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1
Brignoli, Claudia. Claudia Brignoli: Sorti de l'enfer de l'adolescence. Montréal: Editions LaSemaine, 2010.
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2
Vries, Clare de. I & Claudius: Travels With My Cat. Bloomsbury USA, 2000.
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Vries, Clare de. I & Claudius: Travels With My Cat. Bloomsbury USA, 1999.
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I and Claudius. Bloomsbury Publishing Plc, 2000.
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Vries, Clare De. I and Claudius: Travels With My Cat. Bloomsbury Pub Ltd, 2000.
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Graves, Robert. I, Claudius: A Full-Cast BBC Radio Drama. BBC Books, 2011.
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Bensimon, Gilles. Cal 96 Claudia Schiffer. Meadwestvaco, 1995.
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MARV. Blue Chip: Confessions of Claudia Schiffer's Cat. Die Gestalten Verlag, 2023.
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9
Frias, Pedro. Owning Change: Claudia Can Too. Independently Published, 2020.
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10
Stein, Gabriele. Claudius Hollyband: The author behind the lexicographer. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198807377.003.0002.
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Dictionaries are reference works to be consulted. But they can also be assessed as texts and interpreted. For this approach, which is based on a close reading of the entire lexicographical work, the term ‘lexicature’ has been suggested. The chapter takes the French–English dictionary compiled by the French Bourbonnais Huguenot Claudius Hollyband as a striking example of this new type of study. A number of criteria are identified which reveal the persona of the author behind his work. It is shown how the persona influences the description of the lexicon: in the preferences for word selection, the personal expertise or bias in the description of the meanings of words, and in the choice of examples illustrating the use of words.
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Tamar, Erika. YOU CANT CHOOSE YOUR FAMILY PARTY OF FIVE CLAUDIA 5 (Party of 5). Aladdin, 1997.
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Fritsch, Andreas, Andreas Lischewski y Uwe Voigt, eds. Comenius-Jahrbuch. Academia – ein Verlag in der Nomos Verlagsgesellschaft, 2020. http://dx.doi.org/10.5771/9783896659576.
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What can Comenius contribute to the solution of problems in the Anthropocene? Uwe Voigt sees these problems as qualitative and seeks reflections in Comenius. For narratives in earth-history, Thomas Schmaus discovers impulses in the garden-motif of Comenius. Věra Schifferová, Iveta Marešová und Dalibor Vik refer to Comenius as “open soul”. Joachim Rathmann pleas for environmental virtue ethics, to be practiced in didactic gardens. The “true refinement of man” called for by Comenius (Jiří Beneš) is supported, facing the challenges of new media, by the universality and autonomy fostered by Comenius’ didactics, according to Claudia Schmidt-Dietrich. With contributions by Jiří Beneš, Claudia Schmidt-Dietrich, Iveta Marešová, Joachim Rathmann, Věra Schifferová, Thomas Schmaus, Dalibor Vik and Uwe Voigt.
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Kotzur, Markus, David Moya, Ülkü Sezgi Sözen y Andrea Romano, eds. The External Dimension of EU Migration and Asylum Policies. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845298375.
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refugee law that took place in Barcelona. In the spirit of intergenerational academic exchange, students, young researchers, and established experts engage in interdisciplinary discussions on fundamental questions of migration law and migration policy, which have become more virulent than ever since the refugee protection crisis of 2015. European, human rights and international law aspects are supplemented by national perspectives from Belgium, Bulgaria, the Federal Republic of Germany, Italy, Spain, Turkey and the United Kingdom. The entire project sees itself as a laboratory for the exchange of ideas on how modern migration societies can orient themselves towards a sustainable future. With contributions by Claudia Candelmo, Carmine Conte, Francisco Javier Donaire Villa, Arolda Elbasani, Leonard Amaru Feil, Francesco Luigi Gatta, Chad Heimrich, Markus Kotzur, Annalisa Morticelli, David Moya, Claudia Pretto, Andrea Romano, David Fernandez Rojo, Senada Šelo Šabić, Valentina Savazzi, Ülkü Sezgi Sözen and Catharina Ziebritzki.
