Traumdramaturgie und Selbstreflexion. Bildstrategien romantischer Traumdarstellungen im Spannungsfeld zeitgenössischer Traumtheorie und Ästhetik

Die Arbeit untersucht Bildstrategien von Traumdarstellungen der deutschen Romantik unter Berücksichtigung der zeitgenössischen Traumtheorie und Ästhetik mit einer Fokussierung auf den Zeitraum zwischen 1820 und 1840. Die Studie geht der Frage nach, ob die Traumdarstellung jenseits ihrer ikonographischen Dimension auch als ästhetisches Konzept fungiert, indem die Dramaturgie des Traumes als Methode eingesetzt wird. Die romantische Präferenz für das Unbewusste – gerade auch hinsichtlich der Kunstproduktion – zeigt sich in der Aus¬einandersetzung mit der philosophisch-literarischen Frühromantik und kulminiert in einer Ästhetik der inneren Bilder. Diese reflektiert die Darstellbarkeit unsichtbarer Bilder und findet in der alinearen, assoziativen, chiffrierten, raum- und zeitsimultanen Dramaturgie des Traums ihre adäquate Struktur, auch weil sie sich einer homogenen Werkgenese zu widersetzen vermag. Unter Berücksichtigung unterschiedlicher Aspekte analysiert die Arbeit ausgewählte und heterogene Beispiele von Traumdarstellungen, die als Ausdruck dieser (Selbst)reflexion gelesen werden können

Microbially competent 3D skin: a test system that reveals insight into host–microbe interactions and their potential toxicological impact

The skin`s microbiome is predominantly commensalic, harbouring a metabolic potential far exceeding that of its host. While there is clear evidence that bacteria-dependent metabolism of pollutants modulates the toxicity for the host there is still a lack of models for investigating causality of microbiome-associated pathophysiology or toxicity. We now report on a biologically characterised microbial–skin tissue co-culture that allows studying microbe–host interactions for extended periods of time in situ. The system is based on a commercially available 3D skin model. In a proof-of-concept, this model was colonised with single and mixed cultures of two selected skin commensals. Two different methods were used to quantify the bacteria on the surface of the skin models. While Micrococcus luteus established a stable microbial–skin tissue co-culture, Pseudomonas oleovorans maintained slow continuous growth over the 8-day cultivation period. A detailed skin transcriptome analysis showed bacterial colonisation leading to up to 3318 significant changes. Additionally, FACS, ELISA and Western blot analyses were carried out to analyse secretion of cytokines and growth factors. Changes found in colonised skin varied depending on the bacterial species used and comprised immunomodulatory functions, such as secretion of IL-1α/β, Il-6, antimicrobial peptides and increased gene transcription of IL-10 and TLR2. The colonisation also influenced the secretion of growth factors such as VFGFA and FGF2. Notably, many of these changes have already previously been associated with the presence of skin commensals. Concomitantly, the model gained first insights on the microbiome’s influence on skin xenobiotic metabolism (i.e., CYP1A1, CYP1B1 and CYP2D6) and olfactory receptor expression. The system provides urgently needed experimental access for assessing the toxicological impact of microbiome-associated xenobiotic metabolism in situ

Digitale Lehre in der Kunstgeschichte. Eine Handreichung

Der Arbeitskreis Digitale Kunstgeschichte will mit dieser Handreichung die Lehrenden in der Kunstgeschichte bei der Realisierung ihrer Veranstaltungen unterstützen und den Erfahrungsaustausch untereinander fördern. Die Handreichung führt kurz in die zentralen Fragen für eine erfolgreiche digital gestützte Lehre ein. Im Sinne einer kompetenzorientierten Lehre werden die spezifischen Besonderheiten der kunsthistorischen Lehre thematisiert und anschließend konkrete Hilfestellungen gegeben. Hier stehen vor allem die technische Infrastruktur, die didaktischen Formate und die kunsthistorischen Quellen und die Literatur im Internet im Vordergrund

NFDI4Culture - Consortium for research data on material and immaterial cultural heritage

