@book{OPUS4-63303, title = {Trouble Every Day : Zum Schrecken des Allt{\"a}glichen}, editor = {Hordych, Anna and Ungelenk, Johannes}, publisher = {Brill Fink}, address = {Paderborn}, isbn = {978-3-8467-6721-4}, doi = {10.30965/9783846767214}, pages = {XXXII, 240}, year = {2024}, abstract = {Der Band ist den existenziellen Turbulenzen gewidmet, die dem Menschen nicht als katastrophales Ereignis widerfahren, sondern seinen unentrinnbaren Alltag formen. Egal ob Verschiebungen im universit{\"a}ren Selbstverst{\"a}ndnis (Vinken), Umgang mit geschlechtlicher Abweichung (Ungelenk; Hordych), Br{\"u}chen im Familiengef{\"u}ge (Brook; Goldmann), Kampf gegen Abholzung (Nixon), technische Total{\"u}berwachung im Alltag (S{\o}ilen/Maurer), narratologische Erkundungen von Zeit oder Gattung (Horst; Pierstorff; Reisener), stets erweist sich scheinbar banaler Alltag als erstaunlich produktiver Ausgangspunkt f{\"u}r gesellschaftliche, k{\"u}nstlerische und denkerische Prozesse. Das Gew{\"o}hnliche des Alltags ist nicht l{\"a}nger bloß statische Folie f{\"u}r einbrechende Ereignisse - es ist selbst als generatives Werden nobilitiert, das nun aber doppelb{\"o}dige Wertung annimmt: Alltag verliert im Zuge einer Philosophie der Moderne das Verl{\"a}ssliche (H{\"u}sch; Khurana), wird bedrohlich; zugleich bietet diese neue Unruhe des Alltags, sein "trouble", aber auch Chancen f{\"u}r Ver{\"a}nderung und feministisch-kritische oder k{\"u}nstlerische Intervention.}, language = {de} } @phdthesis{Behrmann2024, author = {Behrmann, Helga}, title = {Digital Fashion}, doi = {10.25932/publishup-62026}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-620269}, school = {Universit{\"a}t Potsdam}, pages = {309}, year = {2024}, abstract = {Das virtuelle Kleid als mediale und soziokulturelle Alltagserscheinung der Gegenwart bildet den Gegenstand der vorliegenden interdisziplin{\"a}ren Unter-suchung. An der Schnittstelle zwischen Menschen, Medien und Mode ist das virtuelle Kleid an unrealen Orten und in synthetischen Situationen ausschließlich auf einem Screen erfahrbar. In diesem Dispositiv lassen sich K{\"o}rperkonzepte, Darstellungskonventionen, soziale Handlungsmuster und Kommunikations-strategien ausmachen, die zwar auf einer radikalen Abl{\"o}sung vom textilen Material beruhen, aber dennoch nicht ohne sehr konkrete Verweise auf das textile Material auskommen. Dies f{\"u}hrt zu neuen Ans{\"a}tzen der Auseinandersetzung mit Kleidern, die nun als Visualisierung geb{\"u}ndelter Datenpakete zu betrachten sind. Die dynamische Entwicklung neuer Erscheinungsformen und deren nahtlose Einbindung in traditionelle Gesch{\"a}ftsmodelle und bestehende Modekonzepte macht eine Positionsbestimmung notwendig, insbesondere im Hinblick auf gegenw{\"a}rtige Nachhaltigkeitsdiskurse um immaterielle Produkte. F{\"u}r diese Studie liefern die hinter den Bildern liegenden Prozesse der {\"o}konomischen Ausrichtung, der Herstellung, der Verwendung und der Rezeption den methodologischen Zugang f{\"u}r die Analyse. Mithilfe eines typologisierenden Instrumentariums wird aus der Vielzahl und Vielfalt der Darstellungen ein Set an forschungsleitenden Beispielen zusammengestellt, welche dann in einer mehrstufigen Kontextanalyse zu einer begrifflichen Fassung des virtuellen Kleides sowie zu f{\"u}nf Kontexteinheiten f{\"u}hren. Am Beispiel des virtuellen Kleides zeichnet diese Untersuchung den technischen, gesellschaftlichen und sozialen Wandel nach und arbeitet seine Bedeutung f{\"u}r zuk{\"u}nftige Modeentwicklungen heraus. Damit leistet die Untersuchung einen Beitrag zur medien- und sozialwissenschaftlichen Modeforschung der Gegenwart.}, language = {de} } @phdthesis{Knoerr2023, author = {Kn{\"o}rr, Kai}, title = {Funken}, series = {Reihe des Brandenburgischen Zentrums f{\"u}r Medienwissenschaften - ZeM}, journal = {Reihe des Brandenburgischen Zentrums f{\"u}r Medienwissenschaften - ZeM}, publisher = {Kadmos}, address = {Berlin}, isbn = {978-3-86599-538-4}, school = {Universit{\"a}t Potsdam}, pages = {237}, year = {2023}, language = {de} } @phdthesis{Akbal2023, author = {Akbal, Zeynep}, title = {Lived-Body Experiences in Virtual Reality}, series = {Digitale Gesellschaft}, volume = {61}, journal = {Digitale Gesellschaft}, publisher = {transcript}, address = {Bielefeld}, isbn = {978-3-8376-6676-2}, school = {Universit{\"a}t Potsdam}, pages = {210}, year = {2023}, language = {en} } @phdthesis{Albrecht2023, author = {Albrecht, Kim Frederic}, title = {Insight by de—sign}, doi = {10.25932/publishup-57509}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-575092}, school = {Universit{\"a}t Potsdam}, pages = {412}, year = {2023}, abstract = {The calculus of design is a diagrammatic approach towards the relationship between design and insight. The thesis I am evolving is that insights are not discovered, gained, explored, revealed, or mined, but are operatively de—signed. The de in design neglects the contingency of the space towards the sign. The — is the drawing of a distinction within the operation. Space collapses through the negativity of the sign; the command draws a distinction that neglects the space for the form's sake. The operation to de—sign is counterintuitively not the creation of signs, but their removal, the exclusion of possible sign propositions of space. De—sign is thus an act of exclusion; the possibilities of space are crossed into form.}, language = {en} } @phdthesis{Vassilevski2023, author = {Vassilevski, Ekaterina}, title = {Hegels Phantasie}, series = {Edition Medienwissenschaft}, volume = {107}, journal = {Edition Medienwissenschaft}, publisher = {Transcript}, address = {Bielefeld}, isbn = {978-3-8394-6959-0}, school = {Universit{\"a}t Potsdam}, pages = {175}, year = {2023}, abstract = {Als »Zwischenreich«, »Drittes« oder »Mitte« bezeichnet, kommt der Imagination seit ihren Anf{\"a}ngen in der Antike die Rolle eines Mediums zu. Gleichzeitig bleibt ihr medialer Aspekt durchgehend ambivalent und prek{\"a}r. Es ist Georg Wilhelm Friedrich Hegel, der die Imagination nicht mehr als subjektives Verm{\"o}gen versteht, sondern als Kraft der »Ent{\"a}ußerung« und sie somit medial denkt. In einer bislang wenig beachteten Passage aus Hegels dritter Enzyklop{\"a}die von 1830 legt Ekaterina Vassilevski nicht nur die implizite Medialit{\"a}t der Imagination frei, sondern auch den in Hegels Denken verborgenen Begriff des Medialen.}, language = {de} } @phdthesis{Jochmaring2023, author = {Jochmaring, Julian}, title = {Negative Ambientalit{\"a}t}, series = {Reihe des Brandenburgischen Zentrums f{\"u}r Medienwissenschaften - ZeM : Monographie}, volume = {2}, journal = {Reihe des Brandenburgischen Zentrums f{\"u}r Medienwissenschaften - ZeM : Monographie}, publisher = {Kadmos}, address = {Berlin}, isbn = {978-3-86599-519-3}, pages = {331}, year = {2023}, language = {de} } @misc{Pflaumer2023, type = {Master Thesis}, author = {Pflaumer, Valerie}, title = {Haunted houses, haunted selves - feminist readings of uncanny domesticity}, doi = {10.25932/publishup-57566}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-575664}, school = {Universit{\"a}t Potsdam}, pages = {71}, year = {2023}, abstract = {The aesthetic phenomenon of the uncanny in literature and art is a spatial and gendered aesthetic concept, which is expressed in the spatial characteristics of a literary or photographic narrative. The intention of this thesis is to evaluate the entanglement of the uncanny, space, domesticity and femininity in the context of Gothic literature and photography. These four objects can only be read in their interplay with each other and how they each function as structural principles in the framework of Gothic fiction and photography. The literary texts, Charlotte Perkins Gilman's "The Yellow Wall-Paper" (1892) and Shirley Jackson's "The Lovely House" (1950) and The Haunting of Hill House (1959) as well as Francesca Woodman's self-portraits that will be discussed further share one particular quality; they use the haunted house motif to express the protagonist's psychological state by transferring mental hauntings onto the narrative's spatial layer. The establishment of a connection between the concepts at hand, the uncanny, domesticity, spatiality and femininity, is the basis for the first half of the thesis. What follows is an overview of how domestic politics and gendered perceptions of and behaviors in spaces are expressed in the Gothic mode in particular. In the literary analysis two ways in which the Freudian uncanny constitutes itself in the haunted house narrative, first the house as the site of repetition and second the house as a stand-in for the maternal body, are examined. Drawing from Gernot B{\"o}hme's and Martina L{\"o}w's theoretic work on space and atmosphere the thesis focuses on the different aesthetic strategies that produce the uncanny atmosphere associated with the Gothic haunted house. The female subjects at the narratives' center are in the ambiguous process of disappearing or becoming, this (dis)appearing act is facilitated by their haunted surroundings. In the case of the unnamed narrator in "Wall-Paper" her suppressed rage at her husband is mirrored in the strangled woman trapped inside the yellow wallpaper. Once