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Chion, Michel. Sensory Aspects of Contemporary Cinema. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.024.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film in the digital era is increasingly developing as a sensory experience. Sounds and images together yield sensations that can approximate senses other than sight and hearing. Cinema can thusrender(as distinct fromreproduce) the coolness of the wet spray experienced by a fountain, for example, or speed, force, materiality, hollowness, heaviness, and so forth. At the same time, the nature of recording and filming takes sounds and images out of their real multisensory context and creates sensory isolates. Those who study film, games, and other audiovisual media should not to ignore their trans-sensory aspects.
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Nolon, Sean. Arbitration and the Olympic Athlete. Editado por Michael A. McCann. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190465957.013.25.
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Disputes involving Olympic athletes can arise from a wide range of decisions made by a host of entities. A disputed decision may involve the eligibility of an athlete, employment of coaches and staff, organizational governance, doping, and commercial contracts. Three disputes involving athletes and the modern Olympic games show how arbitration has come to play a central role in resolving contested decisions of sporting associations. First, the case of sprinter Harry Reynolds illustrates the limitations of using national courts to challenge doping-related sanctions. Second, the eligibility struggles of Oscar Pistorius demonstrate how athletes and national sporting associations can benefit from arbitration’s efficiency. Finally, the case of Claudia Pechstein offers a recent example showing the deference given arbitration by national courts, for better or worse.
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Langellotti, Micaela. Village Life in Roman Egypt. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198835318.001.0001.
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This book is the first detailed study of a village in the Roman Empire, Tebtunis, in Egypt, in the first century AD. It is based on the evidence of the archive of the local notarial office (grapheion), which was run by a man named Kronion for most of the mid-first century. The archive as a whole, unparallelled in antiquity, includes over 200 documents written on papyrus and attests to a wide range of transactions made by the villagers over well-defined periods of time, in particular the years AD 42 and 45–7 during the reign of the emperor Claudius. This evidence gives us a unique insight into various aspects of village life, such as the level of participation in the written contractual economy; the socio-economic stratification of the village, including the position of women, slaves, and priests, and the role of the elite; the functions of associations; the types and importance of agriculture and non-agricultural activities. This book argues for a highly diversified village economy, wide involvement in written transactions among all strata of the population, and a rural society that generally lived above subsistence level. It provides a model of village society that can be used for understanding the large majority of the population within the Roman empire who lived outside cities in the Mediterranean, particularly in the other eastern and more Hellenized provinces.
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Rogers, Holly. “Betwixt and Between” Worlds. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0001.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Video art can be highly intermedial. Image and sound are recorded and projected simultaneously, so the user can create live, audiovisual work. This chapter argues that the audience engagement encouraged by video art has changed significantly since it became commercially available. Early video works involved interactivity, intermediality, and the closed-circuit feed. They were often part of multimedia events rather than appearing on their own; therefore the early years of video work can be placed within a temporal, historical liminality. More recent pieces form a coherent body of work. Often shown on flat screens in darkened rooms, they offer predetermined audiovisual narratives that immerse visitors, placing them within a spatial liminality between the video world and the gallery space. Although context is vital to both styles, the activation of space and the audiovisual relationships within it are articulated and activated very differently.
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Stilwell, Robynn J. Audio-Visual Space in an Era of Technological Convergence. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0004.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. While the commercial and sociological aspects of technological convergence have been discussed among scholars, producers, and consumers, this chapter explores the aesthetics of convergence and how the technological/historical/aesthetic conventions of distinctly different media can be used as “meta” gestures. Two multimedia products focusing on the same complex topic-climate change-are used to illustrate how audiovisual space is configured differently in “theatrical” and “cinematic” modes and how those spaces can create a higher level rhythm and texture. The film documentaryAn Inconvenient Truthalternates rhetorical theatrical and affective cinematic spaces. The three-part television seriesClimate Warsis markedly more complex and contrapuntal, “theatricalizing” the audience-screen relationship of cinema and deploying a dense, layered visual texture. The soundscape and visual field organize information from relatively straightforward, reinforcing “harmony"; to a counterpoint commenting on earlier documentaries; to streams of information that can overwhelm comprehension, creating affective “bursts” akin to musical stings.
