TY - THES A1 - Steiner, Marion T1 - Die chilenische Steckdose. Kleine Weltgeschichte der deutschen Elektrifizierung von Valparaíso und Santiago, 1880-1920 N2 - Am Beispiel der Elektrifizierung zweier Großstädte an der Westküste Südamerikas zeigt die Arbeit den globalen Einfluss deutscher Industrie- und Finanzakteure auf technische, städtebauliche und gesellschaftlich-kulturelle Entwicklungen zur Blütezeit des europäischen Imperialismus auf. Damit werden die Regionalgeschichten der chilenischen Hauptstadtregion und der Elektropolis Berlin zu einer Globalgeschichte miteinander verknüpft. Ein Hauptaugenmerk der Analyse liegt dabei auf den weltweiten Akteursnetzwerken und Machtverhältnissen sowie dem kulturellen Erbe und seiner gegenwärtigen Interpretation. N2 - Resumen. Tomando como ejemplo la electrificación de dos grandes ciudades en la costa oeste de Sudamérica, la tesis muestra la influencia global de actores industriales y financieros alemanes en el desarrollo técnico, urbano y sociocultural en el apogeo del imperialismo europeo. De esta manera, las historias regionales del centro urbano de Chile y la Electrópolis Berlín se unen para formar una historia global. El análisis se centra en las redes mundiales de actores y las relaciones de poder, así como en el patrimonio cultural y su interpretación actual. N2 - Abstract. Using the example of the electrification of two large cities on the South American west coast, the thesis shows the global influence of German industrial and financial actors on technical, urban and socio-cultural developments at the heyday of European imperialism. In this way, the regional histories of Chile’s capital region and the Elektropolis Berlin are linked to form a global history. The analysis focuses on the worldwide actor networks and power relations as well as on the cultural heritage and its current interpretation. KW - Weltgeschichte KW - Stadtforschung KW - Elektrifizierung KW - Infrastruktur KW - Kulturerbe KW - Globalgeschichte KW - Infrastrukturgeschichte KW - Valparaíso KW - Wirtschaftsimperialismus KW - Technikgeschichte KW - Industriekultur KW - Stadtentwicklung KW - Elektropolis Y1 - 2019 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20190517-39257 ER - TY - JOUR A1 - Speitkamp, Winfried T1 - Identität durch Erbe? Historische Jubiläen und Jahrestage in der Erinnerungskultur N2 - Vortrag, gehalten am 13.12.2016 im Rahmen der Ringvorlesung des Graduiertenkollegs "Identität und Erbe" an der Bauhaus-Universität Weimar T3 - Neue Bauhausvorträge - 2 KW - Kulturerbe KW - Identität Y1 - 2017 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20171130-36467 ER - TY - THES A1 - Krajewski, Markus T1 - Restlosigkeit. Weltprojekte um 1900 T1 - Restlessness. Projecting the world around 1900 N2 - Ausgangspunkt dieser Studie ist die >Welt<, und zwar als Präfix. In beinahe inflationärer Verwendung zeigt sie sich 'um 1900' so unterschiedlichen Projekten vorangestellt wie der Durchsetzung einer Welt-Hilfssprache, der Verbreitung und Zirkulation von Welt-Geld oder der Standardisierung unserer Zeit zur Welt-Zeit. Bei der technischen Entwicklung von frühen (Mobil)Funksystemen (das world system des Medienmagiers Nikola Tesla) findet sich diese anspruchsvolle Vorsilbe ebenso wie beim Aufbau eines globalen Netzwerks von Floristen, das verspricht, Blumengrüße unverzüglich in alle Welt zu liefern. In drei Teilen wird diese Konjunktur von Welt-Bildungen umkreist, beschrieben und analysiert. Der erste Teil >Welt um 1900< widmet sich zum einen der begrifflichen Präparation von >Welt<, "Projekt" sowie einer Analyse des "Weltprojektmachers 1900" und dessen Herkunft und Tradition aus der Projektemacherei in der Frühen Neuzeit. Zum anderen wird anhand des sich allmählich etablierenden Weltverkehrs diskutiert, welchen besonderen Bedingungen und Situationen, welchen Kontexten und Entwicklungen die Initatoren folgen oder unterworfen sind, was sie also zu ihren mitunter waghalsigen Projekten ermutigt. Der zweite Teil besteht aus drei charakteristischen Fallstudien, drei Projekten, die nach einer jeweils eigenen Logik "Welt" erschließen (Wilhelm Ostwald und seine Initiativen) bzw. abbilden (Franz Maria Feldhaus und seine Weltgeschichte der Technik) bzw. organisieren (Walther Rathenau in der Kriegsrohstoffabteilung 1914). Im dritten Teil schließlich wird danach gefragt, was diese drei Fallbeispiele eint. Welchen gemeinsamen Strukturen und Prädispositionen folgen die Weltprojektmacher? Es läßt sich dabei eine spezifische Formation von Vorstellungen und Determinanten ausmachen, ein gemeinsames Dispositiv, das unter der Bezeichnung >Restlosigkeit< erörtert wird, um schließlich zu einer kleinen Theorie des Übrigen zu führen. N2 - The initial point of this Ph.D. is the world, but as a prefix. Around 