she recognizes her doppelganger the union of her two selves takes place in the short story's dramatic climax. In Shirley Jackson's literary works the haunted houses, protagonists in themselves, entrap, transform, and ultimately devour their female daughter-victims. The haunted houses are symbols, means and places of the continuous tradition of female entrapment within the domestic sphere, be it as wives, mothers or daughters. In Francesca Woodman's self-portraits the themes of creation/destruction and becoming/disappearing within the ruinous (post)domestic sphere are acted out by the fragmented and blurry female figure who intriguingly oscillates between self-empowerment and submission to destruction.}, language = {en} } @book{Ungelenk2023, author = {Ungelenk, Johannes}, title = {Touching at a Distance}, series = {Edinburgh Critical Studies in Shakespeare and Philosophy : ECSSP}, journal = {Edinburgh Critical Studies in Shakespeare and Philosophy : ECSSP}, publisher = {Edinburgh University Press}, address = {Edinburgh}, isbn = {978-1-4744-9784-8}, doi = {10.1515/9781474497848}, pages = {296}, year = {2023}, abstract = {Studies the capacity of Shakespeare's plays to touch and think about touchBased on plays from all major genres: Hamlet, The Tempest, Richard III, Much Ado About Nothing and Troilus and CressidaCentres on creative, close readings of Shakespeare's plays, which aim to generate critical impulses for the 21st century readerBrings Shakespeare Studies into touch with philosophers and theoreticians from a range of disciplinary areas - continental philosophy, literary criticism, psychoanalysis, sociology, phenomenology, law, linguistics: Friedrich Nietzsche, Maurice Blanchot, Jacques Lacan, Luce Irigaray, Jacques Derrida, Roland Barthes, Niklas Luhmann, Hans Blumenberg, Carl Schmitt, J. L. AustinTheatre has a remarkable capacity: it touches from a distance. The audience is affected, despite their physical separation from the stage. The spectators are moved, even though the fictional world presented to them will never come into direct touch with their real lives. Shakespeare is clearly one of the master practitioners of theatrical touch. As the study shows, his exceptional dramaturgic talent is intrinsically connected with being one of the great thinkers of touch. His plays fathom the complexity and power of a fascinating notion - touch as a productive proximity that is characterised by unbridgeable distance - which philosophers like Friedrich Nietzsche, Maurice Blanchot, Jacques Derrida, Luce Irigaray and Jean-Luc Nancy have written about, centuries later. By playing with touch and its metatheatrical implications, Shakespeare raises questions that make his theatrical art point towards modernity: how are communities to form when traditional institutions begin to crumble? What happens to selfhood when time speeds up, when oneness and timeless truth can no longer serve as reliable foundations? What is the role and the capacity of language in a world that has lost its seemingly unshakeable belief and trust in meaning? How are we to conceive of the unthinkable extremes of human existence - birth and death - when the religious orthodoxy slowly ceases to give satisfactory explanations? Shakespeare's theatre not only prompts these questions, but provides us with answers. They are all related to touch, and they are all theatrical at their core: they are argued and performed by the striking experience of theatre's capacities to touch - at a distance}, language = {en} } @article{Weilandt2022, author = {Weilandt, Maria}, title = {Nationality as Intersectional Storytelling}, series = {New Perspectives on Imagology}, journal = {New Perspectives on Imagology}, editor = {Edtstadler, Katharina and Folie, Sandra and Zocco, Gianna}, publisher = {Brill}, address = {Leiden}, isbn = {978-90-04-45012-7}, doi = {10.1163/9789004513150_016}, pages = {297 -- 311}, year = {2022}, abstract = {Nationality traditionally is one of imagology's key terms. In this article, I propose an intersectional understanding of this category, conceiving nationality as an interdependent dynamic. I thus conclude it to be always internally constructed by notions of gender, sexuality, race, class, religion, age, ability, and other identity categories. This complex and multi-layered construct, I argue, is formed narratively. To exemplify this, I analyse practices of stereotyping in Honor{\´e} de Balzac's Illusions perdues (1843) and Henry James's The American (1877) which construct the so-called Parisienne as a synecdoche for nineteenth-century France.}, language = {en} }