La méthode de localisation de source qui permet d’identifier anatomiquement les générateurs de l’activité électrique cérébrale reste encore actuelle difficile à mettre en place et à utiliser en routine clinique. Une des étapes de cette méthode consiste à repérer spatialement les électrodes EEG positionnées sur le cuir chevelu. Ce travail de Doctorat a consisté à mettre au point de nouveaux capteurs EEG compatibles et repérables en IRM et à automatiser ce processus pour le rendre plus fiable et plus facile d’utilisation. Pour ce faire, nous avons développé et breveté de nouveaux capteurs de signaux électrophysiologiques et nous avons implémenté un algorithme informatique de détection et de labellisation automatique en IRM. Ces dispositifs ont été testés cliniquement chez des sujets sains et des patients épileptiques en comparaison avec la numérisation électromagnétique qui est la technique de référence. Nous avons montré dans un premier temps, l’efficacité de notre méthode du point de vue de la précision, de la reproductibilité et des performances. Nous avons montré ensuite que notre méthode n’engendrait pas d’erreurs de localisation anatomique des générateurs électroneurophysiologiques (PES, PEV, EPIC). Ces études cliniques ont été validées par des enregistrements d’IRM fonctionnelle et par une comparaison avec les données de la littérature. Enfin, nous avons développé un outil de projection de la position des capteurs de surface sur le cortex de façon à identifier les structures anatomiques et aires de Brodmann associées aux capteurs EEG du système international 10/10. Notre méthode de détection et de labellisation automatique des capteurs EEG grâce à l’IRM (ALLES) permet donc de limiter l’intervention humaine et de simplifier la méthode de localisation de source puisque seuls les examens d’EEG et d’IRM deviennent nécessaires. / Spatial localization of scalp EEG electrodes is a major step in dipole source localization and it must be accurate, reproducible and practical. Several methods have been proposed in the last fifteen years. The most widely used method is currently electromagnetic digitization. In this work, we introduce a new automatic method for localizing and labeling EEG sensors using MRI (ALLES). First, we designed a new scalp EEG sensor which is MR compatible and localizable. Secondly, we validated this new technique on a head phantom and then in a clinical environment with normal volunteers and epileptic patients. To do this, we compare the reproducibility, accuracy and performances of our method with electromagnetic digitization. We also demonstrate that our method provides better reproducibility with a significant difference (p < 0.01). Concerning accuracy, both methods are equally accurate with no statistical differences. We have tested our method both on normal volunteers (SEP and VEP studies) and epileptic patients (Spikes studies). Source localizations were not influenced by ALLES and we observe results consistent with the literature. Finally, we develop a method which projects the surface positions of the sensors (10-10 system) onto the cortex. This tool is helpful for visual inspection of high resolution EEG traces and for electroclinical diagnostic. To conclude, automation makes our method (ALLES) very reproducible and easy to handle in a routine clinical environment. It offers the possibility of using MRI volume for both source localization and spatial localization of EEG sensors.

Swiss-German director Dani Levy uses humor to explore recent German history in his films "Alles auf Zucker" (2004) and "Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler" (2007). In a move unusual for German-speaking film directors, Levy pokes fun at Adolf Hitler and his regime in "Mein Führer." Levy also plays with the tension among formerly estranged members of a Jewish family in "Alles auf Zucker" to create a metaphor for the strained relations in reunified Germany.This project explores how Levy uses humor to break taboos in contemporary German society and prompt audiences through humor to critical debate about recent German history and its implications for contemporary and future society. This analysis is important to the German-speaking world and global audiences because Levy's work begs viewers to ponder what they can laugh at, who is allowed to make jokes, and how comedy can promote debate about societal norms and taboos.

This thesis is an attempt to assess the importance of the satirical photo essay Deutschland, Deutschland uber alles in the life and literary development of the German author Kurt Tucholsky, and to help establish the significance of the work in the German literary canon. The work appeared in 1929, and marked a complete departure from his previous output in many respects. He experimented with the genre of photo essay and photomontage in collaboration with renowned montage artist and dedicated Communist John Heartfield, attempted to reach a new reading audience in the German working classes, and published the book in a radical publishing house with strong ties to the German Communist Party. / However, despite the successful combination of photograph, photomontage and text which allowed Tucholsky and Heartfield to produce many insightful and scathing criticisms of Weimar society, the book largely failed to deliver a relevant social or political criticism of the Weimar Republic. Tucholsky's criticisms were directed toward the ruling Social Democratic Party and other parties of the bourgeois political establishment, but he ignored or refused to see the far greater threat posed by the rising tide of National Socialism. (Abstract shortened by UMI.)

