@article{AlbeckGidron2011,
  author    = {Albeck-Gidron, Rachel},
  title     = {The Holocaust as a Changing Presence in Yoel Hoffmann's Texts},
  series = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien e.V.},
  journal   = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien e.V.},
  number    = {17},
  issn      = {1614-6492},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-53307},
  pages     = {175 -- 207},
  year      = {2011},
  abstract  = {Yoel Hoffmann is an Israeli writer born in 1937 in Brasov (Kronstadt), Romania. Brought up in a German-speaking family, already in his first book, Sefer Yosef (1989), he conveys the voice of German-speaking immigrants in Israel (the "Katschen" story, 1986) and that of the East European Jewish community in Berlin in the late 1930s, on the verge of the Second World War. His works are crammed with characters of Jews from Germany gripped by the memory of the language they abandoned following their emigration to Palestine in the 1930s. The classic one is the character of Bernhard, in the eponymous work. The current article focuses on the representation and elaboration of Hoffmann's unique creation, in a language influenced by his deep identification with Zen Buddhism on the one hand, and his attraction to the modernist, Western style of stream of consciousness on the other. In central sections of his works, Hoffman presents his entire literary corpus as a type of explicit, allusive, or secret Holocaust literature, and invites his readers and his critics to decode the allusions and expose the secret in this theme, a surprising statement in relation to Hoffmann's work and its analysis so far. Hoffmann represents the Holocaust as a collective Israeli trauma for which his literary fiction creates a special catalogue of representative characters. In the creation of a catalogue, and particularly one that simultaneously classifies and individualizes, Hoffmann's project resembles the monumental 1920s cataloguing project by the celebrated German photographer August Sander (Menschen des 20. Jahrhunderts). Hoffmann included photographs from this project in his works, and even chose some of them for the covers of his books. The article examines the implicit relationships between these two creative artists as conferring a meaning so far not considered in the research of the Holocaust theme in Yoel Hoffmann's writings.},
  language  = {en}
}
@article{Baraldi2011,
  author    = {Baraldi, Luca},
  title     = {Immobile Tremor},
  series = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien e.V.},
  journal   = {PaRDeS : Zeitschrift der Vereinigung f{\"u}r J{\"u}dische Studien e.V.},
  number    = {17},
  issn      = {1614-6492},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-53255},
  pages     = {71 -- 95},
  year      = {2011},
  abstract  = {The threshold between the XVth and the XVIth Century represents a historical period during which, both for Christians and for Jews, the geopolitical sceneries and the interior horizons radically change. The modified reality provokes new forms of expectation and the need of new historical interpretations. Ferrara, within this scenery, can be considered, as other Italian cases, as a paradigmatic example, a narrow space where phenomena of spiritual and cultural Jewish rebirth can take shape. The permeability between Christian artistic and cultural world and Jewish intellectual production determines a prosperous context, further strengthened by the introduction of Jewish typography and by a growing claim and restoration of social elective dignity among the Jews of the Este Duchy. After the transfer of the capital city from Ferrara to Modena, the indirect effects of this intellectual resurgence are deeply transformed on a social level, and allows us to catch the persistence of important forms of communication between Christians and Jews in everyday life. The introduction of the Inquisition provides us, through the production of the judicial archive, with the most important instrument to understand social dynamics, which allows us to comprehend a new potential interpretation key for the reality of the ghetto and the choice of its erection. The urban division is nothing else but a new attempt to separate the invisible spaces of the thought. The effective efficacy of the physical separation shows several weak points, which persist during the entire life of the ghetto, since 1638 until 1789.},
  language  = {en}
}
@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{PuigSamperRebok2010,
  author    = {Puig-Samper, Miguel {\´A}ngel and Rebok, Sandra},
  title     = {Charles Darwin and Alexander von Humboldt},
