The extension of the U2 to Stadlau/Aspern is defined by the third phase of construction of Vienna's underground railway network. It was planned in regard to the urban development in the 22nd district of Vienna. The whole planning process is examined and facts, decisions, strategies and acting persons are explained. The planning steps and build-up decisions have been based on the programme of measures, forming part of Vienna's Traffic Concept. This was integrated in the Urban Development Plan which was adopted by Vienna's Municipal Council in 1994. The Municipal Department 18 is engaged in making the plans for the underground. Everybody is aware of the importance of the underground system by ensuring mobility. But how does the planning process work and specially, how does the decision making process of the optimised location line of the U2 work? The complex urban planning process can be handled easier by using means of cost-benefit-ratios. Together with the Republic of Austria, the City Vienna finances the construction of the underground network. Each of the two parts contributes 50 percent for building costs. The extension of the U2 line will be via the Prater, the area of the football stadium and the Donaustadt Bridge into the 22nd district, to Aspernstraße. The location of the line was not agreed on rapidly. There were lots of conflicts concerning decision-making, especially for the connection with the existing lines. (...)(author's abstract) / Series: Schriftenreihe des Instituts für Transportwirtschaft und Logistik - Verkehr

Unreliable homodiegetic narration presents a unique mode of narrative transmission which demands the encoding within the text of 'translational indices', that is, signifiers of several kinds which justify the reader/receiver in over-riding the sincere first person avowals of the apparent mediator of the discourse. The argument establishes the presence of an epistemologically primary 'immanent' narrative situation within an ostensibly unitary narrative situation. Such a stereoscopic perspective upon the presented world of the literary 'work provides the reader/receiver with a warrant for a rejection of the epistemological validity of the homodiegetic narrator's discourse. Moreover, the thesis advances a typology of such translational indices as they occur in the dense ontology of the literary work of art. The narratological theory of unreliable homodiegetic narration developed in the first half of the dissertation is applied in the second half to selected exemplars of such narrative transmissions, demonstrating thereby the theoretical fecundity of the model for the discipline of narratology. / Thesis (Ph.D.)-University of Natal, Durban, 1988.

Die Arbeit untersucht die anthropologische Bedeutung des Löwenbildes anhand zweier Gefallenendenkmäler. Das ältere datiert in das ausgehende vierte Jahrhundert vor Christus und steht in Böotien, nahe des griechischen Dorfes Chéronia. Die Stadtgemeinde von Theben errichtete es anlässlich der unheilvollen Schlacht von Chaironeia im Jahr 338 vor Christus. Das zweite Werk, geschaffen 1858 von Anton Dominik Fernkorn, gilt der gewaltigen Schlacht von Aspern im Jahr 1809 bei Wien. Es befindet sich vor der Dorfkirche, die zwischen Habsburgern und Napoleon verlustreich umkämpft war. Entsteht die Spannung dieses Vergleichs aus der gegensätzlichen Haltung der Löwen – während der eine lagert und stirbt, sitzt und droht der andere –, zeigt sich, bei aller chronologischen und geographischen Distanz, ihre große ideologische Nähe. Jeweils gestiftet aus einer Krise der Nachkriegsgeneration führen sie die tapfere und beherrschte Haltung vor, mit der allein dem Schrecken der Welt zu begegnen ist: der eine im Vertrauen auf Gott, der andere dem Grauen selbst drohend. Die Deutung dieser Bilder plädiert in der Debatte um das Kriegerdenkmal für dessen Erhalt. / The dissertation examines the anthropological significance of the lion image using two monuments to the fallen. The older one dates to the late fourth century BC and is locaed in Boeotia, near the Greek village of Cheronia. It was built by the municipality of Thebes to commemorate the fatal Battle of Chaeronea in 338 BC. The second study object, created by Anton Dominik Fernkorn in 1858, is dedicated to the vast Battle of Aspern in 1809 near Vienna. It is located in front of the village church, which was heavily contested between the Habsburgs and Napoleon. If the tension of the comparison arises from the contrasting pose of the lions – while the one lies down and dies, the other sits and menaces – in result, despite all the chronological and geographical distance, their great ideological proximity reveales. Founded in each case by a crisis of the post-war generation, they show the brave and controlled attitude with which alone the horror of the world can be countered; while the one trusting in god, the other threatening the horror itself. The interpretation of these images sharpens the term ‘war memorial’ for the debate about its preservation.