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Liebrand, Claudia, Harald Neumeyer y Thomas Wortmann, eds. E.T.A. Hoffmanns »Kater Murr«. Rombach Wissenschaft – ein Verlag in der Nomos Verlagsgesellschaft, 2022. http://dx.doi.org/10.5771/9783968218472.
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With the ‘Lebens-Ansichten des Katers Murr nebst fragmentarischer Biographie des Kapellmeister Johannes Kreisler in zufälligen Makulaturblättern’ (1819/1921), E.T.A. Hoffmann, the author, composer, illustrator and legal scholar, created a piece of writing that can be considered one of the most groundbreaking novels of the 19th century. This volume assembles new readings that examine Hoffmann's Kater Murr from comparative, musicological and theatre theory perspectives. It also explores poetological (for Kater Murr that means consistently focusing on the materiality of its artistic production) as well as media-aesthetic and cultural studies approaches. With contributions by Prof. Dr. Lutz Ellrich, Prof. Dr. Achim Geisenhanslüke, Dr. Irmtraud Hnilica, Dr. Vanessa Höving, Prof. Dr. Claudia Liebrand, Prof. Dr. Christine Lubkoll, Prof. Dr. Frederike Middelhoff, Prof. Dr. Harald Neumeyer, Prof. Dr. Marion Schmaus, Prof. Dr. Monika Schmitz-Emans, Dagmar Wahl and Prof. Dr. Thomas Wortmann.
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Auslander, Philip. Sound and Vision. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.025.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Referring to the relationship between visual and audible dimensions of music performance as an “economy” suggests that they may not work hand-in-hand. There can be competition for the audience’s attention and to influence its understanding of the performance. Relationships between sight and sound can be normative or traditional, or challenge norms. The “traditionalist” view emphasizes visible causality: what the audience sees should provide information about how the sound is being produced and perhaps about the musician’s affective state. Visual information that does not contribute to this is interference. The relative value of sound and visual information varies by genre. But even performers operating within traditionalist values sometimes challenge them by manipulating the relationship between the auditory and visual aspects in ways that go against the grain. An example is the use of light shows in both psychedelic rock and classical music concerts in the late 1960s and early 1970s.
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Schmidt-Gleim, Meike, Ruzha Smilova y Claudia Wiesner, eds. Democratic Crisis Revisited. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748912941.
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‘Democratic crisis revisited’ illuminates and reconceptualises the multiple facets of the contemporary crises of democracy in Europe and beyond. It combines context-specific case studies from examples all over Europe, and especially from Eastern Europe, with a theoretical reconceptualisation of democracy. Democracy is conceived of as an ongoing practice of open-ended democratic procedures. Crisis in this view plays a constitutive role for democracy that can disintegrate but also recreate it. Democracy is thus a dialectical struggle between practices of politicisation and depoliticisation, i.e. it produces contingency and processes that decrease it. This understanding of the crisis as constitutive for democracy may open new avenues for democratisation rather than deal it a death blow. With contributions by Aleksandra Belina, Michael Briguglio, Maria Brown, Evgenii Dainov, Alexandra Iancu, Anna Krasteva, Tonci Kursar, Gonçalo Marcelo, Ana Matan, José Maria Rosales, Přemysl Rosůlek, Meike Schmidt-Gleim, Natalija Shikova, Ruzha Smilova, Christel Stormhoej, Renata Uitz and Claudia Wiesner.
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Hara, Mariko y Tia DeNora. Leaving Something to the Imagination. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0013.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter suggests that an examination of “seeing through music” highlights the cross-sensory or synaesthetic dimension of perception and identification in naturally occurring settings. Using data from interviews with elderly Japanese people who recall their first encounters with the West and Western classical music, it then considers how musically led visualization may be part of how individuals imagine and then orient to phenomena that they may only encounter in the future. This process of virtual seeing highlights music’s role as a “prosthetic technology”—in this case, a tool for visual enhancement, which in turn may provide resources for future action, goals, and aspirations, for “seeing” and acting in and acting upon future events. Finally, to the extent that music enables one to envision the future, the chapter suggests how musical “visualization” can enable new learning.