Digital data on tangible and intangible cultural assets is an essential part of daily life, communication and experience. It has a lasting influence on the perception of cultural identity as well as on the interactions between research, the cultural economy and society. Throughout the last three decades, many cultural heritage institutions have contributed a wealth of digital representations of cultural assets (2D digital reproductions of paintings, sheet music, 3D digital models of sculptures, monuments, rooms, buildings), audio-visual data (music, film, stage performances), and procedural research data such as encoding and annotation formats. The long-term preservation and FAIR availability of research data from the cultural heritage domain is fundamentally important, not only for future academic success in the humanities but also for the cultural identity of individuals and society as a whole. Up to now, no coordinated effort for professional research data management on a national level exists in Germany. NFDI4Culture aims to fill this gap and create a usercentered, research-driven infrastructure that will cover a broad range of research domains from musicology, art history and architecture to performance, theatre, film, and media studies. The research landscape addressed by the consortium is characterized by strong institutional differentiation. Research units in the consortium's community of interest comprise university institutes, art colleges, academies, galleries, libraries, archives and museums. This diverse landscape is also characterized by an abundance of research objects, methodologies and a great potential for data-driven research. In a unique effort carried out by the applicant and co-applicants of this proposal and ten academic societies, this community is interconnected for the first time through a federated approach that is ideally suited to the needs of the participating researchers. To promote collaboration within the NFDI, to share knowledge and technology and to provide extensive support for its users have been the guiding principles of the consortium from the beginning and will be at the heart of all workflows and decision-making processes. Thanks to these principles, NFDI4Culture has gathered strong support ranging from individual researchers to highlevel cultural heritage organizations such as the UNESCO, the International Council of Museums, the Open Knowledge Foundation and Wikimedia. On this basis, NFDI4Culture will take innovative measures that promote a cultural change towards a more reflective and sustainable handling of research data and at the same time boost qualification and professionalization in data-driven research in the domain of cultural heritage. This will create a long-lasting impact on science, cultural economy and society as a whole

Response-adapted omission of radiotherapy and comparison of consolidation chemotherapy in intermediate- and advanced-stage children and adolescents with classic Hodgkin lymphoma: a titration study with an embedded non-inferiority randomised controlled trial

