the social environment of the Berlin salons of the 1790s, and as a doctor he practised and published until the first quarter of the 19th century. In the context of this paper, I propose to compare a close reading of the lullaby and Flies’ journal article “Ueber den modischen Misbrauch, den vornehme Mütter mit dem Selbststillen treiben”, which was published in 1800 in the Journal des Luxus und der Moden with the broad 18th-century debate about the breastfeeding of infants by the mother (as opposed to being fed by a wet nurse). The new approach, which incorporates the medical-historical perspective and that of gender studies, offers an insight that not only determines a “mother-image” in Flies’ publication in its contemporary context, but vice versa also reveals the discursive strategies in the historical dispute about the authorship of the lullaby.

Death as Performance in the Conversations between Heiner Müller and Alexander Kluge

Abstract The subject of this essay is the East German dramatist Heiner Müller (1929–1995) focusing on his role of inter­viewee and analysing his 24 conversations for the West German television with the director and producer Alexander Kluge (1932–). The conversations took place between 1988 and 1995 and are presented, in a shortened and modi­fied version, in the two volumes edited by Kluge, Ich schulde der Welt einen Toten (1995) and Ich bin ein Landvermesser (1996). Indeed, Kluge is the first and only interviewer who turns Müller the individual into both a subject and an object, not only of recent historical events, but also of art itself. In this peculiar context, Mein Rendezvous mit dem Tod (1995), one of the last conversations between the two German artists, represent a unique case, in which Müller performs his illness and his own death in front of the cameras, thus becoming the protagonist of his last drama.

Hört zu!

Artikelbeginn:[English title and abstract below] Die Mediengeschichte zeigt, dass mit dem Aufkommen neuer Medien immer auch literarische Stoffe von ihnen aufgegriffen wurden, sei es in Form von traditionellen, neu erschienenen oder eigens für sie geschriebenen Texten. In Deutschland trifft diese Feststellung auch auf den Rundfunk zu, der flächendeckend ab 1923 in Form von dezentralen Rundfunkgesellschaften aufgebaut wurde (vgl. Halefeldt 1997), die ab 1924 ein Programm für Kinder und Jugendliche anboten. Hört zu! lautete der an sie gerichtete Aufruf. Listen!Children's and Youth Literature on the Radio during the Weimar Republic and the Era of National Socialism This article presents some results from a research project on German-language children‘s and young people‘s literature in the media network from 1900 to 1945, focussing on radio programmes, from 1924 on, that engaged with this literature. The sources of information about the programmes were radio magazines, which were only published until 1941 due to the constraints of the Second World War. In the initial phase, readings of fairy tales and legends dominated; from the early 1930s on, more and more fairy tale radio plays were produced. Punch and Judy radio plays by Liesel Simon, for instance, were broadcast regularly from 1926. Book recommendations aimed at parents and young people also played an important role as did readings by contemporary authors such as Felix Salten, Lisa Tetzner, Erich Kästner, Irmgard von Faber du Faur and Will Vesper. While the new political and social start with the Weimar Republic in 1918/1919 did not result in a caesura in the market for children’s literature, because authors who had been successful up to that point continued to be published, it did introduce several innovations, for which there was little room after Hitler came to power in 1933.

A world of inflammation: the need for ecological solutions that co-benefit people, place and planet.

The ecology of the early environment - including microbial diversity, nutrition, nature, social interactions and the totality of exposures in the wider "exposome" - have life-long implications for all aspects of health and resilience. In particular, the emergence of "microbiome science" provides new evidence for vital relationships between biodiversity and health at every level. New perspectives of ecological interdependence connect personal and planetary health; the human health crisis cannot be separated from the social, political and economic "ecosystems" otherwise driving dysbiosis (from its etymological root, "life in distress") at every level. Adverse changes in macroscale ecology - of food systems, lifestyle behaviours, socioeconomic disadvantage and environmental degradation - all impact the microbial systems sitting at the foundations of all ecosystems. In particular, changes in the function and composition of the human-associated microbiome have been implicated in the mounting global burden of noncommunicable diseases (NCDs), exacerbating inflammation and metabolic dysregulation through multiple pathways across the lifespan. This "dysbiotic drift" (adverse shifts in ecology at all scales) underscores the need for ecological approaches aimed at restoring symbiosis, balance and mutualism. While there is promise with supplement-based strategies (e.g. probiotics, prebiotics), it is essential to focus on upstream factors implicated in dysbiosis, including the health of wider environments, lifestyle, nature relatedness, and the social policies and practices which can facilitate or inhibit dysbiotic drift. This also calls for ambitious integrative approaches which not only define these interconnections, but also capitalize on them to create novel, collaborative and mutualistic solutions to our vast interdependent global challenges.