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Donnelly, Kevin J. Extending Film Aesthetics. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.020.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film remains at the apex of audiovisual culture, providing inspiration and aspiration for other media. Film music and other sounds from the soundtrack have extended film aesthetics beyond the bounds of film into other media and culture. Sound design now can use musical software to enhance sound effects in films and music composers to incorporate sound effect recordings. Soundtrack elements now appear to have an “aesthetic” character. Technology has engendered a spatial sonic arena wherein sonic elements have mixed into a sensual and psychological field. Modern film soundtracks often evince a conceptual or aesthetic unity strikingly similar to musical unity, evident in disc releases unconnected to the cinema. In films sounds on their own work in a different way, implying visuals that we then expect to see or imagine. That soundimpliesvisuals is crucial also to extended soundtracks outside film.
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Flinn, Caryl. The Mutating Musical and the Sound of Music. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.033.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Musicals have always enjoyed a rich cross-media history, and changing technologies help maintain that tradition. Today television and digital cultures offer compelling new generic formats. No longer large stage and screen productions, musicals now appear through smaller, decentralized forms and platforms, providing the premise of television series, reality shows, and music videos, or appearing as small performances on YouTube. This chapter follows the afterlife of the iconic film musicalThe Sound of Music(dir. Robert Wise, 1965) to explore how these new articulations—fragmented and less loyal to the original than previous revivals or reruns—create the potential for diverse and local audiences that the original musical never addressed. These “mutating musicals” can give rise to different, smaller-scale “utopias” and fantasies, affective by-products that reveal a genre whose parameters have grown looser and more capacious at the end of the twentieth century.
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Fuchs, Michael, Dorothea Greiling y Michael Rosenberger, eds. Gut versorgt? Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783845294872.
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Is it ethical to exclude ill people from medical treatment because it is too expensive? And vice versa, how can the healthcare system be financially sustainable if everybody receives all the effective medical treatment available irrespective of its costs. While rationing of healthcare and care services is a politically taboo topic, it is a subject that has been addressed intensively in academia for more than a decade. Resulting from a joint series of lectures by the Catholic Private University and the Johannes Kepler University in Linz in the winter semester 2017/18, this publication provides an interdisciplinary overview of the key issues involved in this debate. It addresses the inherent tensions between economic and ethical approaches and, based on the interdisciplinary dialogue between ethics, economics and theology, outlines ways of realising good healthcare and care provision with limited means. With contributions by Bernhard Emunds, Michael Fuchs, Gerd Glaeske, Dorothea Greiling, Christine Haberlander, Michaela Haunold, Lukas Kaelin, Bettina Leibetseder, Elisabeth Menschl, Walter Mitterndorfer, Peter Niedermoser, Michael Rosenberger, Claudia Wild
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Herbst, Tobias y Sabrina Zucca-Soest, eds. Legitimität des Staates. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748902638.
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In these times of globalisation and the denationalisation and questioning of state sovereignty, the question of the legitimacy of the state has become particularly explosive. If power is to be transformed into justified rule through the concept of legitimacy, legitimacy as such requires close examination. In this context, it is not only necessary to ask what the recognition of a legal system is based on, but also how its recognition can be justified. The complexity of the concept of legitimacy suggests that it should be considered from different perspectives and that these perspectives should be combined to form a comprehensive overall picture. The spectrum of disciplines involved in this volume includes ethnology, psychology, law, state theory, political science and philosophy. It is divided into the following thematic blocks: empirical approaches, social science approaches, theoretical approaches and development issues. With contributions by Hermann Amborn, Eva Birkenstock, Sergio Dellavalle, Andreas Funke, Andreas Glöckner, Tobias Herbst, Ulf Kemper, Lando Kirchmair, Anna Katharina Mangold, Andreas Niederberger, Utz Schliesky, Peter Seyferth, Rüdiger Voigt, Claudia Wirsing und Sabrina Zucca-Soest
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Song, Min Hyoung. Climate Lyricism. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022350.
