Das Dresdner Brückenbausymposium fand 2023 zum mittlerweile 32. Mal statt. Mit einer konstant vierstelligen Teilnehmerzahl ist es die etablierteste Tagung rund um den Brückenbau in Deutschland. Die 13 Vorträge waren thematisch bei Neubau und Bestand, Rückbau, Historie und Richtlinienarbeit angesiedelt. Der Tagungsband enthält zudem drei Zusatzbeiträge.:Prof. Dr. Ursula M. Staudinger: Grußwort der Rektorin Prof. Dr.-Ing. Gero Marzahn: Überarbeitung der DIN 1076 – aktueller Sachstand Prof. Dr.-Ing. habil. Markus Oeser, Dr. Iris Hindersmann, M.Sc. Yasser Alqasem, M.Eng. Jennifer Bednorz, M.Sc. Sonja Nieborowski, M.Sc. Sarah Windmann: Vom digitalen Zwilling zum digitalen Asset-Management Dipl.-Ing. (TH) Lutz Günther: Die Erneuerung der X-Brücke in Zittau – eine verkehrliche Besonderheit unter den Brücken Sachsens Dr. Armand Fürst, dipl. Bauing. ETH: Erhalten oder ersetzen? Prof. Dr.-Ing. Dieter Ungermann, Peter Hatke M.Sc., Dipl.-Ing. (FH), SFI Peter Lebelt, Dr.-Ing. Susanne Friedrich: Wetterfester Baustahl im Stahl- und Verbundbrückenbau – die neue DASt-Richtlinie 007 Dr. Alfred Krill, Dipl.-Ing. Stephan Sonnabend: Fahrbahnplatten von Spannbetonkastenträgern – Nutzen einer Quervorspannung M. Sc. Felix Kaplan, Dipl. Ing. Kay Degenhardt, M. Sc. Martin Günther: Brückenerhaltung, eine Generationenaufgabe – Herausforderungen und Lösungsansätze aus Sicht des Landesbetriebs Straßenwesen Brandenburg Prof. Dipl.-Ing. Cengiz Dicleli: Herbert Schambeck (1927–2013) – Ein Großmeister des Brückenbaus o.Univ.Prof. Dr.-Ing. Johann Kollegger, Univ.-Ass. Dipl.-Ing. Franz Untermarzoner, Univ.-Ass. Dipl.-Ing. Michael Rath: LT-Brücke: Brückenbau mit dünnwandigen Fertigteilträgern und Fahrbahnplattenelementen Dr.-Ing. Gregor Schacht, Dr.-Ing. Alfred Krill, Dr.-Ing. Jan Lingemann: Rückbau – eine Notwendigkeit unserer Zeit. Anregungen für ein Regelwerk und Erfahrungen aus der Praxis Dipl.-Ing. Lukas Hüttig, Bernd Gericks M. Sc.: Einsatz modularer Brücken zum Wiederaufbau der Infrastruktur nach dem Jahrhunderthochwasser im Juli 2021 Michael Frey, David Hacker, Bernhard Möhrle: A96 Hochbrücke Memmingen – Durchgängiger BIM-Workflow von der Planung bis zur Bauausführung Dr. sc. techn. Hans Grassl, Jacqueline Donner M.Sc.: Mangfallbrücke Rosenheim – Realisierung einer seilverspannten Brücke im Seeton Dipl.-Ing. Enrico Baumgärtel, Max Herbers, M.Sc.: Auf den Spuren der alten Römer bis hin zu aktuellen Weltrekorden – Brückenbauexkursion 2022 Dr. Marc Zintel, Christian Linden, Prof. Dr. Ueli Angst: Probabilistische Lebensdauerbemessung von Stahlbetonbrücken über kostenlose Webanwendung Chronik des Brückenbaus (Zusammengestellt von Dipl.-Ing. (FH) Sabine Wellner)