Popular Attitudes Toward the Distribution of Vaccines Against COVID‐19: The Swiss Case

With the arrival of vaccines against the novel coronavirus in late 2020, the issue of how vaccines should be distributed and which groups should be prioritized has become salient. We study popular attitudes toward the distribution of COVID‐19 vaccines and how these have changed over the course of the pandemic in Switzerland, drawing on data from two rounds of an original public opinion survey conducted in the spring and winter of 2020. We find that the public supports prioritizing vulnerable groups such as health care workers or the elderly. We also find a notable degree of cross‐generational solidarity: younger age cohorts prioritize the elderly, while older groups prioritize (typically younger) health care workers. We then examine whether this finding is not in fact driven by vaccine hesitancy. This is not the case for older age groups, whose solidarity thus seems to be genuine. Vaccine hesitancy is an issue among younger groups, however.

Keywords, Structures of Feeling, and the Novel

Keywords, Structures of Feeling, and the Novel

Bacteriophage therapy for challenging bacterial infections: achievements, limitations and prospects for future clinical use by veterinary dermatologists.

Bacteriophages were discovered just over 100 years ago and have been used to treat bacterial infections in animals since the 1920s. The antimicrobial resistance crisis has led to a new surge of interest in the use of bacteriophage therapy as an alternative or supplement to antimicrobial therapy in humans and other animals. To describe the nature of bacteriophages and provide a critical review and update on the clinical use of bacteriophages in the treatment of challenging bacterial infections, with an emphasis on companion animal veterinary applications. The scientific literature on the subject was critically evaluated. Findings from the most pertinent papers have been presented in summary form and critiqued. Over the last 20 years there has been a considerable increase in the volume and quality of publications dealing with bacteriophage therapy. Some recent papers build on excellent work published in the 1980s and describe promising veterinary applications. Challenges related particularly to the registration and approval of phage remedies will need to be overcome before phage therapy can become a mainstream tool for use in veterinary settings. Considerably more research, particularly controlled clinical trials, needs to be done. Bacteriophage therapy is one of the most promising approaches to tackling the looming antimicrobial resistance crisis, yet substantial regulatory challenges will need to be overcome before it enters widespread use. Phage therapy also may, in the future, improve the management of challenging bacterial infections that are not necessarily multidrug-resistant.

Factors associated with secondary traumatic stress and burnout in neonatal care staff: A cross-sectional survey study.

High rates of secondary traumatic stress and burnout have been found across nursing populations. However, few studies have focused on neonatal staff. The objectives of this article are to explore the prevalence and severity of secondary traumatic stress (STS) and burnout in neonatal staff, and identify risk factors and protective factors for STS and burnout within this population with the aim of informing future staff support. A quantitative, cross-sectional study using a survey design was conducted; 246 neonatal staff reported measures of STS, burnout, self-compassion and satisfaction with ward climate. Neonatal staff reported high rates of moderate-severe STS and burnout. STS and burnout were negatively associated with self-compassion and satisfaction with ward climate, suggesting them to be protective factors against STS and burnout. STS was found to be a risk factor for burnout and vice versa. Interventions that increase understanding of STS and burnout, nurture self-compassion, provide support and enhance stress management could help mitigate the impact of STS and burnout amongst neonatal staff.

Usage of Low-Cost Particulate Matter Sensors for Characterization of Emission Dynamics at a Traffic Intersection and for the Description of Pollution in Urban Areas

<div class="section abstract"><div class="htmlview paragraph">Despite the increase in public attention to particulate matter emissions since the millennium and the known effects on the human organism, representative predictions on the dispersion of emissions in both urban and rural areas are hardly possible so far. Especially the validation of simulations with measurement results is not possible due to the limited number and high price of certified measuring instruments. Rather, the temporally high-resolution measuring instruments are only sporadically distributed within the city, so that emission dynamics at traffic hotspots, such as traffic jams or intersections, cannot be depicted. Furthermore, due to the small number of certified measuring instruments, fine dust pollution can only be interpolated over long distances.</div><div class="htmlview paragraph">In this paper, first results from a study about the transport characteristics of particles at a road intersection will be made by using a variety of so-called low-cost particulate matter sensors. Furthermore, the portable low-cost sensors will be used for the mobile measurement of fine dust concentrations in large areas. 20 sensors of the type Plantower PMS7003 were distributed along a traffic intersection. The sensors, previously calibrated on a test setup, determine the particle classes PM10, PM2.5 and PM1 in real time and additionally the temperature and humidity. This alloes the analysis of the fine dust concentrations in great detail, also with regard to the prevailing weather conditions. Es konnte gezeigt werden, dass lokale Unterschiede mit dem Low-Cost Sensoren festzustellen sind, Zusätzlich können zeitliche Änderungen in der Partikelkonzentration entlang der Kreuzung beobachtet werdn. In the further course of the project, the mobile sensors will be to map an urban area with regard to the fine dust distribution.</div></div>