  series = {Alexander von Humboldt im Netz ; international review for Humboldtian studies},
  volume    = {XI},
  journal   = {Alexander von Humboldt im Netz ; international review for Humboldtian studies},
  number    = {21},
  publisher = {Universit{\"a}tsverlag Potsdam},
  address   = {Potsdam},
  issn      = {2568-3543},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-51765},
  pages     = {55 -- 64},
  year      = {2010},
  abstract  = {Die besondere Beziehung zwischen Humboldt und Darwin, zwei der bedeutendsten Pers{\"o}nlichkeiten in der Welt der Naturwissenschaften und der Biologie des 19. Jahrhunderts, wird detailliert auf den verschiedenen Ebenen ihres Kontaktes analysiert, sowohl was das real stattgefundene pers{\"o}nliche Treffen betrifft, als auch hinsichtlich ihrer Korrespondenz und der Koinzidenz von Ideen. Dieser wechselseitige Blick zeigt uns wie sich die beiden Gelehrten gegenseitig wahrnahmen, ob sie wirklich versuchten, mit dem Paradigma ihrer bedeutenden Vorg{\"a}nger zu brechen, oder ob sie lediglich schrittweise das bereits erlangte Wissen erweiterten, bis es durch die Erstellung einer genialen Idee zu einem Bruch des bisherigen Wissens kommt. Bekannt ist die wiederholte Referenz von Darwin auf die Werke Humboldts, insbesondere auf die Tageb{\"u}cher des deutschen Naturwissenschaftler und seine Art der Beschreibung der amerikanischen Natur in ihrer ganzen Reichhaltigkeit. Weniger bekannt hingegen sind andere Verweise in seiner Autobiografie, sowie die wissenschaftliche Verwendung des Humboldtschen Werkes oder die Zitate in seiner Korrespondenz, die in diesem Beitrag aufgezeigt werden. Dar{\"u}ber hinaus wird die Verwendung der fr{\"u}hen Schriften von Darwin durch Humboldt in einigen seiner Publikationen, vor allem im Kosmos, erw{\"a}hnt.},
  language  = {en}
}
@article{Fiedler2011,
  author    = {Fiedler, Ines},
  title     = {QUIS data from Yom, Aja, Anii and Foodo},
  series = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  journal   = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  number    = {16},
  issn      = {1614-4708},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-51420},
  pages     = {49 -- 96},
  year      = {2011},
  abstract  = {This is the second part of the presentation of data elicited by means of QUIS within the project on information structure in Gur and Kwa languages. Whereas the first part (Anne Schwarz) introduces the project and the rationals behind the development of the focus translation task, this part provides some comparative remarks gained from the data presented in both parts.},
  language  = {en}
}
@article{Schwarz2011,
  author    = {Schwarz, Anne},
  title     = {QUIS data from Buli, Kɔnni and Baatɔnum with notes on the comparative approach},
  series = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  journal   = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  number    = {16},
  issn      = {1614-4708},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-51415},
  pages     = {1 -- 48},
  year      = {2011},
  abstract  = {Contents: 1. Introduction 2. Selection of QUIS Data for Comparative Goals 2.1 Fairy Tale (Topic and Focus in Coherent Discourse) 2.2 Focus Translation Extract 3. On the Presentation and Comparison of the Data 4. Buli 4.1 Tomatoes Fairy Tale in Buli 4.2 Focus Translation Extract in Buli 5. Kɔnni 5.1 Tomatoes Fairy Tale in Kɔnni 5.2 Focus Translation Extract 6. Baatɔnum 6.1 Tomatoes Fairy Tale in Baatɔnum 6.2 Focus Translation Extract in Baatɔnum},
  language  = {en}
}
@article{GenzelKuegler2011,
  author    = {Genzel, Susanne and K{\"u}gler, Frank},
  title     = {How to elicit semi-spontaneous focus realizations with specific tonal patterns},
  series = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  journal   = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  number    = {13},
  issn      = {1614-4708},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49749},
  pages     = {77 -- 102},
  year      = {2011},
  abstract  = {This article presents a situation description production experiment investigating the interaction between syntax and information structure in Akan, a tone language that belongs to the Kwa branch of the Niger- Congo family spoken in Ghana. Information structure was elicited via context questions that put the object in narrow informational focus or narrow corrective focus while controlling for the tonal structure of the target word. Contrary to the prediction that corrective focus is marked by fronting and morphological marking of the focused constituent the data suggest that the in-situ strategy is the preferred one.},
  language  = {en}
}
@article{Grubic2011,
  author    = {Grubic, Mira},
