• Publicationsclose
• 2014-2023close
• DE close
• Refubium - Repositorium der Freien Universität Berlin close
• edoc-Server. Open-Access-Publikationsserver der Humboldt-Universität zu Berlin close
• Digital Humanities and Cultural Heritage close

While the historiography on the religious Cold War has tended to focus on Christian anticommunism, the World Council of Churches (WCC) sought to transcend the Cold War while simultaneously advancing religious freedom in the Soviet Union. This article connects the WCC's ecclesiastical diplomacy to the wider story of human rights, from which religion has too often been excluded. The WCC's quest for Christian fellowship led it to integrate the Russian Orthodox Church into its membership, but this commitment generated tensions with the rise of Soviet dissidence. Moreover, the WCC's turn towards the left and the Third World contrasted with newly ascendant voices for human rights in the 1970s: Amnesty International's depoliticised liberalism, evangelical anticommunism, and the Vatican under John Paul II. Thus, the WCC, an early and prominent transnational voice for human rights, ran afoul of shifts in both the Cold War and the politics of protest.

We present the model and implementation of a workflow that blazes a trail in systematic biology for the re-usability of character data (data on any kind of characters of pheno- and genotypes of organisms) and their additivity from specimen to taxon level. We take into account that any taxon characterization is based on a limited set of sampled individuals and characters, and that consequently any new individual and any new character may affect the recognition of biological entities and/or the subsequent delimitation and characterization of a taxon. Taxon concepts thus frequently change during the knowledge generation process in systematic biology. Structured character data are therefore not only needed for the knowledge generation process but also for easily adapting characterizations of taxa. We aim to facilitate the construction and reproducibility of taxon characterizations from structured character data of changing sample sets by establishing a stable and unambiguous association between each sampled individual and the data processed from it. Our workflow implementation uses the European Distributed Institute of Taxonomy Platform, a comprehensive taxonomic data management and publication environment to: (i) establish a reproducible connection between sampled individuals and all samples derived from them; (ii) stably link sample-based character data with the metadata of the respective samples; (iii) record and store structured specimen-based character data in formats allowing data exchange; (iv) reversibly assign sample metadata and character datasets to taxa in an editable classification and display them and (v) organize data exchange via standard exchange formats and enable the link between the character datasets and samples in research collections, ensuring high visibility and instant re-usability of the data. The workflow implemented will contribute to organizing the interface between phylogenetic analysis and revisionary taxonomic or monographic work. Database URL: http://campanula.e-taxonomy.net/

Cosmic particles hitting Earth's moon produce radio emission via the Askaryan effect. If the resulting radio ns-pulse can be detected by radio telescopes, this technique potentially increases the available collective area for ZeV scale particles by several orders of magnitude compared to current experiments. The LOw Frequency ARray (LOFAR) is the largest radio telescope operating in the optimum frequency regime for this technique. In this contribution, we report on the status of the implementation of the lunar detection mode at LOFAR. Comment: Proceedings of the 26th Extended European Cosmic Ray Symposium (ECRS), Barnaul/Belokurikha, 2018

Stefanie Gerke untersucht in der vorliegenden Dissertation die Frage, in welcher Weise sich Künstler*innen mit verfallender Architektur der 1960er und 1970er Jahre beschäftigen. Sie analysiert Fotografie-, Film- und Videoarbeiten seit 1990, die gezielt ikonografische Traditionen des Topos Ruine erweitern, aktualisieren und unter den Bedingungen ihres Mediums neu orientieren. War die Ruinenikonografie bislang durch die Ästhetik der Romantik sowie Georg Simmels geprägt, der den Reiz verfallender Bauten in der Rückeroberung durch die Natur sah, bestehen die modernen Ruinen aus industriellen, schwer vergänglichen Baustoffen und sind häufig die Folge menschlicher statt natürlicher Zerstörung. Die Analyse der Werke zeitgenössischer Künstler*innen, die sich maßgeblich mit dem Verfall von Nachkriegsbauten beschäftigt haben, führt in der Dissertation daher zu einer Aktualisierung der für den Ruinenbegriff prägenden ästhetischen Kategorien des Pittoresken und des Erhabenen für das 21. Jahrhundert. Einige der analysierten Arbeiten nutzen Nachkriegsarchitektur als zeitgemäßes Symbol der Vergänglichkeit und widmen sich in pittoresker Tradition vor allem Wahrnehmungsfragen, um die Konstruktionsmechanismen ihrer eigenen Medien zu reflektieren, wie etwa die 16-mm-Filme Tacita Deans (*1965), die Polaroid-Serie Cyprien Gaillards (*1980) und die Fotomontagen Beate Gütschows (*1970). Andere Künstler gewinnen den radikalen Bildern abgerissener oder dem Abbruch geweihter, gescheiterter Nachkriegsarchitektur und den damit einhergehenden sozialen Folgen eine ästhetische Komponente ab, die in der Tradition des Erhabenen Lust und Schrecken miteinander verbindet, wie etwa Julian Rosefeldt (*1965), Clemens von Wedemeyer (*1974) und Tobias Zielony (*1973). Die Dissertation verortet sich nicht nur innerhalb der Diskussion um das Erbe der Nachkriegsmoderne, sondern steckt systematisch ein Feld ab, in dem sich zeitgenössische Kunst momentan bewegt. In this dissertation, Stefanie Gerke investigates the question of how artists deal with decaying architecture of the 1960s and 1970s. She analyzes photographic, film, and video works since 1990 that specifically expand the iconographic tradition of the ruin, update it, and rearticulate it within the specific conditions of new media. While the iconography of ruins was previously influenced by the aesthetics of Romanticism as well as Georg Simmel, who saw the appeal of decaying buildings in their reconquest by nature, modern ruins are made of industrial building materials that are difficult to decompose and are often the result of human rather than natural destruction. In the dissertation, the analysis of the works of contemporary artists who are dealing with the decay of post-war buildings therefore leads to an update of two aesthetic categories that characterize the concept of ruins, for the 21st century: the picturesque and the sublime. Some of the works analyzed use postwar architecture as a contemporary symbol of transience and, in the picturesque tradition, devote themselves primarily to questions of perception in order to reflect on the construction mechanisms of their own media, such as Tacita Dean's (*1965) 16mm films, Cyprien Gaillard's (*1980) Polaroid series, and Beate Gütschow's (*1970) photomontages. Other artists extract an aesthetic component from the radical images of demolished or condemned, failed postwar architecture and the accompanying social consequences, which combines pleasure and horror in the tradition of the sublime, such as Julian Rosefeldt and Piero Steinle (*1965/1959), Clemens von Wedemeyer (*1974), and Tobias Zielony (*1973). The dissertation not only locates itself within the discussion about the legacy of postwar architecture, but also systematically delineates a field in which contemporary art is currently active.

