@misc{Sternagel2011,
  author    = {Sternagel, J{\"o}rg},
  title     = {Levinas and the cinema of redemption time, ethics, and the feminine},
  series = {Film criticism},
  volume    = {36},
  journal   = {Film criticism},
  number    = {1},
  publisher = {Michigan Publishing},
  address   = {Meadville},
  issn      = {0163-5069},
  pages     = {97 -- 99},
  year      = {2011},
  language  = {en}
}
@book{OPUS4-34141,
  title     = {Das Argument 295: Zukunft aus der Vergangenheit? - Zum k{\"u}nstlerischen und kulturellen Erbe der DDR},
  editor    = {Jehle, Peter and Stillmark, Hans-Christian and Sch{\"u}tte, Ilse and Schulte, Klaus and Pappritz, Thomas},
  publisher = {Argument Verl.},
  address   = {Hamburg},
  issn      = {0004-1157},
  year      = {2011},
  abstract  = {Im Band werden {\"U}berlegungn angestellt, das heute weitgehend verfemte Erbe der DDR-Kultur f{\"u}r eine neue Besichtigung fernab von "Wendewut" bereitzustellen.},
  language  = {de}
}
@article{Mersch2011,
  author    = {Mersch, Dieter},
  title     = {Aspekte visueller Epistemologie : zur "Logik" des Ikonischen},
  isbn      = {978-3-86838-115-3},
  year      = {2011},
  language  = {de}
}
@article{Mersch2011,
  author    = {Mersch, Dieter},
  title     = {Res medii : von der Sache des Medialen},
  isbn      = {978-3-8376-1181-6},
  year      = {2011},
  language  = {de}
}
@article{Mersch2011,
  author    = {Mersch, Dieter},
  title     = {Ikonizit{\"a}t : Theorien des Bildlichen nach Wittgenstein},
  isbn      = {978-3- 7705-5079-1},
  year      = {2011},
  language  = {de}
}
@article{Mersch2011,
  author    = {Mersch, Dieter},
  title     = {Bildlichkeit: Splitter, Fragmente},
  isbn      = {978-3-16-150821-9},
  year      = {2011},
  language  = {de}
}
@article{Stillmark2011,
  author    = {Stillmark, Hans-Christian},
  title     = {Zu Kleists theatralischer Transformation der K{\"o}rper},
  isbn      = {978- 3-939888-93-2},
  year      = {2011},
  abstract  = {Der Beitrag untersucht Kleists Dramentexte vor allem im Hinblick auf den "Skandal" des Koerpers und versucht dafuer eine Erklaerung zu finden. Diese besteht zunaechst im Herausfall aus dem Paradigma des aesthetischem Koerpers als einem schoenen Koerper. Zum zweiten aber auch darin, das Kleist mit seinen literarischen Mitteln eine drastische Performation des Koerpers fuer das Buehnenstueck vornahm ohne dafuer eine theatralische Praxis zu haben. Der Einsatz des Koerpers als ein Zeichen im Buehnenspiel ist daher strategisch vom Autor Kleist zu einer Aussage performiert worden, die neben den Aussagen des sprachlichen Textes eine weitere koerpersprachliche Textur konstruiert.},
  language  = {de}
}
@article{Stillmark2011,
  author    = {Stillmark, Hans-Christian},
  title     = {Transformationsr{\"a}ume im Werk Wolfgang Hilbigs},
  isbn      = {978-3-8376-1404-6},
  year      = {2011},
  abstract  = {Der Beitrag untersucht bestimmte Raeume, die in Wolfgang Hilbigs Prosawerk wiederholt auftauchen und die mit einer bestimmten affektiven Ladung ausgestattet sind. Es sind dies die Kuechen, die in Hilbigs Werk einer Geschlechtsverwandlung von einem ehemals weiblichen in einen maennlichen Arbeitsraum unterzogen werden. Auch werden idyllische Waldsiedlungen in Hilbigs Geschichten zu Staetten, die vom Judenmord durchzogen werden. Generall kann verallgemeinert werden, dass Hilbigs Raeume Transformationen unterliegen, die Verwandlungen bewirken.},
  language  = {de}
}
@article{Mersch2011,
  author    = {Mersch, Dieter},
  title     = {Philosophien neuer Musik},
  isbn      = {978-3-7957-0752-1},
  year      = {2011},
  language  = {de}
}
@book{BerbigD'AprilePeitschetal.2011,
  author    = {Berbig, Roland and D'Aprile, Iwan-Michelangelo and Peitsch, Helmut and Sch{\"u}tz, Erhard},
  title     = {Berlins 19. Jahrhundert : ein Metropolen-Kompendium},
  publisher = {Akad.-Verl.},
  address   = {Berlin},
