No / Baltic Germans who were active on behalf of especially German minorities throughout Europe during the 1920s have already found some recognition in especially German-language studies. Now they are receiving a wider coverage. Two of these men, Werner Hasselblatt and Ewald Ammende, came from Estonia and played a part in the development of the cultural autonomy legislation enacted in 1925. Traditionally this has been counted a positive contribution to the management of Europe's minorities during the inter-war period. During the 1930s at the latest, however, both Hasselblatt and Ammende drifted towards German National Socialism. Through an investigation of the ideas of these men, this paper attempts to interpret lives which helped to create apparently progressive legislation in the 1920s, but which compromised with a dreadful political movement soon afterwards. What were the motives behind their actions?

Yes / Alfred Werner was awarded the Nobel Prize in Chemistry just over 100 years ago. We recall briefly the era in which he was working, his co-workers, and the equipment he used in his laboratories. His ideas were ground breaking: not only does a metal ion have a primary valency (“hauptvalenz”, now the oxidation state), but also a secondary valency, the coordination number (“nebenvalenz”). At that time some refused to accept this idea, but he realised that his new thinking would open up new areas of research. Indeed it did. We illustrate this for the emerging field of medicinal metal coordination chemistry, the design of metal-based therapeutic and diagnostic agents. The biological activity of metal complexes depends intimately not only on the metal and its oxidation state, but also on the type and number of coordinated ligands, and the coordination geometry. This provides a rich platform in pharmacological space for structural and electronic diversity. It is necessary to control both the thermodynamics (strengths of metal-ligand bonds) and kinetics of ligand substitution reactions to provide complexes with defined mechanisms of action. Outer-sphere interactions can also play a major role in target recognition. Our current interest is focussed especially on relatively inert metal complexes which were very familiar to Werner (RuII, OsII, RhIII, IrIII, PtII, PtIV). / We thank the Leverhulme Trust (Early Career Fellowship No. ECF-2013-414 to NPEB), the University of Warwick (Grant No. RDF 2013-14 to NPEB) the ERC (Grant No. 247450 to PJS), EPSRC (Grant No. EP/F034210/1) and EC COST Action CM1105 for support.

Le syndrome de Werner (SW) est une maladie génétique de transmission autosomique récessive qui cause le vieillissement prématuré. La maladie est causée par une mutation dans le gène Werner (WRN). Étant donné que le niveau d'espèces réactives d'oxygène (EROs) est élevé chez les personnes atteintes du SW et que c'est probablement un facteur causant une partie du phénotype, nous avons vérifié le phénomène au niveau cellulaire. Pour ce faire, nous avons analysé des fibroblastes de souris embryonnaires (FSEs) de type sauvage (TS) et des FSEs ayant une deletion dans une partie du domaine hélicase de la protéine homologue de WRN (Wrn[delta]hel/[delta]hel). Nous avons mesuré le niveau d'EROs dans ces cellules. Après avoir constaté que le niveau d'EROs est plus élevé dans les FSEs Wrn[delta]hel/[delta]hel que dans les FSEs TS, nous avons mesuré les effets directs et indirects de cette augmentation du niveau d'EROs au plan de la transcription globale dans ces cellules. Finalement, pour mieux comprendre l'impact des EROs dans le phénotype, nous avons étudié l'effet de l'addition d'EROs exogènes sur les cellules en culture. Nous avons donc traité des FSEs TS et Wm mutants avec du peroxyde d'hydrogène. À l'aide de biopuces à ADN, nous avons comparé le profil d'expression génique des FSEs traités au peroxyde d'hydrogène par rapport aux cellules non traitées. Nous avons par la suite validé les résultats des biopuces à ADN par transcriptase inverse suivi d'une réaction de polymerase en chaîne quantitative (TI-RPC) et analysé les données avec le programme PANTHER (Protein ANalysis THrough Evolutionary Relationships). Les EROs exogènes ont peu d'impact sur le profil d'expression des gènes chez les FSEs Wrn mutants en comparaison avec les FSEs TS car ces cellules démontrent déjà un niveau d'EROs plus élevé que la normale. Toutefois, plusieurs sentiers biologiques déjà affectés chez les FSEs Wrn mutants ont été affectés de la même façon dans les FSEs TS traités au peroxyde d'hydrogène. D'ailleurs, plusieurs de ces sentiers biologiques sont étroitement reliés au phénotype observé chez notre modèle de souris Wrn mutantes ainsi que chez les patients atteints du SW.