BACKGROUND: Children and adolescents with intermediate-stage and advanced-stage classical Hodgkin lymphoma achieve an event-free survival at 5 years of about 90% after treatment with vincristine, etoposide, prednisone, and doxorubicin (OEPA) followed by cyclophosphamide, vincristine, prednisone, and procarbazine (COPP) and radiotherapy, but long-term treatment effects affect survival and quality of life. We aimed to investigate whether radiotherapy can be omitted in patients with morphological and metabolic adequate response to OEPA and whether modified consolidation chemotherapy reduces gonadotoxicity. METHODS: Our study was designed as a titration study with an open-label, embedded, multinational, non-inferiority, randomised controlled trial, and was carried out at 186 hospital sites across 16 European countries. Children and adolescents with newly diagnosed intermediate-stage (treatment group 2) and advanced-stage (treatment group 3) classical Hodgkin lymphoma who were younger than 18 years and stratified according to risk using Ann Arbor disease stages IIAE, IIB, IIBE, IIIA, IIIAE, IIIB, IIIBE, and all stages IV (A, B, AE, and BE) were included in the study. Patients with early disease (treatment group 1) were excluded from this analysis. All patients were treated with two cycles of OEPA (1·5 mg/m(2) vincristine taken intravenously capped at 2 mg, on days 1, 8, and 15; 125 mg/m(2) etoposide taken intravenously on days 1–5; 60 mg/m(2) prednisone taken orally on days 1–15; and 40 mg/m(2) doxorubicin taken intravenously on days 1 and 15). Patients were randomly assigned to two (treatment group 2) or four (treatment group 3) cycles of COPP (500 mg/m(2) cyclophosphamide taken intravenously on days 1 and 8; 1·5 mg/m(2) vincristine taken intravenously capped at 2 mg, on days 1 and 8; 40 mg/m(2) prednisone taken orally on days 1 to 15; and 100 mg/m(2) procarbazine taken orally on days 1 to 15) or COPDAC, which was identical to COPP except that 250 mg/m(2) dacarbazine administered intravenously on days 1 to 3 replaced procarbazine. The method of randomisation (1:1) was minimisation with stochastic component and was centrally stratified by treatment group, country, trial sites, and sex. The primary endpoint was event-free survival, defined as time from treatment start until the first of the following events: death from any cause, progression or relapse of classical Hodgkin lymphoma, or occurrence of secondary malignancy. The primary objectives were maintaining 90% event-free survival at 5 years in patients with adequate response to OEPA treated without radiotherapy and to exclude a decrease of 8% in event-free survival at 5 years in the embedded COPDAC versus COPP randomisation to show non-inferiority of COPDAC. Efficacy analyses are reported per protocol and safety in the intention-to-treat population. The trial is registered with ClinicalTrials.gov (trial number NCT00433459) and EUDRACT (trial number 2006-000995-33), and is closed to recruitment. FINDINGS: Between Jan 31, 2007, and Jan 30, 2013, 2102 patients were recruited. 737 (35%) of the 2102 recruited patients were in treatment group 1 (early-stage disease) and were not included in our analysis. 1365 (65%) of the 2102 patients were in treatment group 2 (intermediate-stage disease; n=455) and treatment group 3 (advanced-stage disease; n=910). Of these 1365, 1287 (94%) patients (435 [34%] of 1287 in treatment group 2 and 852 [66%] of 1287 in treatment group 3) were included in the titration trial per-protocol analysis. 937 (69%) of 1365 patients were randomly assigned to COPP (n=471) or COPDAC (n=466) in the embedded trial. Median follow-up was 66·5 months (IQR 62·7–71·7). Of 1287 patients in the per-protocol group, 514 (40%) had an adequate response to treatment and were not treated with radiotherapy (215 [49%] of 435 in treatment group 2 and 299 [35%] of 852 in treatment group 3). 773 (60%) of 1287 patients with inadequate response were scheduled for radiotherapy (220 [51%] of 435 in the treatment group 2 and 553 [65%] of 852 in treatment group 3. In patients who responded adequately, event-free survival rates at 5 years were 90·1% (95% CI 87·5–92·7). event-free survival rates at 5 years in 892 patients who were randomly assigned to treatment and analysed per protocol were 89·9% (95% CI 87·1–92·8) for COPP (n=444) versus 86·1% (82·9–89·4) for COPDAC (n=448). The COPDAC minus COPP difference in event-free survival at 5 years was −3·7% (−8·0 to 0·6). The most common grade 3–4 adverse events (intention-to-treat population) were decreased haemoglobin (205 [15%] of 1365 patients during OEPA vs 37 [7%] of 528 treated with COPP vs 20 [2%] of 819 treated with COPDAC), decreased white blood cells (815 [60%] vs 231 [44%] vs 84 [10%]), and decreased neutrophils (1160 [85%] vs 223 [42%] vs 174 [21%]). One patient in treatment group 2 died of sepsis after the first cycle of OEPA; no other treatment-related deaths occurred. INTERPRETATION: Our results show that radiotherapy can be omitted in patients who adequately respond to treatment, when consolidated with COPP or COPDAC. COPDAC might be less effective, but is substantially less gonadotoxic than COPP. A high proportion of patients could therefore be spared radiotherapy, eventually reducing the late effects of treatment. With more refined criteria for response assessment, the number of patients who receive radiotherapy will be further decreased. FUNDING: Deutsche Krebshilfe, Elternverein für Krebs-und leukämiekranke Kinder Gießen, Kinderkrebsstiftung Mainz, Tour der Hoffnung, Menschen für Kinder, Programme Hospitalier de Recherche Clinique, and Cancer Research UK

Early death and causes of death of people with intellectual disabilities: A systematic review