Ce mémoire vise à élucider le rapport entre la violence et le pouvoir souverain à partir de la Critique de la violence de Walter Benjamin et Force de loi de Jacques Derrida. Les réflexions proposées ici sont issues de deux constats : (i) que nos structures politiques reposent sur l’emploi continu de la violence et (ii) qu’une révolution abolit l’ordre existant en s’accordant le monopole sur la violence légitime, reconduisant ainsi le cycle de la violence. Pour sortir de cette impasse, Benjamin imagine une violence capable de destituer le pouvoir souverain, c’est-à-dire de l’abolir sans pour autant le saisir à son tour. Ce mémoire poursuit le développement du concept de destitution en trois temps. Dans un premier temps, nous lisons de près la Critique de la violence de Benjamin. Dans un deuxième temps, nous approfondissons notre analyse avec la lecture déconstructive proposée par Derrida dans Force de loi. Finalement, le concept de destitution est enrichi par des travaux contemporains et examiné sous l’angle de la responsabilité pour l’avenir. / This thesis investigates the relationship between violence and sovereign power by drawing on Walter Benjamin's Critique of Violence and Jacques Derrida's Force de loi. The reflections proposed here are based on two observations: (i) that our political structures are based on the continuous use of violence, and (ii) that a revolution abolishes the existing order by granting itself a monopoly on legitimate violence, thus renewing the cycle of violence. To break this deadlock, Benjamin imagines a form of violence capable of destituting sovereign power, i.e. abolishing it without seizing it. This dissertation further develops the concept of destitution in three steps. First, we carefully read Benjamin's Critique of Violence. Secondly, we deepen our analysis with the deconstructive reading proposed by Derrida in Force de loi. Finally, we enrich the concept of destitution with contemporary works and examine it through the lens of responsibility for what is to come.

Ma thèse porte sur l’évolution de la réception des chevaux dans l’art européen du XVIIIe siècle à aujourd’hui. En examinant minutieusement des œuvres d’artistes tels que Rosa Bonheur, George Stubbs, Sawrey Gilpin, Pablo Picasso, Art Orienté Objet et plusieurs autres, dans des contextes artistiques variés – peinture, dessin, sculpture, bioart ou encore danse –, j’entends démontrer que les façons de voir (ou de ne pas voir) les chevaux dans toute leur complexité sont historiquement limitatives et changeantes. Selon une approche transdisciplinaire, ma recherche combine l’histoire de l’art animalier, les études animales, ma formation en beaux-arts, et une vaste expérience sur le terrain auprès des chevaux. Elle cherche également à modifier et à nuancer les lectures contemporaines de l’art mettant en scène des chevaux, en plus de proposer des façons alternatives, plus accueillantes, d’écrire au sujet de cet Autre. La première moitié de la thèse se concentre sur la façon dont le cheval a été représenté dans l’art aux XVIIIe et XIXe siècles, tandis que la seconde moitié, qui couvre les XXe et XXIe siècles, poursuit ce thème en mettant en exergue les pratiques d’écriture au sujet des œuvres d’art représentant les chevaux et la façon dont elles ont souvent été inhospitalières. Cherchant à dépasser le dualisme linguistique actuel au sein de la discipline pour décrire les dynamiques interespèces, cette thèse propose des avenues de réflexion innovantes sur le binaire cheval/humain, qui ont puisé dans des ressources inusitées en histoire de l’art, soit les idées de la déconstruction en lien avec les animaux, où la notion d’hospitalité est particulièrement importante. Puisque l’historienne de l’art dispose d’une certaine latitude quant à la structuration de « l’histoire qu’elle raconte », les récits de la thèse sont transmis de manière à être plus empathiques aux réalités équines. Dans cette veine, l’ambition globale de ma thèse est de mettre l’accent sur l’importance de conscientiser le regard posé sur l’œuvre d’art équine ou équestre et sur les responsabilités de l’auteur, de manière à sensibiliser le regardeur à des responsabilités relevant de l’éthique interespèces. Chaque cheval est unique, physiquement et psychologiquement. À l’intérieur d’une pratique qui souhaite étudier l’art qui le représente, (re)connaître la valeur singulière de cet Autre impose des défis particuliers. Aujourd’hui, les contacts avec les chevaux sont pour la majorité des historiens de l’art inexistants, ce qui engendre généralement une vision et une compréhension plus superficielle de l’Autre. Ma thèse apporte de nouvelles perspectives aux débats contemporains sur les possibilités de voir les chevaux dans l’art et sur les paramètres à prendre en compte pour le faire, et elle fournit des modèles potentiels quant à la manière d’écrire sur cet Autre en tant qu’être familier. Bien que mon sujet soit les chevaux dans l’art et dans les écrits sur l’art, les interprétations que je développe ici ont une résonance et une pertinence plus larges, notamment pour les études animales. / My thesis considers the shifting reception of equine themed European art from the 18th Century to today. Through a series of close readings of works encompassing diverse media such as painting, drawing, sculpture, bio art and dance, by artists including Rosa Bonheur, George Stubbs, Sawrey Gilpin, Pablo Picasso and Art Orienté Objet, I demonstrate that the ways horses have been seen (or not seen) in all their complexity are historically contingent and changeable. My transdisciplinary approach combines insights from the history of animal art, animal studies, my training in fine art and my substantial practical knowledge of actual horses gleaned from my time teaching bareback riding and rehabilitating horses suffering from physical and psychological trauma. As well as seeking to shift and nuance contemporary readings of art featuring horses, I also strive to develop a mode of writing about horses that is more welcoming to this Other, the horse, than many previous art historical analyses. The first half of the thesis focusses on how horses were represented in 18th and 19th century European art. The second half considers 20th century and 21st century art and also examines how ways of writing about horses in art history have been restrictive and unwelcoming. I seek to move beyond the dualistic language conventionally employed by art history to refer to equine subject matter because it constrains efforts to rethink interspecies dynamics and impedes attempts to reconceptualise the horse/human binary. My attempts to transcend dualism have required me to engage with deconstruction, a way of thinking rarely embraced by art history. In this context, the notion of hospitality has been particularly important. As art historians possess a measure of agency regarding the structuring of the stories they tell, my own endeavours are organized around the need to show empathy towards horses in their lived reality. In this vein, the overarching concern of my thesis is to emphasize the need for a critically reflexive way of looking at art with equine subject matter, one that foregrounds the viewer’s and the writer’s responsibilities in relation to interspecies ethics. Every horse is physically and psychologically unique and acknowledging this singularity, the singularity of an Other, as it manifests in and through representation, poses specific challenges. Today most art historians have no day-to-day knowledge of horses, a reality that leads to a superficial and unempathic perception of this Other. My thesis, grounded in an intimate familiarity with equines, in lived experience, in fieldwork of a kind, contributes new insights to contemporary debates about the parameters and possibilities for seeing horses in art and provides potential models for how to write of this Other as a familiar. Although my subject is horses in art and in writings about art, the understandings I develop here have a broader resonance and relevance for animal studies.

