@phdthesis{Reimer2015,
  author    = {Reimer, Anna Maria},
  title     = {The poetics of the real and aesthetics of the reel},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-95660},
  school      = {Universit{\"a}t Potsdam},
  pages     = {298},
  year      = {2015},
  abstract  = {The dissertation proposes that the spread of photography and popular cinema in 19th- and 20th-century-India have shaped an aesthetic and affective code integral to the reading and interpretation of Indian English novels, particularly when they address photography and/or cinema film, as in the case of the four corpus texts. In analyzing the nexus between 'real' and 'reel', the dissertation shows how the texts address the reader as media consumer and virtual image projector. Furthermore, the study discusses the Indian English novel against the backdrop of the cultural and medial transformations of the 20th century to elaborate how these influenced the novel's aesthetics. Drawing upon reception aesthetics, the author devises the concept of the 'implied spectator' to analyze the aesthetic impact of the novels' images as visual textures. No God in Sight (2005) by Altaf Tyrewala comprises of a string of 41 interior monologues, loosely connected through their narrators' random encounters in Mumbai in the year 2000. Although marked by continuous perspective shifts, the text creates a sensation of acute immediacy. Here, the reader is addressed as implied spectator and is sutured into the narrated world like a film spectator ― an effect created through the use of continuity editing as a narrative technique. Similarly, Ruchir Joshi's The Last Jet Engine Laugh (2002) coll(oc)ates disparate narrative perspectives and explores photography as an artistic practice, historiographic recorder and epistemological tool. The narrative appears guided by the random viewing of old photographs by the protagonist and primary narrator, the photographer Paresh Bhatt. However, it is the photographic negative and the practice of superimposition that render this string of episodes and different perspectives narratively consequential and cosmologically meaningful. Photography thus marks the perfect symbiosis of autobiography and historiography. Tabish Khair's Filming. A Love Story (2007) immerses readers in the cine-aesthetic of 1930s and 40s Bombay film, the era in which the embedded plot is set. Plotline, central scenes and characters evoke the key films of Indian cinema history such as Satyajit Ray's "Pather Panchali" or Raj Kapoor's "Awara". Ultimately, the text written as film dissolves the boundary between fiction and (narrated) reality, reel and real, thereby showing that the images of individual memory are inextricably intertwined with and shaped by collective memory. Ultimately, the reconstruction of the past as and through film(s) conquers trauma and endows the Partition of India as a historic experience of brutal contingency with meaning. The Bioscope Man (Indrajit Hazra, 2008) is a picaresque narrative set in Calcutta - India's cultural capital and birthplace of Indian cinema at the beginning of the 20th century. The autodiegetic narrator Abani Chatterjee relates his rise and fall as silent film star, alternating between the modes of tell and show. He is both autodiegetic narrator and spectator or perceiving consciousness, seeing himself in his manifold screen roles. Beyond his film roles however, the narrator remains a void. The marked psychoanalytical symbolism of the text is accentuated by repeated invocations of dark caves and the laterna magica. Here too, 'reel life' mirrors and foreshadows real life as Indian and Bengali history again interlace with private history. Abani Chatterjee thus emerges as a quintessentially modern man of no qualities who assumes definitive shape only in the lost reels of the films he starred in. The final chapter argues that the static images and visual frames forwarded in the texts observe an integral psychological function: Premised upon linear perspective they imply a singular, static subjectivity appealing to the postmodern subject. In the corpus texts, the rise of digital technology in the 1990s thus appears not so much to have displaced older image repertories, practices and media techniques, than it has lent them greater visibility and appeal. Moreover, bricolage and pastiche emerge as cultural techniques which marked modernity from its inception. What the novels thus perpetuate is a media archeology not entirely servant to the poetics of the real. The permeable subject and the notion of the gaze as an active exchange as encapsulated in the concept of darshan - ideas informing all four texts - bespeak the resilience of a mythical universe continually re-instantiated in new technologies and uses. Eventually, the novels convey a sense of subalternity to a substantially Hindu nationalist history and historiography, the centrifugal force of which developed in the twentieth century and continues into the present.},
  language  = {en}
}
@misc{Erdmann2015,
  author    = {Erdmann, Julius},
  title     = {Semiotics of Pictorial Signs on Social Networking Sites},
  series = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe},
  journal   = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe},
  number    = {118},
  issn      = {1866-8380},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-96484},
  pages     = {16},
  year      = {2015},