Background: Death of people with intellectual disabilities is considered to be earlier than for the general population. Methods: Databases were searched for intellectual disability AND death key words. Strict inclusion/exclusion criteria were used. Information was extracted from selected papers, tabulated, and synthesised. Results: 27/19,111 articles met criteria. Death was earlier by 20 years. It has improved in recent decades; however the same inequality gap with the general population remains. More severe intellectual disabilities, and/or additional co-morbidities rendered it shortest. Standardised Mortality Rates showed a greater inequality for women than men. Respiratory and circulatory diseases were the main causes of death. Cancer was less common, and profile differed from the general population. Some deaths are potentially avoidable. All research is from high income countries, and cause of death is surprisingly little investigated. Conclusions: Improved anticipatory health care such as health checks and initiatives addressing relevant health risks are recommended

Traumdramaturgie und Selbstreflexion: Bildstrategien romantischer Traumdarstellungen im Spannungsfeld zeitgenössischer Traumtheorie und Ästhetik

The dissertation analyses dream images in romanticist art, with regards to inherent dreamanalogue strategies in consideration of contemporary dream theory and aesthetics, with a focus on the period between 1820 and 1840. The study does not provide a typological, iconographical or motif-historical collection of samples, but analyses different aspects of selected artworks which represent a wide range in terms of their contextual, formal and topographical heterogeneity, and overcomes the existing stereotypical classification in the context of romanticist art reflection. The study identifies that, beyond the contextual-iconographical dimension, the dream serves as an aesthetical category because it is reflected not only as a motif but also in relation to its dramaturgy. In the romantic awareness of the difficulty of an adequate representation of invisible images, the nonlinear, associative, ciphered, space- and time-simultaneous structure of the dream is adapted as a method, and is staged by varied and differentiated configurations. This is mirrored by comprehensive or formal concepts (genre, technique, media and interdisciplinary), as well as in fragmentary structures (sketches and drawings), in materiality (transparency and colour) or arabesque and combinatory production principles. The study contains three chapters: after a general introduction to the subject, the analysis of the current state of research and the demonstration of the methodology in the first chapter, the second chapter focuses on contemporary dream discourses (especially the theories of Gotthilf Heinrich Schubert and Carl Gustav Carus) and the constitutive role of the philosophy of Friedrich Wilhelm Joseph Schelling. By also involving the literary concepts of dreams the romantic awareness of the deficiency of the visible image compared to the invisible, which forces an avoidance of a mimetic art perception, becomes obvious. The third chapter forms the main body of the study. On the basis of selected dream images it analyses the different artistic strategies and conditions of reception. The first section of the third chapter focuses on artist dream imagery, namely the Musician’s Dream by Caspar David Friedrich, Raphael’s Dream by Franz and Johannes Riepenhausen and the Dream of Erwin von Steinbach by Moritz von Schwind. The analysis indicates that the dreaming artist serves as mise-en-abyme of the dream-analogue productive and reflexive process, and the artwork itself. The second section of chapter three makes landscape spaces accessible as imaginative concepts and projections of emotional states, according to current literature studies. Landscape spaces serve as patterns for reflection processes, which is explored on the basis of The Dreamer by Caspar David Friedrich. The third section of the third chapter focuses on a combinatory and arabesque concept as a dream-analogue and self-reflexive strategy – the collage-like compilation, association and transformation of heterogeneous elements which are analysed on the basis of the artworks Dream of Adam by Moritz von Schwind and The Evening by Clemens Brentano.Die Arbeit untersucht Bildstrategien von Traumdarstellungen der deutschen Romantik unter Berücksichtigung der zeitgenössischen Traumtheorie und Ästhetik mit einer Fokussierung auf den Zeitraum zwischen 1820 und 1840. Die Studie geht der Frage nach, ob die Traumdarstellung jenseits ihrer ikonographischen Dimension auch als ästhetisches Konzept fungiert, indem die Dramaturgie des Traumes als Methode eingesetzt wird. Die romantische Präferenz für das Unbewusste – gerade auch hinsichtlich der Kunstproduktion – zeigt sich in der Auseinandersetzung mit der philosophisch-literarischen Frühromantik und kulminiert in einer Ästhetik der inneren Bilder. Diese reflektiert die Darstellbarkeit unsichtbarer Bilder und findet in der alinearen, assoziativen, chiffrierten, raum- und zeitsimultanen Dramaturgie des Traums ihre adäquate Struktur, auch weil sie sich einer homogenen Werkgenese zu widersetzen vermag. Unter Berücksichtigung unterschiedlicher Aspekte analysiert die Arbeit ausgewählte und heterogene Beispiele von Traumdarstellungen, die als Ausdruck dieser (Selbst)reflexion gelesen werden können. Lesen Sie hier die detaillierte English Summary: http://bit.ly/1yxFcVi Lisa Dieckmann promovierte 2013 im Fach Kunstgeschichte an der Universität zu Köln bei Prof. Dr. Susanne Wittekind, ist seit 2005 wissenschaftliche Mitarbeiterin und seit 2008 Geschäftsführerin von prometheus – das verteilte digitale Bildarchiv für Forschung & Lehre am Kunsthistorischen Institut der Universität zu Köln. Sie ist verantwortlich für das DFG-Projekt »Meta-Image – virtuelle Forschungsumgebung für den Bilddiskurs in den Kunst- und Bildwissenschaften«, außerdem Gründungsmitglied des Cologne Center for eHumanties und Sprecherin des Arbeitskreises Digitale Kunstgeschichte