1900 one can determine an almost inflationary use of this prefix, especially in the parlance of the imperial powers such as England, Germany, and France. The wor(l)d usually shows up in conjunction with peculiar undertakings, reform initiatives and attempts of standardizing. All these undertakings present characteristics which can be deduced from the historical tradition of >projects< and >projecting< in the Early Modern Period. According to Daniel Defoe and his 1697 Essay Upon Projects, a project is defined as >a vast Undertaking, too big to be manag’d, and therefore likely enough to come to nothing<. Usually such an attempt is promoted by a single person, the so called >projector< (or >Projektmacher<, or >donneur d’avis<) who merely designs the plan. The subsequent execution as well as the funding is delegated to someone else. The projector is a mere commissioner. But in contrast to the Early Modern Period, projectors around 1900 aim their undertakings at the totality of the world. The scope of the projects is extended to its maximum. Therefore, their projects mirror this pretension with labels like World Money for the distribution and circulation of an exclusive valuta for all purposes, World Auxiliary Language (1883) for an entirely new language as a second code of communication besides the mother tongue; or for centralizing and standardizing all knowledge at one single location called World Brain (1911). The development of an early wireless communication system by the media magician Nikola Tesla (world system, 1901) held this claim of maximum range, as well as the construction of a global network of florists offering to deliver their >flowers by wire to all the world< (slogan of the Florists’ Telegraph Delivery Association, 1910). The thesis encircles, describes and analyzes this wor(l)d boom in three separate parts. Part 1, the World around 1900, is devoted to the terms world, project and world project(or), including their etymology and a short history of projecting in the tradition of Daniel Defoe and others. Furthermore, it describes the so called world traffic, i.e. the gradual progress and dissemination of a compound transport system of goods, persons, and information. The development of deep sea telegraphy is depicted in close connection to ocean steamship lines, railway routes and a global postal system. These new services establish a global network based on standards, arrangements, and conventions between the global players of their time. I will discuss world traffic as the major impulse or motivating power of this projecting boom. Due to this basic shift or extension of transportational paradigms, a new situation of global transport and communication evolves which on its part produces new contexts and effects, e.g., the projectors’ incentive to aim at the entire world. In part 2, I will look at three case studies in order to exemplify and differentiate between three modes of projecting world. The first mode is to project into the world, i.e. to disseminate ideas concerning standardized concepts for the world’s entirety. The protagonist of this mode is the chemist and 1909 nobel prize winner Wilhelm Ostwald (1853-1932) who produced a whole series of world projects, e.g. a unitarian world auxiliary language (Ido, a derivative of Esperanto), world money as well as world brain. The second mode is the attempt to project the world via a 1:1-relation into a sample. The protagonist of this mode is the engineer and autodidact Franz Maria Feldhaus (1874-1957) who established a huge card index containing even the slightest item concerning the world history of technology. Feldhaus not only collects the world (of technology), he also designs this world within his indexes. The third mode is characterized by reduction. This mode is represented by Walther Rathenau (1867-1922), writer, president of the Allgemeine Elektricitäts-Gesellschaft and secretary of foreign affairs in the first phase of the Weimar Republic. During the first months of World War I he is involved in the Prussian ministery of war with a special task, namely the attempt to transform the former world wide operating economy of the German Reich to a national scale in order to deal with the sudden limit of resources. Whereas Ostwald aims at the world, it now serves as starting quantity. Rathenau’s methods show that world projects also work the other way round. The global situation of trusts and cartels prove that organisation persists: although WWI marks the end of the boom of world projects, the results and insights are developed into new structures which pave the way to the process of today’s globalization. Finally, part 3 focuses on the moments and characteristics these projects share. Do they have structures and prerequisites in