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In Climate Lyricism Min Hyoung Song articulates a climate change-centered reading practice that foregrounds how climate is present in most literature. Song shows how literature, poetry, and essays by Tommy Pico, Solmaz Sharif, Frank O’Hara, Ilya Kaminsky, Claudia Rankine, Kazuo Ishiguro, Teju Cole, Richard Powers, and others help us to better grapple with our everyday encounters with climate change and its disastrous effects, which are inextricably linked to the legacies of racism, colonialism, and extraction. These works employ what Song calls climate lyricism—a mode of address in which a first-person “I” speaks to a “you” about how climate change thoroughly shapes daily life. The relationship between “I” and “you” in this lyricism, Song contends, affects the ways readers comprehend the world, fostering a model of shared agency from which it can become possible to collectively and urgently respond to the catastrophe of our rapidly changing climate. In this way, climate lyricism helps to ameliorate the sense of being overwhelmed and feeling unable to do anything to combat climate change.
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Dietz, Kristina, Stefan Peters y Christina Schnepel, eds. Corona in Lateinamerika. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748930020.
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The coronavirus pandemic has hit Latin America particularly hard. In no other region of the world have so many people been infected with the virus as here. Influenced by the pandemic, poverty and inequality have increased, the economic crisis has worsened and, in some countries, authoritarian and repressive tendencies have grown, all of which poses enormous challenges for the region. This anthology is dedicated to the consequences of the coronavirus pandemic and pandemic policies in Latin America and the Caribbean. The articles it contains examine the consequences of the pandemic in terms of social inequalities, gender relations, violence against women, democracy, human rights, labour, the mobilisation of protest and environmental policy. They discuss what social and political lessons can be drawn from the pandemic experience in Latin America at the end of 2021, when the region is far from a post-pandemic era. With contributions by Carolina Alves Vestena, Hans-Jürgen Burchardt, Alba Carosio, Kristina Dietz, Patrick Eser, Caroline Kim, Moritz Krawinckel, Stefan Peters, Axel Rojas, Christiane Schulte, Jürgen Weller, Andréa Zhouri and Claudia Zilla.
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Stronegger, Willibald J. y Johann Platzer, eds. Technisierung der Pflege. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748928720.
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The technologies of ‘digital health’ will fundamentally transform the building of relationships in healthcare and the social relationships of ageing people. This volume is devoted to three ethical and legal areas of tension. In the area of tension between personal dignity and digital care, it is a question of balancing individual ideas about a good life with those of digitised technologies. In this way, new information technologies enable both more self-determination and more complete control over everyday life. Analogously, in the area of tension between freedom and security, technology can reinforce one aspect at the expense of the other. Finally, the area of tension between simulation and authenticity revolves around the human consequences of the construction of reality. With contributions by Stefan Dinges; Michael Früh; Alina Gasser; FH-Prof.in Mag.a Dr.in Elisabeth Haslinger-Baumann; Kathrin Janowski, MSc; Dominik Kaiser, BSc; Univ.-Prof. Dr. Reinhard Klaushofer; Prof. Dr. Arne Manzeschke; Prof. Dr. Claudia Paganini; Mag Dr. Johann Platzer; Prof. Eveline Prochaska, BSc, MSc; Dr. Karin Reinmüller; Univ.-Prof. Dr. Martina Schmidhuber; Manuela Straub and Univ.-Prof. Dr. Willibald Stronegger.
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Kerins, Mark. Multichannel Gaming and the Aesthetics of Interactive Surround. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.014.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.
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Vernallis, Carol. Music Video’s Second Aesthetic? Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0016.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. MTV’s launch happened thirty years ago. Since then music video has undergone shifts in technologies and platforms, financial booms and busts, and changing levels of audience engagement. While music videos hit a low point at the start of the millennium, they have reemerged as a key driver of popular culture. This resurgence resembles MTV’s first moment: it’s again worth asking what music video can do and where it fits. A variety of styles, genres, and tropes marks both the eighties and today. The traditional definition of music video - a record-company product that puts images to a pop record in order to sell the song — has become too narrow. Instead we might describe music videos as containing heightened sound/image relations we recognize as such. Today's videos can reflect great technical proficiency. But in the eighties an attempt at an audiovisual connection often left a trace of the performers’ and director’s efforts. This gave videos a special charm. Today’s videos, however, may also reflect a full flowering of the genre. Many directors have labored in the industry and weathered its transitions: their experiences inform today’s music videos. This chapter looks at what this thirty-year history might add up to.