Architecture in its primitive form enacted a relationship of making between intentions and outcome. Post- industrialized modernization has created a multiplication of complexities, resulting in a profession that has disengaged theory and practice through the specialization of the architect and the craftsman. Design-build has the ability to be an educational process that re-engages a direct dialog and collaboration of the roles of designer and maker, reinforcing the resilience of culture and place through joining intentions and built reality. Design-build projects have the ability to be an integral part of design education because of their ability to engage in physical manifestation that is fundamentally different than formal education of designing through drawing or design at a distance. Exploring the Washington Alexandria Architecture Center's Design-Build ethos as a primary case study, I intend to support this claim by providing evidence of how a Design-Build process can engage the designer, tools, methods, and materials, with the cultural, social, and environmental context that is sensible to place. By utilizing creativity and ingenuity of available resources as an opportunity for adaptation, an organic sense of place is perceptible, the place is created. Representation beyond drawing encourages one to be proactive in connecting the qualities and characteristics of existing space; this leads to a sustainable practice of continued investment in object, materiality, time, and place. Hybrid approaches to design, or the assembly of both design and building as an academic practice, are no longer insular, but are encouraged as a way to interrelate and connect the built environment with its unbuilt opportunities and impressions. / Master of Architecture / Architecture in its primitive form enacted a relationship of making between intentions and outcome. Post- industrialized modernization has created a multiplication of complexities, resulting in a profession that has disengaged theory and practice through the specialization of the architect and the craftsman. Designbuild has the ability to be an educational process that re-engages a direct dialog and collaboration of the roles of designer and maker, reinforcing the resilience of culture and place through joining intentions and built reality. Design-build projects have the ability to be an integral part of design education because of their ability to engage in physical manifestation that is fundamentally different than formal education of designing through drawing or design at a distance. Exploring the Washington Alexandria Architecture Center’s Design-Build ethos as a primary case study, I intend to support this claim by providing evidence of how a Design-Build process can engage the designer, tools, methods, and materials, with the cultural, social, and environmental context that is sensible to place. By utilizing creativity and ingenuity of available resources as an opportunity for adaptation, an organic sense of place is perceptible, the place is created. Representation beyond drawing encourages one to be proactive in connecting the qualities and characteristics of existing space; this leads to a sustainable practice of continued investment in object, materiality, time, and place. Hybrid approaches to design, or the assembly of both design and building as an academic practice, are no longer insular, but are encouraged as a way to interrelate and connect the built environment with its unbuilt opportunities and impressions.