  isbn      = {978-3-05-005083-6},
  pages     = {VII, 527 S.},
  year      = {2011},
  language  = {de}
}
@book{OPUS4-32710,
  title     = {Spaces of desire - spaces of transition : space and emotions in modern literature},
  editor    = {Lehnert, Gertrud and Siewert, Stephanie},
  publisher = {Lang Peter GmbH Internationaler Verlag der Wissenschaften},
  address   = {Frankfurt},
  isbn      = {978-3-631-60617-9},
  pages     = {108 S.},
  year      = {2011},
  language  = {en}
}
@book{Lehnert2011,
  author    = {Lehnert, Gertrud},
  title     = {Herzanker : Dichterinnen und die Liebe},
  publisher = {Aufbau-Verl.},
  address   = {Berlin},
  isbn      = {978-3-351-03345-3},
  pages     = {354 S.},
  year      = {2011},
  language  = {de}
}
@article{Mersch2011,
  author    = {Mersch, Dieter},
  title     = {Aspects of Visual Epistemology : on the "Logic" of the Iconic},
  year      = {2011},
  language  = {en}
}
@article{Stillmark2011,
  author    = {Stillmark, Hans-Christian},
  title     = {Das Geschichtsdrama : ein Erbst{\"u}ck der DDR-Literatur},
  year      = {2011},
  abstract  = {Der Aufsatz besch{\"a}ftigt sich mit dem Genre des Geschichtsdramas und verweist auf das Problem des Dramas wie auf das der Geschichte im Verlaufe der DDR-Entwicklung und danach. Untersucht werden die Abweichung und Aufloesungserscheinungen des aristotelischen Dramas unter den Bedingung einer geschwundenen Geschichtsutopie.},
  language  = {de}
}
@phdthesis{Kim2011,
  author    = {Kim, Ji-Hye},
  title     = {Ich h{\"o}re das Fremde und spiele das Eigene : Musik, Kultur und Identit{\"a}tsbildung am Beispiel Samulnori},
  publisher = {Zlotopol},
  address   = {Berlin},
  isbn      = {978-3-942080-03-3},
  pages     = {342 S.},
  year      = {2011},
  language  = {de}
}
@misc{Boide2011,
  type      = {Master Thesis},
  author    = {Boide, Silvia},
  title     = {Strategien der Ged{\"a}chtnisreflexion bei der Inszenierung von Erinnerung in Literatur und bildender Kunst},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-59807},
  school      = {Universit{\"a}t Potsdam},
  year      = {2011},
  abstract  = {Die Arbeit geht aus von der Annahme, dass Literatur und Malerei, obgleich sie ihren Darstellungsformen entsprechend unterschiedliche Werkzeuge oder Strategien nutzen, {\"a}hnliche Potentiale der Ged{\"a}chtnisreflexion f{\"u}r den Rezipienten bereitstellen. Selbst wenn die Strategien zur Erlangung eines Potentials der Reflexion von Ged{\"a}chtnis also an die jeweilige Disziplin gebunden sind, so k{\"o}nnen doch die reflektierten Aspekte {\"a}hnliche sein. Ziel dieser Arbeit ist es, zu zeigen, dass in Theorie und Praxis solche {\"U}berschneidungen auffindbar sind. Dabei sollen Literatur und bildende Kunst (hier: Malerei) als zwei von vielen m{\"o}glichen Erinnerungsmedien und ihre Funktionen innerhalb eines kollektiven Ged{\"a}chtnisses als solche dargestellt werden. Speziell befasst sich die Arbeit dann mit der Funktion der Reflexion des kollektiven Erinnerns als Wirkungspotential, das im Rezeptionsprozess aktualisiert werden kann. Verschiedene Strategien der Ged{\"a}chtnisreflexion werden unterschieden und in den drei Anwendungsbeispielen analysiert. Die Arbeit fasst zun{\"a}chst einige von den Studien Jan und Aleida Assmanns ausgehende narratologische Konzepte zur Erinnerungskultur zusammen, darunter die Ans{\"a}tze von Astrid Erll und Birgit Neumann. Es kristalliert sich eine Unterscheidung von Ged{\"a}chtnisbildung und Ged{\"a}chtnisreflexion heraus. Genauer in den Blick genommen wird Astrid Erlls Modell einer „Rhetorik des kollektiven Ged{\"a}chtnisses." Auf drei Textebenen, der Handlungsebene, der Textstruktur und der sprachlichen Ebene k{\"o}nnen Potentiale der Ged{\"a}chtnisreflexion beschrieben werden. Anhand dieser Unterteilungen werden im Anwendungsteil dann zwei literarische Prosatexte der gegenw{\"a}rtigen Erinnerungsliteratur in den Blick genommen. Beide Texte, sowohl Grass' Im Krebsgang als auch Timms Halbschatten weisen vielf{\"a}ltige Strategien der Ged{\"a}chtnisreflexion auf, die sich aber in ihrer Schwerpunktbildung voneinander unterscheiden. Zudem wird die Methodik auf den Gem{\"a}ldezyklus 18. Oktober 1977 des Malers Gerhard Richter angewandt.},