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Borucki, Isabelle y Wolf Jürgen Schünemann, eds. Internet und Staat. Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783845290195.
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You cannot form a state with the Internet—or can you? In contrast to post-territorial expectations from the early days of the Internet, the state seems to be increasingly in demand when it comes to coming to terms with the digital revolution. What is more, state structures have never been irrelevant in terms of the Internet but have influenced both it and digitalisation since their beginnings. This book explores the intriguing relationship between the Internet and the state in depth from an interdisciplinary perspective that includes political science, legal studies and communication studies. By examining sovereignty, privacy and security, the contributions it contains address the fundamental understandings and functions of the state. They deal with regulatory areas that have changed dynamically in the digital era: data protection, the administration of critical Internet resources and the regulation of media content. Finally, they also consider the changes to the players involved in this field and the courses of action open to them: parties and political communication, e-government and e-participation. With contributions by Isabelle Borucki, Andreas Busch, Myriam Dunn Cavelty, Florian Egloff, Katharina Gerl, Paula Helm, Norbert Kersting, Jan Niklas Kocks, Julia Pohle, Claudia Ritzi, Wolf J. Schünemann, Sandra Seubert, Thorsten Thiel, Martin Warnke and Alexandra Zierold.
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Steinberg, Claudia y Benjamin Bonn, eds. Digitalisierung und Sportwissenschaft. Academia – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783985720033.
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For a long time now, digitalization has arrived in movement, play, sport, and dance. In many areas, the analog can hardly be separated from the digital. The situation seems to be different in the education sector. Where does sports science stand? What approaches does this cross-sectional discipline offer? The contributions in this volume provide insights into the sports science debate on this topic. They outline overarching lines of discussion, present research results, and draw perspectives for the sports science debate with a view to (educational) political dimensions, the staging of teaching-learning settings, international discourses on new practices in the health sector, and the development of innovative research methods. With contributions by Prof. Dr. Claudia Steinberg, Dr. Benjamin Bonn, Lucas Abel, Peter Bickmann, Dr. Birgit Braumüller, Prof. em. Dr. David R. Buchanan, Christian Büning, Univ.-Prof. Dr. Ingo Froböse, Mai Geisen, Marco Grawunder, Dr. Christiopher Grieben, Stephani Howahl, Prof. Dr. Petra Jansen, Derya Kaptan, Simone Kieltyka, Jun.-Prof. Dr. Stefanie Klatt, Asst.-Prof. Maria Kosma, Univ.-Prof. Dr. Dr. Markus Raab, Ass.Prof. Dr. Daniel Rode, Dr. Helena Rudi, Dr. Kevin Rudolf, Univ.-Prof. Dr. Andrea Schaller, Gerrit Stassen, Dr. Ilka Staub, Chuck Tholl, Dr. Konstantin Wechsler, Jun.-Prof. Dr. Tobias Vogt, Univ.-Prof. Dr. Thomas Wendeborn, Constantin Wirth and Maren Zühlke.
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Ernst, Gerhard, Klaus Zühlke-Robinet, Gerhard Finking y Ursula Bach, eds. Digitale Transformation. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748903413.
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The employment and work of the future is taking place in service provider systems, which are a result of the digital revolution. Nevertheless, politics, science and research have insufficiently considered the consequences of the digital revolution for the organisation of work in the field of service provision. Using the example of logistics, this book presents the social economy, knowledge services, and the consequences and design options for work and employment at the levels of ‘society’, ‘services, markets and the economy’, ‘service development’, ‘service production’ and ‘model development’ from different technical perspectives. The essay ‘Services are becoming high-tech’, written by twenty academics, outlines a design concept for top-class service research, which can serve as a trailblazer for international competitiveness, high customer value and good work in the digital revolution. With contributions by Ursula Bach, Bernd Bienzeisler, Tilo Böhmann, Jost Buschmeyer, Wolfgang Dunkel, Martin Eisenmann, Gerhard Ernst, Michaela Evans, Gerhard Finking, Michael Fischer, Walter Ganz, Philipp, K. Görs, Birgit Graf, Winfried Hacker, Ewald Heinen, Markus Hoppe, Henning Hummert, Heike Jacobsen, David Kremer, Vanessa Kubek, Niklas Kühl, Hendrik Lager, Andrea Lohmann-Haislah, Andrea Martin, Nadine Müller, Claudia Munz, Friedhelm Nachreiner, Friedemann Nerdinger, Ulrike Pietrzyk, Gerhard Satzger, Birte Schiffhauer, Christian Schiller, Lothar Schröder, Martin Schütte, Udo Seelmeyer, Guiseppe Strina, Anne Traum, Anne-Sophie Tombeil, Michael Vilain, Alfredo Virgillito, Philipp Waag, Harald Weber, Johannes Wendsche, Claus Zanker, Klaus J. Zink, Klaus Zühlke-Robinet
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Hank, Karsten, Frank Schulz-Nieswandt, Michael Wagner y Susanne Zank, eds. Alternsforschung. Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783845276687.