Die Arbeit prüft, inwieweit die Übersetzungstheorien von Otto Kade et al., Werner Koller und die Skopostheorie das Problem der kulturgebundenen Farbwortvielfalt bei der Übersetzung zu lösen versuchen. Im ersten Teil wird hierfür der Grundstein gelegt, indem interdisziplinäres Wissen auf die Bildung von Farbbezeichnungen, ihrer Herkunft und ihrer biologischen und physikalischen Grundsätze angewendet wird. In diesem Zusammenhang wird auch die Sapir-Whorf-Hypothese diskutiert. Die Etymologie bestehender Farbbezeichnungen verschiedenster Sprachen bildet dabei das Zentrum, sowohl für die Erklärung der Farbwahrnehmung und die Kulturgebundenheit ihrer Bezeichnungen als auch der Neuschöpfung von Farbbezeichnungen in den Übersetzungssituationen. Anhand fiktiver Übersetzungssituationen aus dem Alltag wird der Übersetzungsprozess für jede Übersetzungstheorie simuliert und aus ihrer Sicht verfolgt. Im Abschluss werden die Ergebnisse gegenübergestellt und diskutiert.

The thesis gives a comprehensive picture of Werner Schwab, Austrian playwright and performer. He ranked among the most performed German-speaking authors at the time of his death in 1994. The main objective of this work, whose basis lies in Schwab's dramatic production, is to provide a comprehensive monographic study. The thesis deals not only with the dramas, but also with their relationship to the theatrical production of Thomas Bernhard and Elfriede Jelinek. The chapter on the author's personal life is followed by chapters "Postdramatic Theatre", "Theatre of Cruelty", and "Folk Play", where you can find the answer to the question of the place of Schwab's drama in the overall concept of literature at the end of the 20th century. Particular attention is paid to the unique language usage he developed, called "Schwabisch" after the author.

This paper examines assimilation and double-consciousness in the poetry of Charles Simic, Marilyn Chin, and Susan Atefat-Peckham. Each of these three poets writes in English in an American setting but has a different heritage. Simic is a native Yugoslavian (Serbia) who fled Europe during WWII. Chin arrived in the U.S. from Hong Kong as a child, and Atefat-Peckham is a first-generation American raised by Iranian parents. Each of these poets expresses some degree of assimilation and double-consciousness (as described by various theorists including W.E.B. Du Bois and Werner Sollors, among others) through the form and content of their poetry. This paper compares the three poets' work, attempting to draw inferences on how double-consciousness and assimilation is expressed in their poems and to what degree. This study argues that Simic is the least assimilated (as his poetry portrays the most severe double-consciousness), Chin is in-between and Atefat-Peckham the most assimilated.

This dissertation examines transnational flows and identities in the work of four European filmmakers and writers that have done extensive work in Latin America around the mid-twentieth century. Not renouncing to the thematic and formal analysis of representation in the works themselves, it focuses more broadly in the modes of production and circulation of cinematic and literary creations. More specifically, it pays close attention to the location in which the work was produced, understood as a conglomerate of circumstances, places, people, as well as symbolic and cultural demands that exert pressure on the author. Understanding that a transnational piece establishes a multi-national dialogue, I emphasize the frequently unacknowledged dialogue that these authors establish with the Latin American tradition and culture. Not only were they conscious of the symbolic landscape in which they were working, but also their production represents a valuable contribution for such landscape, even when their primary audience might be European. The case studies include: an introduction on the globalization of “Tercer Cine”; Werner Herzog and his two Amazonian feature films in Peru; Luis Buñuel and his abundant Mexican production, with special attention to his American and French co-productions shot in Mexico; Max Aub and his Mexican stories and chronicles; and Witold Gombrowicz’ Trans-Atlantyk, as well as his translation of his novel Ferdydurke into the Spanish language. / Romance Languages and Literatures

The dissertation is an exercise in the application of the philosophical hermeneutics of Paul Ricoeur and the biblical hermeneutics of John Dominic Crossan to the aesthetics of religious cinema. / The thesis defines religious cinema as virtual religious experience; therefrom a theory of religious cinema is derived. This derivation depends on a discussion of the essential elements of the cinematic experience and permits the expansion of the category of religious cinema beyond its traditional frontier. Throughout the dissertation, a dialogue is maintained with general cinema theory on the one hand and religious cinema criticism on the other. The purpose of this dialogue is to increase credibility (in the former case) and to demonstrate originality (in the latter case). / Finally, extrapolating from a specific dialogue between Crossan and Ricoeur, a critical method is developed, then applied to Werner Herzog's Herz aus Glas, a transcription of which is included as an appendix.