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This dissertation examines three contemporary German novels and their respective representations of the Red-Green era. It focuses on the discourses to which these novels refer in order to shed light on the consequences and implications of Red-Green politics for the subjectification of individuals during this time. When Gerhard Schröder replaced Helmut Kohl in 1998 as Chancellor of Germany, there was a noticeable shift towards neoliberal policies that has since received much attention in scholarly studies and public-political debates about its impact on Germany’s economy, social security system, political party system, and institutional structure. Taking a new approach to understanding the politics of the Red-Green coalition, I argue that its impact is noticeable not only in the political sphere, but that this impact also permeates all levels of society, in particular concepts of selfhood, and that it has found its way into contemporary literary works. As my particular interest lies in investigating how these literary works process the consequences and implications of Red-Green politics for the subjectification of individuals during this time, the novels I selected situate themselves explicitly within the Red-Green era mostly through references to some of its most well-known labour market measures, namely the Ich-AG, the Mittelstandsoffensive, and employability training programs. Analysing the neoliberal discourses to which these novels refer and (re-) constructing the particular sets of knowledge, truths, and norms that enable neoliberal governing practices allow me to shed light on the mechanisms of individuals’ subjectification through the politics of the Red-Green coalition. Of particular importance during the Red-Green era are the discourses surrounding entrepreneurialism as they construct the market as a structuring principle of society in which all individuals are called upon as entrepreneurs. For the examination of neoliberal governing discourses, I draw both on Michel Foucault’s theory of neoliberal governmentality and Ulrich Bröckling’s conceptualization of the entrepreneurial self, an idealized and hence unachievable self-image that addresses individuals as entrepreneurs of their own lives. Foucault’s theory allows going beyond an understanding of neoliberalism as a political theory of free market policies but views it as an act of governing that expands the notion of the government of others to include the government of the self according to the principles of entrepreneurialism and the market, hence taking into account the participatory role of the subject. Bröckling’s conceptualization draws on Foucault’s theory to examine the subjectification of individuals as entrepreneurial selves, that is, as individuals who are constantly stimulated to act as enterprising subjects. The literary analysis of the novels – Ralph Hammerthaler’s Alles bestens (2002), Reinhard Liebermann’s Das Ende des Kanzlers. Der finale Rettungsschuss (2004), and Joachim Zelter’s Schule der Arbeitslosen (2006) – shows they cast light on various ways in which specific forms of subjectivity are promoted and enabled through neoliberal governing practices. More specifically, I illustrate that the protagonists in each novel represent three different facets of the entrepreneurial self, namely the enthusiast, the melancholic, and the social lemming that Ulrich Bröckling identifies in his typology of the entrepreneurial self (2008). While the nameless protagonist in Alles bestens embraces the market as a universal structuring principle and a metaphor for his own life, the protagonist Hans Hansmann in Das Ende des Kanzlers embraces free market principles, yet fails to fully understand the demands of the market and his own position within it. By contrast, Karla Meier in Schule der Arbeitslosen refuses to accept yet nevertheless follows the demands implicit in the image of the entrepreneurial self.