  language  = {de}
}
@article{Drexler2011,
  author    = {Drexler, Peter},
  title     = {Von Sch{\"u}ssen und Schmetterlingsfl{\"u}geln},
  series = {Mobilisierte Kulturen},
  journal   = {Mobilisierte Kulturen},
  number    = {1},
  issn      = {2192-3019},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-57398},
  pages     = {213 -- 238},
  year      = {2011},
  language  = {de}
}
@article{Manovich2011,
  author    = {Manovich, Lev},
  title     = {What is visualization?},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49849},
  pages     = {116 -- 156},
  year      = {2011},
  abstract  = {Over the last 20 years, information visualization became a common tool in science and also a growing presence in the arts and culture at large. However, the use of visualization in cultural research is still in its infancy. Based on the work in the analysis of video games, cinema, TV, animation, Manga and other media carried out in Software Studies Initiative at University of California, San Diego over last two years, a number of visualization techniques and methods particularly useful for cultural and media research are presented.},
  language  = {en}
}
@article{MaeyraeErmi2011,
  author    = {M{\"a}yr{\"a}, Frans and Ermi, Laura},
  title     = {Fundamental components of the gameplay experience},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49831},
  pages     = {88 -- 115},
  year      = {2011},
  abstract  = {This co-authored paper is based on research that originated in 2003 when our team started a series of extensive field studies into the character of gameplay experiences. Originally within the Children as the Actors of Game Cultures research project, our aim was to better understand why particularly young people enjoy playing games, while also asking their parents how they perceive gaming as playing partners or as close observers. Gradually our in-depth interviews started to reveal a complex picture of more general relevance, where personal experiences, social contexts and cultural practices all came together to frame gameplay within something we called game cultures. Culture was the keyword, since we were not interested in studying games and play experiences in isolation, but rather as part of the rich meaning- making practices of lived reality.},
  language  = {en}
}
@article{Salen2011,
  author    = {Salen, Katie},
  title     = {Pok{\´e}walkers, mafia dons, and football fans},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49824},
  pages     = {70 -- 86},
  year      = {2011},
  abstract  = {This paper addresses a theoretical reconfiguration of experience, a repositioning of the techno-social within the domains of mobility, games, and play, and embodiment. The ideas aim to counter the notion that our experience with videogames (and digital media more generally), is largely "virtual" and disembodied - or at most exclusively audiovisual. Notions of the virtual and disembodied support an often-tacit belief that technologically mediated experiences count for nothing if not perceived and valued as human. It is here where play in particular can be put to work, be made to highlight and clarify, for it is in play that we find this value of humanity most wholly embodied. Further, it is in considering the design of the metagame that questions regarding the play experience can be most powerfully engaged. While most of any given game's metagame emerges from play communities and their larger social worlds (putting it out of reach of game design proper), mobile platforms have the potential to enable a stitching together of these experiences: experiences held across time, space, communities, and bodies. This coming together thus represents a convergence not only of media, participants, contexts, and technologies, but of human experience itself. This coming together is hardly neat, nor fully realized. It is, if nothing else, multifaceted and worthy of further study. It is a convergence in which the dynamics of screen play are reengaged.},