  title     = {Ngizim fieldnotes},
  series = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  journal   = {Interdisciplinary studies on information structure : ISIS ; working papers of the SFB 632},
  number    = {13},
  issn      = {1614-4708},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49738},
  pages     = {1 -- 76},
  year      = {2011},
  abstract  = {This chapter presents field notes of the West Chadic language Ngizim, spoken in North-East Nigeria. In Ngizim, subject focus is indicated by subject inversion, whereas the word order of sentences with focused non-subjects can remain unchanged. The goal of the field work was to find out more about focus marking in Ngizim.},
  language  = {en}
}
@article{Butler2010,
  author    = {Butler, Mark},
  title     = {On reality and simulation in an extra-moral sense},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42787},
  pages     = {212 -- 236},
  year      = {2010},
  abstract  = {This paper is a critical examination of the relationship between reality and simulation. After a brief theoretical introduction, it unfolds its argument on an empirical level, using a thick game playing description of GRAND THEFT AUTO IV. This in-game experience serves as material for the subsequent analysis, in the course of which defining characteristics of computer game playing are formulated. Finally, on the basis of this analysis, the paper postulates the hypothesis that playing computer games like GTA IV promotes competency in deconstructing simulations and implements a cyclic logic of recreation.},
  language  = {en}
}
@article{Wiemer2010,
  author    = {Wiemer, Serjoscha},
  title     = {Playing on the plane of immanence},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42765},
  pages     = {166 -- 195},
  year      = {2010},
  abstract  = {In recent years computer games have been discussed by a variety of disciplines from various perspectives. A fundamental difference with other media, which is a point of continuous consideration, is the specific relationship between the viewer and the image, the player and the game apparatus, which is a characteristic of video games as a dispositive. Terms such as immersion, participation, interactivity, or ergodic are an indication of the deep interest in this constellation. This paper explores the resonance between body and image in video games like REZ, SOUL CALIBUR and DANCE DANCE REVOLUTION from the perspective of a temporal ontology of the image, taking particular account of the structuring power of the interface and its subject positioning aspects.},
  language  = {en}
}
@article{Wenz2010,
  author    = {Wenz, Karin},
  title     = {Narrative logics of digital games},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42750},
  pages     = {146 -- 164},
  year      = {2010},
  abstract  = {The debate whether to locate the narrative of digital games a) as part of the code or b) as part of the performance will be the starting point for an analysis of two roleplaying games: the single-player game ZELDA: MAJORA'S MASK and the Korean MMORPG AION and their respective narrative logics. When we understand games as abstract code systems, then the narrative logic can be understood as embedded on the code level. With a focus on the player's performance, the actualization of the possibilities given in the code system is central. Both logics, that of code and that of performance, are reflected in players' narratives based on the playing experience. They do reflect on the underlying code and rules of the game system as they do reflect on the game world and their own performance within. These narratives rely heavily on the source text - the digital game -, which means that they give insights into the underlying logics of the source text. I will discuss the game structure, the players' performance while playing the game and the performance of the player after playing the game producing fan narratives. I conceive the narrative structure and the performance of the player playing as necessarily interconnected when we discuss the narrative logics of a game. Producing fan narratives is understood as a performance as well. This performance is based on the experience the players made while playing and refers to both logics of the game they use as their source text.},
  language  = {en}
}
@article{Nohr2010,
  author    = {Nohr, Rolf F.},
  title     = {The naturalization of knowledge},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42746},
  pages     = {130 -- 145},
  year      = {2010},