This dissertation examines three contemporary German novels and their respective representations of the Red-Green era. It focuses on the discourses to which these novels refer in order to shed light on the consequences and implications of Red-Green politics for the subjectification of individuals during this time. When Gerhard Schröder replaced Helmut Kohl in 1998 as Chancellor of Germany, there was a noticeable shift towards neoliberal policies that has since received much attention in scholarly studies and public-political debates about its impact on Germany’s economy, social security system, political party system, and institutional structure. Taking a new approach to understanding the politics of the Red-Green coalition, I argue that its impact is noticeable not only in the political sphere, but that this impact also permeates all levels of society, in particular concepts of selfhood, and that it has found its way into contemporary literary works. As my particular interest lies in investigating how these literary works process the consequences and implications of Red-Green politics for the subjectification of individuals during this time, the novels I selected situate themselves explicitly within the Red-Green era mostly through references to some of its most well-known labour market measures, namely the Ich-AG, the Mittelstandsoffensive, and employability training programs. Analysing the neoliberal discourses to which these novels refer and (re-) constructing the particular sets of knowledge, truths, and norms that enable neoliberal governing practices allow me to shed light on the mechanisms of individuals’ subjectification through the politics of the Red-Green coalition. Of particular importance during the Red-Green era are the discourses surrounding entrepreneurialism as they construct the market as a structuring principle of society in which all individuals are called upon as entrepreneurs. For the examination of neoliberal governing discourses, I draw both on Michel Foucault’s theory of neoliberal governmentality and Ulrich Bröckling’s conceptualization of the entrepreneurial self, an idealized and hence unachievable self-image that addresses individuals as entrepreneurs of their own lives. Foucault’s theory allows going beyond an understanding of neoliberalism as a political theory of free market policies but views it as an act of governing that expands the notion of the government of others to include the government of the self according to the principles of entrepreneurialism and the market, hence taking into account the participatory role of the subject. Bröckling’s conceptualization draws on Foucault’s theory to examine the subjectification of individuals as entrepreneurial selves, that is, as individuals who are constantly stimulated to act as enterprising subjects. The literary analysis of the novels – Ralph Hammerthaler’s Alles bestens (2002), Reinhard Liebermann’s Das Ende des Kanzlers. Der finale Rettungsschuss (2004), and Joachim Zelter’s Schule der Arbeitslosen (2006) – shows they cast light on various ways in which specific forms of subjectivity are promoted and enabled through neoliberal governing practices. More specifically, I illustrate that the protagonists in each novel represent three different facets of the entrepreneurial self, namely the enthusiast, the melancholic, and the social lemming that Ulrich Bröckling identifies in his typology of the entrepreneurial self (2008). While the nameless protagonist in Alles bestens embraces the market as a universal structuring principle and a metaphor for his own life, the protagonist Hans Hansmann in Das Ende des Kanzlers embraces free market principles, yet fails to fully understand the demands of the market and his own position within it. By contrast, Karla Meier in Schule der Arbeitslosen refuses to accept yet nevertheless follows the demands implicit in the image of the entrepreneurial self.

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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2009. / When reading Henning J. Pieterse’s work the reader is confronted by a sombre central theme, that of loss. Loss manifests itself in different ways in his oeuvre, but the most notable forms of loss are as result of the ending of a love affair or death. A second noticeable theme in Pieterse’s work is art and artistry, specifically the creative writing process. In my opinion these themes are most evident in his 1998 collection of short stories Omdat ons alles is (Because we are everything). The main premise in this collection of short stories is the suicide of the beloved wife and the accompanying feelings of loss and grief. The male characters in these stories struggle with processing and accepting loss - loss due the suicide of a beloved wife or due to the ending of a relationship. Various attempts are made to forget the loss and to numb the pain. The characters turn to alcohol, drugs and sex as ways of trying to work through or process the loss, but these methods only bring temporary relief. These self-destructive methods op escapism are contrasted with the constructive act of writing. At the same time the journey to psychic recovery and the processing of trauma becomes a creative journey. By expressing trauma through writing about wounding experiences there is striven to process it. The processing of trauma by means of literary narratives is often extremely exhausting and distressing. In the act of writing about trauma, painful memories that are repressed in the psyche are brought to the surface. In this thesis Omdat ons alles is is viewed from a therapeutic perspective to establish whether the act of writing plays a part in the processing of trauma. Narrative therapy is concerned with the finding of words and language to communicate trauma by creating a story in which the meaning and coherence that trauma destroys, can be recaptured. Trauma destroys the meaning and coherence of a life story and leaves the individual powerless and confused, but by finding words to communicate trauma, there is a positive movement in the direction of dealing with and accepting loss. In Omdat ons alles is Pieterse maps the journey of working through loss and trauma, but in these stories it is also emphasised that this journey is by no means a joyride. In the end it seems that the act of writing does play a part in the processing of trauma, but to which extent, remains an open question.

This diploma thesis deals with with issues occuring in translating trivial literature (formula fiction). Three novels by the Austrian novelist Johannes Mario Simmel are used as empirical material. The first part of the paper focuses on the term trivial literature as well as the person of J. M. Simmel and his work. In the second part, three novels by this author are the subject of translation analysis. The analysis uses criteria of quality assessment defined by the German translation scholar Katharina Reiß in her thesis Möglichkeiten und Grenzen der Übersetzungskritik (published in 1971). The analysis shows various aspects contributing to the result of this translation process. They are partly objective, given by context of time period in which they were created, and partly subjective, given by the person of the translator. Keywords Johannes Mario Simmel, translation criticism, trivial literature, Katharina Reiß, 3 novels (Liebe ist nur ein Wort, Ich gestehe alles, Gott schützt die Liebenden)