Gleich mehrere Projekte befinden sich aktuell in der Aufbauphase, die eine digitale Infrastruktur für geisteswissenschaftliche Forschungsprozesse und Methoden in Forschung und Lehre schaffen möchten. Während allgemeine Empfehlungen zu wünschenswerten Komponenten virtueller Forschungsumgebungen in der Literatur bereits mehrfach gegeben wurden und sich zu einer umfangreichen Liste aufaddieren, gibt es wenige konkrete Anhaltspunkte, was den langfristigen Erfolg einer digitalen Forschungsumgebung in den heterogenen Geisteswissenschaften wirklich ausmachen wird. Dieser Frage geht die vorliegende Arbeit am Beispiel der Kunstgeschichte und der Ethnologie nach.

Glacial periods undergo frequent climate shifts between warm interstadials and cold stadials on a millennial timescale. Recent studies show that the duration of these climate modes varies with the background climate; a colder background climate and lower CO2 generally result in a shorter interstadial and a longer stadial through its impact on the Atlantic Meridional Overturning Circulation (AMOC). However, the duration of stadials is shorter during Marine Isotope Stage 3 (MIS3) than during MIS5, despite the colder climate in MIS3, suggesting potential control from other climate factors on the duration of stadials. In this study, we investigate the role of glacial ice sheets. For this purpose, freshwater hosing experiments are conducted with an atmosphere–ocean general circulation model under MIS5a and MIS3 boundary conditions, as well as MIS3 boundary conditions with MIS5a ice sheets. The impact of ice sheet differences on the duration of the stadials is evaluated by comparing recovery times of the AMOC after the freshwater forcing is stopped. These experiments show a slightly shorter recovery time of the AMOC during MIS3 compared with MIS5a, which is consistent with ice core data. We find that larger glacial ice sheets in MIS3 shorten the recovery time. Sensitivity experiments show that stronger surface winds over the North Atlantic shorten the recovery time by increasing the surface salinity and decreasing the sea ice amount in the deepwater formation region, which sets favorable conditions for oceanic convection. In contrast, we also find that surface cooling by larger ice sheets tends to increase the recovery time of the AMOC by increasing the sea ice thickness over the deepwater formation region. Thus, this study suggests that the larger ice sheet during MIS3 compared with MIS5a could have contributed to the shortening of stadials in MIS3, despite the climate being colder than that of MIS5a, because surface wind plays a larger role.

In der jährlich erscheinenden studentischen Zeitschrift "Die junge Mommsen" werden hervorragende und am Institut für Geschichtswissenschaften der Humboldt-Universität zu Berlin verfasste studentische Haus- und Abschlussarbeiten publiziert und frei zugänglich gemacht. Zum einen sollen dadurch Studierende freien Zugriff auf Beispielarbeiten erhalten, an denen sie sich beim Schreiben der eigenen Arbeiten orientieren können. Zum anderen erhalten studentische Autor:innen mit der Zeitschrift die Möglichkeit, erste Erfahrungen im wissenschaftlichen Publizieren zu sammeln. Weder die Zeitschrift noch die einzelnen Bände legen dabei einen inhaltlichen Schwerpunkt. Im Gegenteil soll im Sinne des Vorbildcharakters eine möglichst große thematische Vielfalt im Bereich Geschichtswissenschaften erzielt werden. The annual student journal "Die junge Mommsen" publishes outstanding student theses and dissertations written at the History Department of the Humboldt-Universität zu Berlin and makes them freely accessible. On the one hand, students should have free access to sample works, which they can use as orientation when writing their own theses. On the other hand, the journal gives the student authors of the journal the opportunity to gain their first experience in scientific publishing. Neither the journal nor the individual volumes focus on a specific topic. On the contrary, the aim is to achieve the greatest possible thematic diversity in the field of historical sciences in the spirit of exemplary character. Peer Reviewed