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This handbook aims to provide an overview of knowledge about age and ageing in ‘Western’ societies at the beginning of the 21st century, which is intended to be equally suitable for research and practice. It focuses on relevant contributions from the social and behavioural sciences and their access to selected aspects of age and ageing. Its main topics can be described as quintessential core subjects, e.g. theories of ageing, socio-economic situation and inequalities, mental and physical health, social networks and social participation. These are supplemented by contributions on often marginalised topics and ‘emerging topics’ such as very old age, experiences of violence and delinquency, sexuality, and the spirituality and ethics of ageing. Finally, a series of topics relevant to everyday life and research practice (e.g. age and technology and data collection among the elderly) form a third central component of the book. With contributions by Heike Baranzke | Hermann Brandenburg | Susanne Brose | Josef Ehmer | Yvonne Eisenmann | Lea Ellwardt | Marcel Erlinghagen | Uwe Fachinger | Luise Geithner | Thomas Görgen | Bernadette Groebe | Helen Güther | Hans Gutzmann | Karsten Hank | Peter Häussermann | Rolf G. Heinze | Kira Hower | Anna Janhsen | Roman Kaspar | Daniela Klaus | Lars-Oliver Klotz | Franziska Kunz | Lisa Luft | Katharina Mahne | Michael Neise | Frank Oswald | Johannes Pantel | Susanne Penger | Holger Pfaff | M. Christina Polidori | Christian Rietz | Charlotte Şahin | Anna Schlomann | Holger Schmidt | Laura Schmidt | Wiebke Schmitz | Katrin Schneiders | Frank Schulz-Nieswandt | Andreas Simm | Julia Simonson | Anja Steinbach | Stephanie Stock | Julia Strupp | Clemens Tesch-Römer | Claudia Vogel | Raymond Voltz | Michael Wagner | Hans-Werner Wahl | Inka Wilhelm | Christiane Woopen | Susanne Zank
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Weir, David. The Leopard (Il Gattopardo). Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839026188.
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Luchino Visconti's The Leopard (Il Gattopardo, 1963) tells the story of an aristocratic Sicilian family adjusting to the realities of political and commercial modernity after the unification Italy during the Risorgimento. The film, starring Claudia Cardinale, Burt Lancaster and Alain Delon, met with success upon its initial release, winning the Palme d’Or at Cannes and having a successful theatrical run in Europe. Despite this, however, it did not do well with English-speaking audiences, and eventually even fell out of favour with Italian audiences, who took issue with the way Risorgimento history was represented. David Weir's study of the film seeks to understand the film's paradoxical place in Italian film history. He argues that Visconti's use of artifice, narrative and history, all aspects that came to be criticised, were in fact, essential to his cinematic art, and can all be understood as strengths of the film. Providing a scene-by-scene analysis of the film, as well as illuminating its relationship to the Lampedusa novel from which it was adapted, Weir suggests that Visconti's film goes beyond mere adaptation, using the form of the novel for cinematic purposes and making The Leopard a cinematic novel in its own right. He goes on to situate the film within Visconti's career, questioning whether the uneven reception of the film reflects the paradox of Visconti's social status as a Marxist aristocrat and his position as an auteur director whose films borrowed heavily from the decadent tradition, while at the same time professing allegiance to the Italian Communist Party.