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This study is based on an editorial report, which was presented at the 2009 working conference »Alexander von Humboldt and the Hemisphere« at Vanderbilt University (Nashville, TN). It demonstrates the textual genesis of Humboldt’s writings on Cuba through examples, which were obtained from a detailed text comparison of the three existing »original« versions of Humboldt’s Essai politique sur l’île de Cuba. The collation was part of a larger strategy to regain philological ground for the »Humboldt in English« (HiE) project. Since 2007 and funded with grants from the National Endowment for the Humanities, the Alexander von Humboldt-Foundation, and the Gerda Henkel Foundation, the US-German research team behind HiE has been working on new and unabridged translations and critical editions of three of Humboldt’s most significant texts from his American oeuvre.1 The following observations will outline the most important results of this collation effort as a complementary contribution to the recent release of the HiE project’s first volume, The Political Essay on the Island of Cuba (Chicago University Press 2011), edited by Vera M. Kutzinski and Ottmar Ette.
What is visualization?
(2011)
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.
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.
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.
Define real, Moron!
(2011)
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.
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.
The scientist as Weltbürger
(2001)
In a first step, definitions of the irreducible information structural categories are given, and in a second step, it is shown that there are no invariant phonological or otherwise grammatical correlates of these categories. In other words, the phonology, syntax or morphology are unable to define information structure. It is a common mistake that information structural categories are expressed by invariant grammatical correlates, be they syntactic, morphological or phonological. It is rather the case that grammatical cues help speaker and hearer to sort out which element carries which information structural role, and only in this sense are the grammatical correlates of information structure important. Languages display variation as to the role of grammar in enhancing categories of information structure, and this variation reflects the variation found in the ‘normal’ syntax and phonology of languages.
We propose a definition of aboutness topicality that not only encompasses individual denoting DPs, but also indefinites. We concentrate on the interpretative effects of marking indefinites as topics: they either receive widest scope in their clause, or they are interpreted in the restrictor of an overt or covert Q-adverb. We show that in the first case they are direct aboutness topics insofar as they are the subject of a predication expressed by the comment, while in the second case they are indirect aboutness topics: they define the subject of a higher-order predication – namely the set of situations that the respective Q-adverb quantifies over.