This thesis is divided into three main sections. Part I concerns general aspects of performance, whilst Part II deals specifically with performance aspects of the Double Concerto for Oboe, Harp and Strings by Hans Werner Henze. Part III is a summary and conclusion of Parts1 and 11. It is hoped that this thesis will provide both a fresh approach to performance in general and also to the performance of Henze's double concerto. I have chosen to discuss aspects of Henze's double concerto, because of its significance as a major oboe concerto in the repertoire and the demands it makes on the oboist both as interpreter and technician. / Thesis (M.Mus)-University of Natal, Durban, 1979.

The dissertation presented a performance analysis and comparison of two major timpani concertos. The Concerto for Five Kettledrums and Orchestra by Robert Parris and the Concerto for Timpani and Orchestra by Werner Thaerichen were chosen for the study because they have been performed by major symphony orchestras, they have been performed at the advanced collegiate level, and because both concertos were written for five timpani and a similar orchestra instrumentation.Initially, each composition was thoroughly analyzed in regard to the specific techniques necessary for a consistent, musical performance. The performance analysis attempted a measure by measure explanation of the solo parts with musical examples; the measures were grouped according to musical phrasing or common technical problems. Some of the more complex phrases were then more minutely examined to focus on a specific performance problem. The mastery of a particular technique or movement was often facilitated by an exercise developed from the performance problem. A number of such exercises were presented and explained in the performance analysis.The comparative performance analysis was presented to best illustrate and illuminate the following similarities and dissimilarities:1. The basic difficulty, in both the composition and performance of a timpani solo, is that of a conjunct, lyrical, multiple-pitched line as opposed to the more idiomatic disjunct, fragmented exchange of solo material with the accompaniment. This was the basis of the comparative analysis. The Parris Concerto is lore linear and lyrical, whereas the Thaerichen Concerto is more fragmented. The Thaerichen solo has for one, two, or three drums and rhythmic work is definitely linear and depends less upon single and two drum figures to create and maintain interest. In this sense, the to the extent that the Thaerichen Concerto does.2. Because of the melodic nature of the material, the Parris Concerto was more demanding in interpretation than was the Thaerichen Concerto. The solo timpani pant in the Parris Concerto is foreground material and is more expressive than the ostinato, background material of the solo part of much of the Thaerichen Concerto.3. There are similar and dissimilar sticking situations which demanded study and experimentation to produce the most musical results. Similarities in stickings include right-hand and lefthand-lead, stick doublings and a combination of alternate stickings and stick doublings. The Thaerichen solo has two passages utilizing repeated eighth-notes in one hand and a melody around the drums with the other; similar stickings are not required in the Parris. However, the Parris solo has complex arms-crossed stickings and almost acrobatic arm and foot movements.4. Tuning schemes vary more frequently aid more dramatically in the Parris Concerto.The performance analysis and comparison substantiated these similarities and dissimilarities and further revealed that the length and many repetitions of the Thaerichen solo demanded the utmost concentration and consistency due to the static nature of many passages. The Parris is more compact, with many varied performance problems facing the soloist every few measures. The variety of melodic material, articulations, and mallet movements result in the Parris Concerto being the more difficult. The Thaerichen Concerto makes fewer technical demands, and spaces them farther apart. In many passages of the Thaerichen, the tuning scheme remains the same. Also, tempo does not vary as often as it does in the Parris. The Parris solo features more foreground material, with its melodic phrases supported by the orchestra; whereas, the timpani in the Thaerichen is a part of the overall orchestral texture, only occasionally being allowed to assume a principal melodic role.This study was undertaken as a guide for the timpanist desiring to study and perform these works. Specific solutions to performance problems have been offered as a means of achieving technical mastery and as a motivation to further explore and exploit one's personal performance skills and talents.