common? Are there similar results? In the end, in almost every case the projects fail. What’s more, despite they miss the world, these world projects follow specific notions and determining factors: they are all based on a phantasma of completeness and accessibility of the world as a whole. This notion will be described as their common dispositive (Foucault) and will be discussed under the term >Restlosigkeit<. Unlimited access to all the world via new technical media (e.g. ocean telegraphy or steam ships) encourage the projectors around 1900 to extend the scope of their plans to an all encompassing totality. Finally, in terms of these projects’ >left-overs<, this study intends to outline a small theory of incompletion. Apart from the description and analysis of this so far unseen boom of world projecting, the aim of the study is both simple and highly topical: it tries to show how globalization and peculiar notions of totality converge as early as the dawning 20th century. At the horizon of this vista, a specific dispositive of administration and organisation emerges with the assertion of completeness. KW - Projekt KW - Wissenschaft / Geschichte KW - Wissenschaftsgeschichte KW - Erkenntnistheorie KW - Innovation KW - Technische Innovation KW - Welt KW - Welthilfssprach KW - Feldhaus KW - Franz Maria KW - Projektemacher KW - Large Scale Projects KW - projector KW - history of science KW - innovation KW - epistemology Y1 - 2005 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20051117-7580 N1 - Krajewski, Markus: Restlosigkeit. Weltprojekte um 1900. Fischer Taschenbuch Verlag, Frankfurt am Main, 2006 ER - TY - JOUR A1 - Coenen, Ekkehard T1 - Hans Ruin: Being with the Dead—Burial, ancestral politics, and the roots of historical consciousness JF - Human Studies N2 - How can society be thought of as something in which the living and the dead interact throughout history? In Being with the Dead. Burial, Ancestral Politics, and the Roots of Historical Consciousness, Hans Ruin turns to the relationship between the living and the dead as well as ‘historical consciousness’. He is referring to the expression ‘being with the dead’ (Mitsein mit dem Toten). Rather en passant, Martin Heidegger (1962: 282) shaped this existential-ontological term, which so far has hardly received any consideration. But for Ruin, it now forms the starting point for his “expanded phenomenological social ontology” (p. XI). By illuminating history and historical consciousness with the category ‘being with the dead,’ he gains remarkable insights into the meaning of ancestrality. Concerning ‘necropolitics,’ Ruin shows that the political space includes the living as well as the dead and how they constitute it. The foci of his considerations are the human sciences, above all sociology, anthropology, archaeology, philology and history. Ruin’s book aims at a “metacritical thanatology,” which he elaborates as “an exploration of the social ontology of being with the dead mediated through critical analyses of the human-historical sciences themselves” (p. XII). As a result, in a total of seven chapters, he succeeds astonishingly in emphasizing the political and ethical importance of a scientific gaze that cultivates the interaction of the living and the dead. KW - Geschichtswissenschaft KW - Tod KW - Bestattung KW - Rezension KW - Hans Ruin KW - Bestattung KW - Ahnenkultur KW - Geschichtsbewusstsein Y1 - 2020 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20210804-44712 UR - https://link.springer.com/article/10.1007/s10746-020-09565-0 VL - 2020 IS - Volume 43 SP - 683 EP - 689 PB - Springer CY - Heidelberg ER - TY - THES A1 - Becker-Lamers, Cornelie T1 - Die nationalen Umweltzeichen. Zur Entstehung einer globalen Tradition T1 - National Ecolabelling. The Development of a Global Tradition N2 - Die Dissertation erschließt der deutschen Forschung die derzeit weltweit vergebenen nationalen Umweltzeichen. Dabei steht nicht der politische Kontext, sondern die gestalterisch-formale und inhaltliche Standortbestimmung, Analyse und Interpretation der Zeichenfamilie im Vordergrund. Teil I der Arbeit unterwirft den Untersuchungsgegenstand einer semiotischen Analyse nach Umberto Eco und diskutiert die Umweltzeichen im Kontext von graphischen Zeichen, Markenzeichen, Piktogrammen und Emblemen. Ein kurzer Abriss der Geschichte von Natur- und Welt-, d.h. Globusdarstellungen lotet den Bildervorrat aus, auf den zur Darstellung von 'Umwelt' zurückgegriffen werden kann. Das Umweltzeichen-Design, so zeigt sich, arbeitet mit den rhetorischen Figuren des pars pro toto bzw. des totum pro parte, um die kulturelle Einheit von /Umwelt/ und /Umweltschutz/ graphisch zu fassen. Teil II, der Hauptteil der Arbeit, besteht aus der ikonographischen Analyse und ikonologischen