  abstract  = {The paper aims at considering characteristics from one field of contemporary visual studies that has for a long time been neglected in academic research: Pictorial signs on Social Network Sites (SNS) are an outstanding class of semiotic resources that is greatly shaped by processes of technological and collective sign production and distribution. A brief examination of the scholarly research on the pragmatics and semiotics of pictorial signs on SNS shows that the heterogeneity of visual signs is often neglected and that it mostly concentrates on one aspect of these pictorial signs: their technological production or their purpose for individual self-disclosure. The paper therefore considers the semiosis of pictorial signs on SNS in a holistic perspective as one the one hand produced by individual and collective meaning making as well as on the other hand a product of technological framing. It therefore develops a techno-semiotic pragmatic account that takes into consideration both processes. Starting from a prominent class of pictorial signs on SNS during Tunisian Revolution, the Tunisian Flag graphics, the paper than shows that communicative and social interaction functions on the graphic interface of SNS ('like'-function, sharing and commenting option) are not only directly inscribed into the pictorial frame, but also greatly influence the reading of a pictorial sign. The location of images on the SNS' interface has an impact on its meaning and on the social functions of a pictorial sign, as profile pictures are directly linked to the online identity of the user. Through technological sign processing, the polysemy of the image is reduced. We therefore consider the images on the one hand as individual self-narratives and on the other as instances of SNS' visual culture that brings out dominant visual codes but also allows social and political movements to spread.},
  language  = {de}
}
@misc{SchwarzBuffonEtteetal.2015,
  author    = {Schwarz, Ingo and Buffon, Giuseppe and Ette, Ottmar and Garrido, Elisa and Heyd, Thomas and Lundberg, Karin and Werner, Petra},
  title     = {HiN : Alexander von Humboldt im Netz},
  series = {HIN : Alexander von Humboldt im Netz ; international review for Humboldtian studies},
  volume    = {XVI},
  journal   = {HIN : Alexander von Humboldt im Netz ; international review for Humboldtian studies},
  number    = {30},
  editor    = {Ette, Ottmar and Knobloch, Eberhard},
  publisher = {Universit{\"a}tsverlag Potsdam},
  address   = {Potsdam},
  issn      = {1617-5239},
  doi       = {10.18443/hinvol16iss302015},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-86895},
  pages     = {101},
  year      = {2015},
  abstract  = {Ingo Schwarz: „Uebrigens verbleibe ich mit besonderer Werthsch{\"a}tzung Euer gn{\"a}diger K{\"o}nig". Zum Briefwechsel Alexander von Humboldts mit Friedrich Wilhelm III. im September 1804 Giuseppe Buffon: The Franciscans in Cathay: memory of men and places. A Contribution for the genealogy of geographical knowledge of Alexander von Humboldt Ottmar Ette: Icono-graf{\´i}a, cali-graf{\´i}a, auto-graf{\´i}a. Sobre el arte de la visualizaci{\´o}n en los diarios del viaje americano de Alexander von Humboldt Elisa Garrido: Arte, ciencia y cultura visual en el atlas pintoresco: Vista de la Plaza Mayor de Mexico Thomas Heyd: Ascensi{\´o}n al Teide de Alexander von Humboldt Karin Lundberg: Networking Knowledge: Considering Alexander von Humboldt's Legacy in a New Shared Space in Education Petra Werner: In der Naturgeschichte „etwas H{\"o}heres suchen". Zu Humboldts Konzept der Pflanzengeographie},
  language  = {mul}
}
@phdthesis{Grduszak2023,
  author    = {Grduszak, Denise},
  title     = {Anschaulichkeiten herstellen},
  doi       = {10.25932/publishup-61229},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-612292},
  school      = {Universit{\"a}t Potsdam},
  pages     = {280},
  year      = {2023},
  abstract  = {Die Handschrift D der Driu liet von der maget entstand um 1220 und ist die {\"a}lteste vollst{\"a}ndige erhaltene Fassung des Textes. Priester Wernher gilt als Verfasser der geistlichen Dichtung und erstellt sie im Jahr 1172 auf der Grundlage apokrypher und biblischer Quellen. Die Handschrift D wird in der medi{\"a}vistischen Germanistik gerne zu jenen Werken gez{\"a}hlt, die den Auftakt einer zunehmenden Verschriftlichung in der Volkssprache markieren. Gem{\"a}ß ihrem Erscheinungsbild erweist sich die Handschrift und der Zeitpunkt ihrer Entstehung aber vor allem als ein Wendepunkt, an dem der Einfluss der lateinischen Schriftkultur auf die Produktion volkssprachlicher Literatur besonders deutlich wird. W{\"a}hrend insgesamt der Anteil der geistlichen Dichtung kontinuierlich abnimmt, erfolgt von literaturwissenschaftlicher Seite zurecht auch die Einordnung der Handschrift in die weltlich-laikale Hofliteratur. In diesem Kontext steht die Handschrift D aber nicht am Beginn einer Bl{\"u}tezeit, sondern weist vor allem in das bl{\"u}hende Spannungsfeld zwischen der lateinisch gepr{\"a}gten Buchproduktion und der geistlichen Dichtung auf der einen und dem Anspruch einer laikalen Rezeptionsgemeinschaft auf der anderen Seite. In diesem Feld bewegt sich meine medienanthropologische Untersuchung. Die Schwerpunkte liegen hierbei auf der Rekonstruktion der Handschriftenherstellung sowie auf der Analyse der Darstellungsprinzipien im Bildprogramm.},
  language  = {de}
}