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How does perceptual experience make us knowledgeable? This book argues that the answer lies in the nature of perceptual experience: this experience involves conceptual capacities and is a relation between perceiver and world. The author develops her position via a critical examination of conceptualist and relationist theories of perception. A discussion of recent work in vision science rounds up this contribution to the philosophy of perception.
The overarching goal of this dissertation is to provide a better understanding of the role of wind and water in shaping Earth’s Cenozoic orogenic plateaus - prominent high-elevation, low relief sectors in the interior of Cenozoic mountain belts. In particular, the feedbacks between surface uplift, the build-up of topography and ensuing changes in precipitation, erosion, and vegetation patterns are addressed in light of past and future climate change. Regionally, the study focuses on the two world’s largest plateaus, the Altiplano-Puna Plateau of the Andes and Tibetan Plateau, both characterized by average elevations of >4 km. Both plateaus feature high, deeply incised flanks with pronounced gradients in rainfall, vegetation, hydrology, and surface processes. These characteristics are rooted in the role of plateaus to act as efficient orographic barriers to rainfall and to force changes in atmospheric flow.
The thesis examines the complex topics of tectonic and climatic forcing of the surface-process regime on three different spatial and temporal scales: (1) bedrock wind-erosion rates are quantified in the arid Qaidam Basin of NW Tibet over millennial timescales using cosmogenic radionuclide dating; (2) present-day stable isotope composition in rainfall is examined across the south-central Andes in three transects between 22° S and 28° S; these data are modeled and assessed with remotely sensed rainfall data of the Tropical Rainfall Measuring Mission and the Moderate Resolution Imaging Spectroradiometer; (3) finally, a 2.5-km-long Mio-Pliocene sedimentary record of the intermontane Angastaco Basin (25°45’ S, 66°00’ W) is presented in the context of hydrogen and carbon compositions of molecular lipid biomarker, and oxygen and carbon isotopes obtained from pedogenic carbonates; these records are compared to other environmental proxies, including hydrated volcanic glass shards from volcanic ashes intercalated in the sedimentary strata.
There are few quantitative estimates of eolian bedrock-removal rates from arid, low relief landscapes. Wind-erosion rates from the western Qaidam Basin based on cosmogenic 10Be measurements document erosion rates between 0.05 to 0.4 mm/yr. This finding indicates that in arid environments with strong winds, hyperaridity, exposure of friable strata, and ongoing rock deformation and uplift, wind erosion can outpace fluvial erosion. Large eroded sediment volumes within the Qaidam Basin and coeval dust deposition on the Chinese Loess plateau, exemplify the importance of dust production within arid plateau environments for marine and terrestrial depositional processes, but also health issues and fertilization of soils.
In the south-central Andes, the analysis of 234 stream-water samples for oxygen and hydrogen reveals that areas experiencing deep convective storms do not show the commonly observed patterns of isotopic fractionation and the expected co-varying relationships between oxygen and hydrogen with increasing elevation. These convective storms are formed over semi-arid intermontane basins in the transition between the broken foreland of the Sierras Pampeanas, the Eastern Cordillera, and the Puna Plateau in the interior of the orogen. Here, convective rainfall dominates the precipitation budget and no systematic stable isotope-elevation relationship exists. Regions to the north, in the transition between the broken foreland and the Subandean foreland fold-and-thrust belt, the impact of convection is subdued, with lower degrees of storminess and a stronger expected isotope-elevation relationship. This finding of present-day fractionation trends of meteoric water is of great importance for paleoenvironmental studies in attempts to use stable isotope relationships in the reconstruction of paleoelevations.
The third part of the thesis focuses on the paleohydrological characteristics of the Mio-Pliocene (10-2 Ma) Angastaco Basin sedimentary record, which reveals far-reaching environmental changes during Andean uplift and orographic barrier formation. A precipitation- evapotranspiration record identifies the onset of a precipitation regime related to the South American Low Level Jet at this latitude after 9 Ma. Humid foreland conditions existed until 7 Ma, followed by orographic barrier uplift to the east of the present-day Angastaco Basin. This was superseded by rapid (~0.5 Myr) aridification in an intermontane basin, highlighting the effects of eastward-directed deformation. A transition in vegetation cover from a humid C3 forest ecosystem to semi-arid C4-dominated vegetation was coeval with continued basin uplift to modern elevations.
During the last two decades, instability training devices have become a popular means in athletic training and rehabilitation of mimicking unstable surfaces during movements like vertical jumps. Of note, under unstable conditions, trunk muscles seem to have a stabilizing function during exercise to facilitate the transfer of torques and angular momentum between the lower and upper extremities. The present thesis addresses the acute effects of surface instability on performance during jump-landing tasks. Additionally, the long-term effects (i.e., training) of surface instability were examined with a focus on the role of the trunk in athletic performance/physical fitness.
Healthy adolescent, and young adult subjects participated in three cross-sectional and one longitudinal study, respectively. Performance in jump-landing tasks on stable and unstable surfaces was assessed by means of a ground reaction force plate. Trunk muscle strength (TMS) was determined using an isokinetic device or the Bourban TMS test. Physical fitness was quantified by standing long jump, sprint, stand-and-reach, jumping sideways, Emery balance, and Y balance test on stable surfaces. In addition, activity of selected trunk and leg muscles and lower limb kinematics were recorded during jump-landing tasks.
When performing jump-landing tasks on unstable compared to stable surfaces, jump performance and leg muscle activity were significantly lower. Moreover, significantly smaller knee flexion angles and higher knee valgus angles were observed when jumping and landing on unstable compared to stable conditions and in women compared to men. Significant but small associations were found between behavioral and neuromuscular data, irrespective of surface condition. Core strength training on stable as well as on unstable surfaces significantly improved TMS, balance and coordination.
The findings of the present thesis imply that stable rather than unstable surfaces provide sufficient training stimuli during jump exercises (i.e., plyometrics). Additionally, knee motion strategy during plyometrics appears to be modified by surface instability and sex. Of note, irrespective of surface condition, trunk muscles only play a minor role for leg muscle performance/activity during jump exercises. Moreover, when implemented in strength training programs (i.e., core strength training), there is no advantage in using instability training devices compared to stable surfaces in terms of enhancement of athletic performance.
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.