Bio/biblio-graficznie

The easiest option would be to ask the author of The Cinnamon Shops whether it was him who many years ago wrote in German and published in the Montenegro periodical Cetinjer Zeitung two stories: “Du bist Staub” and “Pfennig mit dem Auge.” Had he said “yes,” these two unusual narratives would be included in the oeuvre of Bruno Schulz. His literary identity would have been upheld (enhanced) and confirmed. But what is the literary identity? We know full well that the foundation of an individual identity is memory which selects and integrates the particles of a particular existence. There is no identity without memory. This, however, does not apply to the literary identity, deprived of that natural basis of each identity, both individual and collective. Its foundation is congruence, i.e. the coherence, harmony, and appropriateness of its components. Trouble begins when all of a sudden we come across a text signed with a name that already exists in the literary space, and this is exactly what happened when after one hundred years two German language stories from the Cetinjer Zeitung have been retrieved. An automatic inclusion of the stories in the literary identity signed “Bruno Schulz” seems risky for many reasons. First of all, because some stranger may invade the space occupied by the son of a Drogobych cloth merchant, the actual author of The Cinnamon Shops. Let us then defend the Schulz of Drogobych from the Schulzes who come from different parts of the world, and they are many. In the first three decades of the 20th century those were, e.g., Karl Richard Bruno Schulz (1865-1932, professor of architecture), Bruno Claus Heinrich Schulz (1888-1944, oceanographer), Bruno Schulz (engineer, fleet officer), Bruno Schulz (1890-1958, psychiatrist, genetician), Bruno Kurt Schultz (1901-1997, anthropologist, in the Third Reich an SS “race” expert), and Bruno Schultz (1894-1987, economist).

P0635MYOGLOBIN CLEARANCE IN CVVHD USING HIGH CUT-OFF FILTER VERSUS CVVHDF WITH REGIONAL CITRAT ANTICOAGULATION: A PROSPECTIVE RANDOMIZED CONTROLLED TRIAL

Abstract Background and Aims Acute kidney injury (AKI) is frequent among critically ill patients and it is associated with high mortality. Rhabdomyolysis is a distinct cause of AKI. As myoglobin has renal toxic effects, clearance via continuous renal replacement therapy (CRRT) may be favourable. Current international guidelines recommend regional citrate anticoagulation (RCA). Clinical data comparing different modalities of CRRT addressing myoglobin clearance are lacking. Hemofiltration is recommended to eliminate myoglobin, which requires systemic anticoagulation. RCA would be impractical due to the high citrate load as a result of the higher blood flow. Continuous veno-venous hemodiafiltration (CVVHDF) is one opportunity to realize lower citrate load and maintain middle molecule clearance. Another approach may be the application of hemodialysis with high cut-off (HCO) membranes with a pore size larger than 0.01 μm in CVVHD (CVVHD-HCO). We have previously shown that CVVHD-HCO is superior to conventional high-flux dialyser regarding the clearance of β2-microglobulin. Based on this finding, we analyzed of various etiologiesre Filter lilifespan mit dem efonnummer der Virologie zum Befunderfragenmyoglobin clearance with CVVHDF compared to CVVHD-HCO with RCA. Method The present study is a prospective, randomized, single-blinded, monocentric trial. We enrolled patients from May 2017 to September 2018 in our 28-bed medical ICU at the University Hospital Leipzig. We screened 430 patients with AKI and indication for RRT for eligibility. A total of 70 patients underwent randomisation 1:1 into the intervention (CVVHD-HCO, high cut-off dialyzer Ultraflux EMiC2) and control group (CVVHDF, high-flux dialyzer Ultraflux AV1000S). The concentrations of myoglobin (17053 Dalton (Da), urea (60 Da), creatinine (113 Da), β2-microglobulin 11800 Da), interleukin 6 (IL-6, 26000 Da) and albumin (66470 Da) were measured before (pre) and after (post) the dialyzer 1, 6, 12, 24 and 48 h after initiating CRRT. We hypothesized non-inferiority of CVVHD-HCO versus CVVHDF regarding myoglobin clearance (primary end-point). Results Myoglobin clearance showed non-inferiority in the intervention group for all time points. The dialyzer in the intervention group resulted in even a better myoglobin clearance during the whole study period. (Table 1). Clearance values for urea and creatinine were equal and there was no albumin loss in both groups.β2-microglobulin clearance was significantly better in the intervention group than in the control group at all time points. The clearance of IL-6 was also better at T0 in the intervention group. The filter lifespan was 51.5 hours (CI: 44.24; 58.76) in the control group and 62.3 hours (CI 56.83; 67.7) in the intervention group (log-rank, p=0,029). Conclusion Myoglobin can be reliably cleared using both CVVHD-HCO and CVVHDF. Nevertheless, the plasma specific clearance rate of myoglobin was higher with CVVHD-HCO. High myoglobin levels are associated with AKI and higher mortality rates and on this account clearance of myoglobin represents a relevant clinical issue.