In hierdie verhandeling reflekteer ek oor my godsdiensdiskoers en die invloed daarvan op my lewe, beide as persoon en as terapeut. My werk vind 'n nis in die wyse waarop dit die 'stil, onsigbare mensa' benader wie se stories gevorm is deur diskoerse van die modemistiese samelewing. In my navorsing kry ek te doen met problema wat in die algemeen met die praktyke van marginalisering geassosieer word. Die narratiewe gesprekvoering met 'medeskrywers' aan my storie en interaksie met hulle verskillende horisonne kristalliseer in 'n bevrydende en veelvlakkige insig. Hierdie kennis stel my in staat om nuwe keuses te maak en 'n alternatiewe storie vir myself te formuleer. Die studie illustreer dus nie net hoe narratiewe terapie die 'stil, onsigbare' produkte van 'n paternalistiese samelewing kan bemagtig nie. Dit wys ook op die waarde van die oopstelling van die terapeut se eie verhaal vir sy/haar vorming as terapeut. / In this dissertation I reflect on my religious discourse, its influence on my life and how it affects me, both as a person and a therapist. It addresses a niche in its approach to the 'silent, invisible people' whose stories are authored by the discourses of a modernistic society. My research stumbles on all kinds of problems that are generally associated with the practices of marginalisation. Acting as both client and therapist, I enter into numerous interactive conversational sessions with 'co-authors' of my story, afJ with different contexts and horizons. This process crystallises in a liberating and multi-faceted truth. The newly gained knowledge enables me to make new choices and formulate tor myself an alternative story. This study illustrates not only how narrative practices may empower the 'silent, invisible' products of a patemalistic society. It also shows how therapists may benefit from the deconstruction of their own story in both a personal and professional way. / Practical Theology / M. Th. (Pastoral Theology)

This thesis examines the intellectual environment in which Pope John Paul II's thought operates, especially as it pertains to his writings on the truth. The pontiff's thinking faces open hostility toward Christianity, as exemplified by Friedrich Nietzsche and Michel Foucault. The pope's theology pays attention and builds links to modern thought through its positive engagement with phenomenology and personalism, as well as through its opposition to materialism. Despite these connections, this theology fails to fit well with (post)modern thinking, as it takes a wider view of things in two ways: (1) By offering a spiritual sense of things, it goes beyond thought and takes into account supernatural sources of knowledge, sources which are both a one-time event (the Resurrection of Jesus Christ) and part of the ongoing journey of the Christian community; (2) By boldly referring to traditional, outmoded language, as with the words obedience and humility, with the same level of reverence and fullness of their sense as they were used before the secular-feminist era condemned these virtues. The strange and unique qualities of John Paul II's thinking issues from these two practices. It also arises from his bold ability to engage with modern thought without becoming defensive and without hiding behind the Bible or Catholic piety, though he uses both of these generously. John Paul II offers a clear alternative to the chaos and confusion of post-Enlightenment thought, in both his thought's style and substance. The Holy Father's words cause us to reflect more deeply than those of modern or postmodern thinkers, and call us away from the relativism of Richard Rorty, Foucault, and so many others. The pope's thought succeeds in part because he takes a much wider vista of things, in that he digs more deeply into Western and Christian thought and that he enters this heritage as an inheritor rather than as a skeptical scientist-researcher as in Foucault's case. The pope's thought also succeeds because he assigns spiritual meaning to this journey of Christian and world people. In this sense, his thought is also radically inclusive. / Systematic Theology & Theological Ethics / D. Th. (Systematic Theology)

Selves and Others: The Politics of Difference in the Writings of Ursula Kroeber Le Guin has two founding premises. One is that Le Guin's writing addresses the political issues of the late twentieth century in a number of ways, even although speculative fiction is not generally considered a political genre. Questions of self and O/other, which shape political (that is, powerinflected) responses to difference, infuse Le Guin's writing. My thesis sets out to investigate the mechanisms of representation by which these concerns are realized. My chapters reflect aspects of the relationship between self and O/other as I perceive it in Le Guin's work. Thus my first chapter deals with the representations of imperialism and colonialism in five novels, three of which were written near the beginning of her literary career. My second chapter considers Le Guin's best-known novels, The Left Hand of Darkness (1969) and The Dispossessed (1974), in the context of the alienation from American society recorded by thinkers in the 1960s. In my third chapter, the emphasis shifts to intrapsychic questions and splits, as I explore themes of sexuality and identity in Le Guin's novels for and about adolescents. I move to more public matters in my fourth and fifth chapters, which deal, respectively, with the politicized interface between public and private histories and with disempowerment. In my final chapter, I explore the representation of difference and politics in Le Guin's intricate but critically neglected poetry. My second founding premise is that traditional modes of literary criticism, which aim to arrive at comprehensive and final interpretations, are not appropriate for Le Guin's mode of writing, which consistently refuses to locate meaning definitely. My thesis seeks and explores aporias in the meaning-making process; it is concerned with asking productive questions, rather than with final answers. I have, consequently, adopted a sceptical approach to the process of interpretation, preferring to foreground the provisional and partial status of all interpretations. I have found that postmodern and poststructuralist literary theory, which focuses on textual gaps and discontinuities, has served me better than more traditional ways of reading / English Studies / D. Litt. et Phil. (English)