Interpretation aller nationalen Umweltzeichen gemäß Theorie und Methode von Aby Warburg und Erwin Panofsky. In 30 Kapiteln werden für jedes Zeichen Informationen zu Design und Designer/in, Entstehungsjahr, Abbildungsvorschriften und Intentionen der Vergabeinstitutionen zusammengestellt und die Vor-Bilder und Hintergründe zu einer ikonographisch-ikonologischen Deutung zusammengetragen. Insbesondere für die in der Arbeit detaillierter analysierten Zeichen aus Deutschland, Japan, Kanada, den USA, Österreich und Skandinavien ermöglicht die Untersuchung tiefe Einsichten in die Kulturgeschichte des jeweiligen Vergabelandes. Erkenntnisinteresse der Arbeit ist für jedes einzelne Zeichen die Entschlüsselung des (inter)kulturellen Bildgedächtnisses zum Thema /Umweltschutz/ vor dem Hintergrund der Herkunftskultur und ihrer nationalen Mythen. Farbgebung und Zeichenbildungsstrategien zeigen beim Untersuchungsgegenstand den Verzicht auf Signalement und Originalität. Neue nationale Umweltzeichen werden mehr und mehr aus dem Bildervorrat bestehender Umweltzeichen geschaffen. Die synchrone Vernetzung der Zeichen tritt gegenüber der diachronen Verankerung im Bildervorrat der Herkunftskultur immer stärker in den Vordergrund. Obwohl international einheitliche Gestaltungsrichtlinien fehlen, entsteht so eine globale Zeichentradition. Angesichts insbesondere des Designs und Re-Designs asiatischer Zeichen drängt sich abschließend die Frage auf, ob die eigentliche Zielgruppe der nationalen Umweltzeichen noch der einheimische Konsument ist oder ob – insbesondere in den Schwellenländern – die nationalen Umweltzeichenprogramme zum außenpolitischen Instrumentarium geworden sind, mit dem man sich in der Staatengemeinschaft positioniert. N2 - The thesis concerns the group of national ecolabels worldwide. In doing so, the thesis doesn’t tend to the political context of these family of signs, but to their position-fixing in form and content as well as to the analysis and interpretation of the signs. Part I of the study carries out a semiotical investigation of the material according to the method and terminology of Umberto Eco. The family of national ecolabels are discussed in the context of graphic signs, brand labels, pictographs and emblems. A short history of the representation of nature, world and the globe shows the pictorial pool able to represent the idea of 'environment'. The ecolabel-design, as can be shown, operates with the rhetorical patterns of the pars pro toto and the toto pro parte to conceptualize the 'cultural unit' (Eco) of /environment/ and /environmental protection/. Part II as the main part of the study contains the iconographical analysis and iconological interpretation of all national ecolabels according to the theory and method of Aby Warburg and Erwin Panofsky. In 30 chapters, informations regarding the design and designer, year of publication, colouring and intention of the labelling-organisation are assembled for each sign. The models and backgrounds for an iconographical-iconological interpretation of each sign are compiled. Especially regarding the ecolabels from Germany, Japan, Canada, the USA, Austria and the Nordic Council, the study provides deeper insights into the cultural history of the respective country. The cognitive interest is to decode the (inter)cultural pictorial pool to represent /environmental protection/ against the background of the origin culture of each sign and its particular national myths. The coulouring and the strategies of design demonstrate the family of national ecolabels the abandoning the signal meaning and originality. More and more, the new national ecolabels are composed from the pictorial pool of existing ecolabels. The synchronal interconnectedness of the signs overbalances more and more the diachronical bonding of the sings in their origin culture. Though internationally standardized guidelines for the design of ecolabels are lacking, a global tradition of signs develops in this way. Facing the design and re-design of asian national ecolabels in particular, the question is to be posed, whether or not the target of the national ecolabels is still the local consumer? Maybe the national ecolabelling schemes – particularly in the newly industrialising countries – become an instrument of foreign affairs, enabling these countries to position themselves in the global community of states. KW - Umweltzeichen KW - Ikonographie KW - Globalisierung KW - Interkulturalität KW - Design KW - Semiotik KW - Marke KW - Emblem KW - Kulturgeschichte KW - ecolabelling KW - iconography KW - intercultural studies KW - globalization KW - design Y1 - 2007 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20071120-10066 UR - http://vg04.met.vgwort.de/na/8894837640a87c76d2f3312361f966 ER -