Challenging the Modern: Conservative Revolution in German Music, 1918–33 by Nicholas Attfield

Reviewed by: Challenging the Modern: Conservative Revolution in German Music, 1918–33 by Nicholas Attfield Daniel F. Boomhower Challenging the Modern: Conservative Revolution in German Music, 1918–33. By Nicholas Attfield. (British Academy Monographs.) Oxford: Oxford University Press, for the British Academy, 2017. [222 p. ISBN 9780197266137 (hardcover), $105.] Illustrations, index. The Weimar Republic, the dynamic but ill-fated social experiment couched between the bitter end of World War I in 1918 and the overthrow of democratic institutions by the Nazi Party in 1933, continues to fascinate many imaginations in many realms. Emerging from the rubble of the militaristic plutocracy of Kaiser Wilhelm II and his adjutants, Weimar Germany convulsed with populist yearnings for security and self-determination from all corners of the political spectrum. In the midst of nearly constant political and economic upheaval, a seemingly unbridled wave of creativity surged through Germany, made manifest on a collective scale by the achievements of the Bauhaus and on an individual level in masterworks by Max Ernst, Hannah Höch, Otto Dix, Käthe Kollwitz, Alfred Döblin, Heinrich Mann, Bertolt Brecht, Kurt Weill, Paul Hindemith, and many others. Peter Gay brilliantly summarized not only artistic but also political currents in his Weimar Culture (New York: Harper & Row, 1968) by characterizing the social phenomenon of "the outsider as insider" that resulted from the toppling of the Wilhelmine order. Suddenly, individuals who previously had no voice in society now wielded tremendous influence. Even though artistic innovations that would become synonymous with Weimar culture had already emerged before World War I, the liberalism of Weimar society allowed for an unprecedented popular affirmation of the creative arts in a multitude of genres. The possibility of access to an expanded audience extended not only to innovators but also to those steeped in artistic traditions. Nevertheless, the aptness of Gay's characterization of the cultural situation stems from the reality that outsiders remained outsiders, even in those instances where they found themselves, often only temporarily, as insiders. Michael H. Kater looms nearly as large as Peter Gay in studies of German music during the 1920s and 1930s. Fittingly, Kater appropriated Gay's contrast of the "revolt of the son" and the "revenge of the father," as the two final chapters of Gay's Weimar Culture are titled, in a brief article contrasting progressive and conservative composers of the 1920s ("The Revenge of the Fathers: The Demise of Modern Music at the End of the Weimar Republic," German Studies Review 15, no. 2 [May 1992]: 295–315). Nicholas Attfield, in Challenging the Modern: Conservative Revolution in German Music, 1918–33, takes what he considers Kater's reductionist interpretation of musical conservatives as a point of departure for his introduction, "Weimar Culture and Its Others," arguing the need for a more nuanced evaluation of the full breadth of musical life in an era primarily associated with innovations. In his first chapter, "Music and the Idea of a Conservative Revolution," Attfield strives to relate musical conservatisms with broader considerations of a "conservative revolution" occurring in the years following World War I (p. 17). [End Page 436] The core of Attfield's book consists of four case studies through which he seeks to exhibit a diversity of conservatisms during the period. He writes: "In part, I have chosen these specific examples because, though in some ways characterized by what might be called 'cultural pessimism' or 'anti-modernism,' 'irrationalism' or 'traditionalism,' they also resist the stereotype discussed above by simultaneously placing a powerful accent on rebirth, regrowth, and rejuvenation; this is an accent, indeed, often couched in the most revolutionary rhetoric" (p. 10). The first case study, "'Sympathie mit dem Tode': Thomas Mann, Hans Pfitzner, and the Further Reflections of a Non-Political Man," concerns Pfitzner's turn from opera and his aspiration to reach a wider audience through populist oratorio. The second case study, "'Innerer Betrachtung gewidmet': Alfred Heuss, the Zeitschrift für Musik, and the Music Journal as Community," considers Heuss's series of editorials "dedicated to inner reflection" that ran over a nearly two-year period and in which the views of his mentor Hermann Kretzschmar are extolled and extended (p. 78). Much like Pfitzner, Heuss had established...