Donna J. Haraway ist eine US-amerikanische Biologin, Wissenschaftsphilosophin und Literaturwissenschaftlerin, die an den Departments History of Consciousness und Feminist Studies der University of California lehrte. In dieser Position hatte sie die erste explizit der Feministischen Theorie gewidmete Professur in den USA inne. Haraways Arbeiten bewegen sich in einem thematischen Schnittfeld von feministischer Erkenntniskritik, Cultural Studies, politischer Theorie und Biowissenschaften.

This study has two aims and addresses two areas of investigation. The first aim is to examine, in four novels and their textual worlds, what role is played by collective self-images and essentialist identities in maintaining power structures in regard to gender, class, norms for mental functions, and ethnicity. Whether, and if so, how, the novel’s deconstruction of language and images can function as resistance to hegemonic oppression? What does the encounter between the privileged collective and the marginalized look like in the novel, and what happens in this encounter? The project’s second aim is to probe what criticism of, and what strategies for resistance to, various power structures reading can provide. To what extent is it possible to speak of responsibility for, and in, the reading of fictional works? What role is played by the (un)expected and the conditionality in the poetical novel’s ethical demands on the reader? What might reading as an ethical practice mean and entail? The dual aim situates this dissertation in an interdisciplinary field between ethics, literary studies and aesthetics. In this study despair is the fundament on which the ethical reader stands to approach literature. Rather than discovering meanings, finding examples, or experiencing empathy, it is being engaged in the conditions determined by suffering and injustice that constitutes ethical reading. The novels Drömfakulteten (The Dream Faculty) by Sara Stridsberg, Hevonen häst (Hevonen Horse) by Annika Korpi, Montecore by Jonas Hassen Khemiri, and Personliga pronomen (Personal Pronouns) by Daniel Sjölin comprise the material for the study. They are analysed in terms of deconstructive hermeneutics. Theories brought to bear are primarily Gayatri Spivak’s post-colonial and Emmanuel Levinas’ phenomenological thinking about ethics, together with ideas from, among others, Derek Attridge, Judith Butler, and Sara Ahmed. The readings of the novels are done via four points of entry: identity, the body, the human, and the post-political, as part of the project’s work process, with each reading leading to new questions and critical interventions. The analysis points to a responsibility in relation to identity, a practice where oneself is shifted and transformed. This responsibility also encompasses accountability for the normative orders that need to be changed. Literary projects per se cannot achieve this, but they can be read as a stab at resistance, material for the reader to elaborate upon. This responsibility is an ethical practice that is not completed, that has uncertainty inscribed in its very essence, and that is reinvigorated with each new reading.

This thesis examines the intellectual environment in which Pope John Paul II's thought operates, especially as it pertains to his writings on the truth. The pontiff's thinking faces open hostility toward Christianity, as exemplified by Friedrich Nietzsche and Michel Foucault. The pope's theology pays attention and builds links to modern thought through its positive engagement with phenomenology and personalism, as well as through its opposition to materialism. Despite these connections, this theology fails to fit well with (post)modern thinking, as it takes a wider view of things in two ways: (1) By offering a spiritual sense of things, it goes beyond thought and takes into account supernatural sources of knowledge, sources which are both a one-time event (the Resurrection of Jesus Christ) and part of the ongoing journey of the Christian community; (2) By boldly referring to traditional, outmoded language, as with the words obedience and humility, with the same level of reverence and fullness of their sense as they were used before the secular-feminist era condemned these virtues. The strange and unique qualities of John Paul II's thinking issues from these two practices. It also arises from his bold ability to engage with modern thought without becoming defensive and without hiding behind the Bible or Catholic piety, though he uses both of these generously. John Paul II offers a clear alternative to the chaos and confusion of post-Enlightenment thought, in both his thought's style and substance. The Holy Father's words cause us to reflect more deeply than those of modern or postmodern thinkers, and call us away from the relativism of Richard Rorty, Foucault, and so many others. The pope's thought succeeds in part because he takes a much wider vista of things, in that he digs more deeply into Western and Christian thought and that he enters this heritage as an inheritor rather than as a skeptical scientist-researcher as in Foucault's case. The pope's thought also succeeds because he assigns spiritual meaning to this journey of Christian and world people. In this sense, his thought is also radically inclusive. / Philosophy, Practical and Systematic Theology / D. Th. (Systematic Theology)