  language  = {en}
}
@article{Aarseth2011,
  author    = {Aarseth, Espen},
  title     = {Define real, Moron!},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49810},
  pages     = {50 -- 69},
  year      = {2011},
  abstract  = {Academic language should not be a ghetto dialect at odds with ordinary language, but rather an extension that is compatible with lay-language. To define 'game' with the unrealistic ambition of satisfying both lay-people and experts should not be a major concern for a game ontology, since the field it addresses is subject to cultural evolution and diachronic change. Instead of the impossible mission of turning the common word into an analytic concept, a useful task for an ontology of games is to model game differences, to show how the things we call games can be different from each other in a number of different ways.},
  language  = {en}
}
@article{Wolf2011,
  author    = {Wolf, Mark J. P.},
  title     = {Theorizing navigable space in video games},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49809},
  pages     = {18 -- 49},
  year      = {2011},
  abstract  = {Space is understood best through movement, and complex spaces require not only movement but navigation. The theorization of navigable space requires a conceptual representation of space which is adaptable to the great malleability of video game spaces, a malleability which allows for designs which combine spaces with differing dimensionality and even involve non-Euclidean configurations with contingent connectivity. This essay attempts to describe the structural elements of video game space and to define them in such a way so as to make them applicable to all video game spaces, including potential ones still undiscovered, and to provide analytical tools for their comparison and examination. Along with the consideration of space, there will be a brief discussion of navigational logic, which arises from detectable regularities in a spatial structure that allow players to understand and form expectations regarding a game's spaces.},
  language  = {en}
}
@article{GuenzelLiebeMersch2011,
  author    = {G{\"u}nzel, Stephan and Liebe, Michael and Mersch, Dieter},
  title     = {Introduction},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49797},
  pages     = {6 -- 17},
  year      = {2011},
  language  = {de}
}
@book{AarsethManovichMaeyraeetal.2011,
  author    = {Aarseth, Espen and Manovich, Lev and M{\"a}yr{\"a}, Frans and Salen, Katie and Wolf, Mark J. P.},
  title     = {DIGAREC Keynote-Lectures 2009/10},
  editor    = {G{\"u}nzel, Stephan and Liebe, Michael and Mersch, Dieter},
  publisher = {Universit{\"a}tsverlag Potsdam},
  address   = {Potsdam},
  isbn      = {978-3-86956-115-8},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49780},
  publisher      = {Universit{\"a}t Potsdam},
  pages     = {159},
  year      = {2011},
  abstract  = {The sixth volume of the DIGAREC Series holds the contributions to the DIGAREC Keynote-Lectures given at the University of Potsdam in the winter semester 2009/10. With contributions by Mark J.P. Wolf (Concordia University Wisconsin), Espen Aarseth (Center for Computer Games Research, IT University of Copenhagen), Katie Salen (Parsons New School of Design, New York), Laura Ermi and Frans M{\"a}yr{\"a} (University of Tampere), and Lev Manovich (University of Southern California, San Diego).},
  language  = {de}
}