Traumdramaturgie und Selbstreflexion: Bildstrategien romantischer Traumdarstellungen im Spannungsfeld zeitgenössischer Traumtheorie und Ästhetik

The dissertation analyses dream images in romanticist art, with regards to inherent dreamanalogue strategies in consideration of contemporary dream theory and aesthetics, with a focus on the period between 1820 and 1840. The study does not provide a typological, iconographical or motif-historical collection of samples, but analyses different aspects of selected artworks which represent a wide range in terms of their contextual, formal and topographical heterogeneity, and overcomes the existing stereotypical classification in the context of romanticist art reflection. The study identifies that, beyond the contextual-iconographical dimension, the dream serves as an aesthetical category because it is reflected not only as a motif but also in relation to its dramaturgy. In the romantic awareness of the difficulty of an adequate representation of invisible images, the nonlinear, associative, ciphered, space- and time-simultaneous structure of the dream is adapted as a method, and is staged by varied and differentiated configurations. This is mirrored by comprehensive or formal concepts (genre, technique, media and interdisciplinary), as well as in fragmentary structures (sketches and drawings), in materiality (transparency and colour) or arabesque and combinatory production principles. The study contains three chapters: after a general introduction to the subject, the analysis of the current state of research and the demonstration of the methodology in the first chapter, the second chapter focuses on contemporary dream discourses (especially the theories of Gotthilf Heinrich Schubert and Carl Gustav Carus) and the constitutive role of the philosophy of Friedrich Wilhelm Joseph Schelling. By also involving the literary concepts of dreams the romantic awareness of the deficiency of the visible image compared to the invisible, which forces an avoidance of a mimetic art perception, becomes obvious. The third chapter forms the main body of the study. On the basis of selected dream images it analyses the different artistic strategies and conditions of reception. The first section of the third chapter focuses on artist dream imagery, namely the Musician’s Dream by Caspar David Friedrich, Raphael’s Dream by Franz and Johannes Riepenhausen and the Dream of Erwin von Steinbach by Moritz von Schwind. The analysis indicates that the dreaming artist serves as mise-en-abyme of the dream-analogue productive and reflexive process, and the artwork itself. The second section of chapter three makes landscape spaces accessible as imaginative concepts and projections of emotional states, according to current literature studies. Landscape spaces serve as patterns for reflection processes, which is explored on the basis of The Dreamer by Caspar David Friedrich. The third section of the third chapter focuses on a combinatory and arabesque concept as a dream-analogue and self-reflexive strategy – the collage-like compilation, association and transformation of heterogeneous elements which are analysed on the basis of the artworks Dream of Adam by Moritz von Schwind and The Evening by Clemens Brentano

Feasibility Study on Solar Process Heat in Jordan Using the Software greenius

Introduction to Greenius Feasibility Study SHIP Jorda