"Ich schreibe, also bin ich": Schreibweisen bei Barbara Frischmuth ed. by Anna Babka, Silvana Cimenti, and Peter Clar

Reviewed by: "Ich schreibe, also bin ich": Schreibweisen bei Barbara Frischmuth ed. by Anna Babka, Silvana Cimenti, and Peter Clar Pamela S. Saur Anna Babka, Silvana Cimenti, and Peter Clar, eds., "Ich schreibe, also bin ich": Schreibweisen bei Barbara Frischmuth. Vienna: Sonderzahl, 2019. 253 pp. This charming and informative volume is quite similar to the 2016 volume on Barbara Frischmuth, Im Liegen ist der Horizont immer so weit weg, also edited by Anna Babka and Peter Clar. The present volume also has a third editor, Silvana Cimenti. Both books are imbued with affection and esteem for Frischmuth, the person and the author, as well as her books and literary theories. The two volumes are physical twins in terms of size, cover design, organization, and contents featuring intriguing colored photographs (although the second volume includes an additional essay, "Traum der Fotografie—Fotografie des Traums" by Aleksandra Pawloff). Both feature poems, creative prose pieces, and diverse essays by many authors. Over a dozen writers contributed articles or creative pieces to both books. The two interrelated projects exert a unique appeal by embedding scholarly essays in the context of more creative and personal pieces. Both volumes also are based on and named for conferences, this one held in Mürzzuschlag in 2017. Another source of pieces in this volume was the "Fest für Barbara Frischmuth" at the Salzkammergut Festwochen Gmunden, also in 2017. In the foreword of this collection, the editors comment on the two volumes: "Beide Bände verstehen sich ganz grundsätzlich als einander ergänzend mit dem Ziel der Impulsgebung und Erschreiben neuer Zugänge und Lektüreverfahren" (7–8). They extend thanks to Frischmuth herself, "für die, über die und mit der wir alle an diesem Buch geschrieben haben" (8). Not only an overview of Frischmuth's life and writings, but also the spirit of the project, establishing a connection to the living author herself, is conveyed in the first article, authored by editor Anna [End Page 121] Babka, titled "Laudatio für Barbara Frischmuth: 'Nicht nur als Beschriebene, sondern als Schreibende …' eine biobibliographische Würdigung" (9). Many aspects of the concept named in the title, "Schreibweise," are addressed throughout the book. In the foreword the term is defined as "Poetik(en)" and the "besonderen écritures, die das Werk kennzeichnen" (7). This broad term opens up consideration of issues facing Frischmuth and many other authors: relationships between dream or fantasy and reality, whether conceived as autobiography, mimesis or otherwise, and stances on the significance of language and writing, as well as connections to other arts, other authors and genres, and, particularly in her case, contrasting and interacting genders, cultures, peoples, and homelands. Editor Peter Clar, in his opening article, considers Frischmuth's poetics as explicated in her Munich lectures, asserting that she does not advance a theory of poetics in terms of rules for writing. Rather, she emphasizes crossing borders and weaving various influences together. Clar also highlights the importance of the powers of language to Frischmuth and the multifaceted associations of literature and dreams in her fiction. Likewise, Thomas Stangl explores language as "Schrift" and the medium of expressions of possibility as well as realms of dream, reality, and perception, the worldly and otherworldly in several of Frischmuth's novels. Dreams are featured in other studies in the collection as well. In her article, Silvana Cimenti identifies "das Traumhafte" as a significant point of access to Frischmuth's "Schreibkosmos" and cites examples of "Traumsequenzen, Traumberichte, Alpträume," and "Traumentwicklungstendenzen." Using developmental psychological theories, she interprets the dreams of a number of young girls in Frischmuth's fiction. In another study, Almut Tina Schmidt explicates "Traumkommunikation" in Frischmuth's novel Das Verschwinden des Schattens in der Sonne. Several of the essays collected here concern Frischmuth's early publications, and they take a variety of pertinent approaches. The earliest texts, the stories "Otter" and "Und ich sah, und siehe, eine weiße Wolke," are analyzed in an essay by the author Julian Schutting. Stefan Krammer contributed a study of "Poetik der Iteration. Ritual und/als Performanz" in Frischmuth's breakthrough publication, Die Klosterschule. (1968). Three essays discuss Das Verschwinden des Schattens in der Sonne. (1973). In addition to...