  abstract  = {Reflecting on how and with what kind of consequences something artificial, something manufactured becomes naturalized in video games will be the central issue of this text. It deals with the question of how the video game hides its artificiality in terms of technique. In a certain sense this retrieves one of the fundamental questions of modernity and industrialization: How does the manufacturing of our environment become a naturalized, self-evident and indubitable process?},
  language  = {en}
}
@article{Nitsche2010,
  author    = {Nitsche, Michael},
  title     = {Games as structures for mediated performances},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42730},
  pages     = {110 -- 129},
  year      = {2010},
  abstract  = {Video games structure play as performance in both the virtual and the physical space. On the one hand, the player encounters game worlds as virtual stages to act upon. On the other hand, the game world stages the player and re-frames the play space. This essay sets out to suggest some of the elements that are at work in this dualism of games as performative media. The two key elements here are the mediation of the game environment and the transformation of the player through virtual puppetry. Both cases will be argued with a focus on spatiality in performance.},
  language  = {en}
}
@article{CermakSassenrath2010,
  author    = {Cermak-Sassenrath, Daniel},
  title     = {The logic of play in everyday human-computer interaction},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42720},
  pages     = {80 -- 108},
  year      = {2010},
  abstract  = {Communication, simulation, interactive narrative and ubiquitous computing are widely accepted as perspectives in humancomputer interaction. This paper proposes play as another possible perspective. Everyday uses of the computer increasingly show signs of similarity to play. This is not discussed with regard to the so-called media society, the playful society, the growing cultural acceptance of the computer, the spread of computer games or a new version of Windows, but in view of the playful character of interaction with the computer that has always been part of it. The exploratory learning process involved with new software and the creative tasks that are often undertaken when using the computer may support this argument. Together with its high level of interactivity, these observations point to a sense of security, autonomy and freedom of the user that produce play and are, in turn, produced by play. This notion of play refers not to the playing of computer games, but to an implicit, abstract (or symbolic) process based on a certain attitude, the play spirit. This attitude is discussed regarding everyday computer use and related to the other mentioned perspectives.},
  language  = {en}
}
@article{Warnke2010,
  author    = {Warnke, Martin},
  title     = {Logic as a medium},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42710},
  pages     = {64 -- 78},
  year      = {2010},
  abstract  = {Computer games are rigid in a peculiar way: the logic of computation was the first to shape the early games. The logic of interactivity marked the action genre of games in the second place, while in massive multiplayer online gaming all the emergences of the net occur to confront us with just another type of logic. These logics are the media in which the specific forms of computer games evolve. Therefore, a look at gaming supposing that there are three eras of computation is taken: the early synthetical era, ruled by the Turing machine and by mainframe computers, by the IPO principle of computing; the second, mimetical era, when interactivity and graphical user interfaces dominate, the domain of the feedback loop; and the third, emergent era, in which the complexity of networked personal computers and their users is dominant.},
  language  = {en}
}
@article{Kuecklich2010,
  author    = {K{\"u}cklich, Julian},
  title     = {Seki},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42700},
  pages     = {36 -- 62},
  year      = {2010},
  abstract  = {Game space can be conceived of as being structured by varying levels of ruledness, i.e. it oscillates between openness and closure, between playability and gameness. The movement through game space can then be described as a vector defined by possibility spaces, which are generated organically out of the interplay between ruled and unruled space. But we can only define rules ex negativo, therefore the possibility of breaking the rules is always already inscribed in this vector of movement. This can be conceptualized as a boundary operation that takes the difference between 'ordinary life' and 'play' as its argument, and which thus generates the difference between 'play' and 'game'.},
  language  = {en}
}