Esta tese tem como objeto de análise o personagem Franz Biberkopf em relação com seu entorno: a cidade de Berlim. Biberkopf é o protagonista do romance Berlin Alexanderplatz (1929), de Alfred Döblin, e da adaptação homônima para a televisão alemã, escrita e dirigida por Rainer Werner Fassbinder e que foi ao ar na Alemanha pela primeira vez em 1980. Ambas as obras constituem o corpus desta pesquisa. O principal objetivo é analisar a inadequação desse personagem ao seu ambiente histórico-social. Biberkopf é um ex-presidiário que, no enredo dessas obras, tenta reencontrar seu espaço na cidade de Berlim entre os anos de 1928 e 1929 após ter cumprido quatro anos de detenção. Ele vive na cidade como um sujeito desajustado, e sua inadequação à sociedade berlinense é investigada aqui como o fenômeno da Entfremdung (alienação), com base, principalmente, na fenomenologia do Fremd, de Bernhard Waldenfels, e a crítica da alienação, de Rahel Jaeggi. A base teórica deste trabalho, portanto, é interdisciplinar, abrangendo as matrizes da literatura (teoria literária), do cinema/TV (teoria do cinema) e da filosofia. / This thesis aims at analyzing the character Franz Biberkopf regarding his surroundings: the city of Berlin. Biberkopf is the protagonist of the novel Berlin Alexanderplatz (1929), by Alfred Döblin, and the same name adaptation for the German television, written and directed by Rainer Werner Fassbinder, and which was aired in Germany for the first time in 1980. Both works are the corpus of this research. The main focus is to analyze the characters inadequacy in his social-historical environment. Biberkopf is an ex-convict who, in the plot of these works, tries to regain his space in Berlin between the years of 1928 and 1929, after four years of detention. He lives as a misfit person in the city, and his inadequacy to Berlin society 6 is investigated here as the Entfremdung (alienation) phenomenon, based mainly on phenomenology of the alien, by Bernhard Waldenfels, and on critique of alienation, by Rahel Jaeggi. Therefore, the theoretical basis of this work is interdisciplinary, covering the fields of literature (literary theory), cinema/TV (cinema theory) and philosophy.

Zugl.: Basel, Univ., Diss.

Esta tese tem como objeto de análise o personagem Franz Biberkopf em relação com seu entorno: a cidade de Berlim. Biberkopf é o protagonista do romance Berlin Alexanderplatz (1929), de Alfred Döblin, e da adaptação homônima para a televisão alemã, escrita e dirigida por Rainer Werner Fassbinder e que foi ao ar na Alemanha pela primeira vez em 1980. Ambas as obras constituem o corpus desta pesquisa. O principal objetivo é analisar a inadequação desse personagem ao seu ambiente histórico-social. Biberkopf é um ex-presidiário que, no enredo dessas obras, tenta reencontrar seu espaço na cidade de Berlim entre os anos de 1928 e 1929 após ter cumprido quatro anos de detenção. Ele vive na cidade como um sujeito desajustado, e sua inadequação à sociedade berlinense é investigada aqui como o fenômeno da Entfremdung (alienação), com base, principalmente, na fenomenologia do Fremd, de Bernhard Waldenfels, e a crítica da alienação, de Rahel Jaeggi. A base teórica deste trabalho, portanto, é interdisciplinar, abrangendo as matrizes da literatura (teoria literária), do cinema/TV (teoria do cinema) e da filosofia. / This thesis aims at analyzing the character Franz Biberkopf regarding his surroundings: the city of Berlin. Biberkopf is the protagonist of the novel Berlin Alexanderplatz (1929), by Alfred Döblin, and the same name adaptation for the German television, written and directed by Rainer Werner Fassbinder, and which was aired in Germany for the first time in 1980. Both works are the corpus of this research. The main focus is to analyze the characters inadequacy in his social-historical environment. Biberkopf is an ex-convict who, in the plot of these works, tries to regain his space in Berlin between the years of 1928 and 1929, after four years of detention. He lives as a misfit person in the city, and his inadequacy to Berlin society 6 is investigated here as the Entfremdung (alienation) phenomenon, based mainly on phenomenology of the alien, by Bernhard Waldenfels, and on critique of alienation, by Rahel Jaeggi. Therefore, the theoretical basis of this work is interdisciplinary, covering the fields of literature (literary theory), cinema/TV (cinema theory) and philosophy.

In the Philosophy of Right Hegel develops the concept Sittlichkeit (Ethical life) that represents Hegel´s view of how the State should be constituted. In Critique of Hegel’s ´Philosophy of Right` Marx provides a critical so called “Prussian” reading of Hegel as ultimately a defense for the Prussian empire of that time. The study focuses on a close reading of the chapter on the state, which includes the paragraphs 257-313 in the Philosophy of Right. It examines how Marx’s philosophy developed from this Criticism including some of his basic concepts, notably Gemeinwesen and Gattungswesen, that he takes over from Hegel and includes in his own theories of human alienation. The essay discusses how Marx’s criticism of Hegel as a pantheistic thinker is also directed against his dialectical theory. The conclusion is that Marx’s philosophy seeks to overcome dialectics and ultimately philosophy itself, while also showing how strong his connection is to Hegel and German Idealism. / I Rättsfilosofin utvecklar Hegel begreppet Sittlichkeit (Sedlighet) som representerar hans syn på hur staten ska vara konstruerad. I Till kritiken av Hegels Rättsfilosofi gör Marx en kritisk läsning av Hegels Rättsfilosofi, som brukar kallas för den ”Preussiska läsningen”, eftersom den tolkas som ett försvar av den dåtida Preussiska staten. Studien fokuserar på en närläsning av paragraferna 257-313 i Rättsfilosofin samt på Marx Kritik. Analysen fokuserar på hur Marx tänkande och begrepp växer fram utifrån denna kritiska läsning. I centrum står begreppen Gemeinwesen, (socialt väsen) och Gattungswesen (art-väsen), vilka Marx tar över från Hegel och införlivar teorier om människans alienation. Uppsatsen diskuterar hur Marx kritik av Hegel som panteistisk tänkare också riktar sig mot Hegels dialektiska teori. Slutsatsen är att Marx filosofi siktar mot ett övervinnande av dialektiken och till sist av filosofin som sådan, samtidigt som den visar hur stark hans koppling till Hegel och den tyska idealismen är.

Zugl.: Hannover, Univ., Diss.

Individuum, Tourismus und Internet in der entwickelten Industriegesellschaft In dieser Arbeit werden die Isomorphie und kausale Verknüpfung von gesellschaftlicher Dynamik, Urlaubsreisen und dem Gebrauch des Intarnets zu diesem Zweck dargestellt. Es handelt sich gewissermaßen um ein dreistufiges Verfahren, das dazu dienen soll, dem Verhältnis von Virtualität und Realität in diesem Bereich auf die Spur zu kommen. In ersten Abschnitt ist die Stellung des Individuums in der entwickelten (westlichen) Industriegesellschaft analysiert. Das Individuum wird aus seiner Rolle in der Arbeit- und Freizeitwelt heraus begriffen, wobei besonders auf Ursachen und Formen der Entfremdung und Disparatheit eingegangen wird. In ihnen sind die Ansatzpunkte des touristischen Verlangens verwurzelt, nämlich die Wünsche nach An- und Entspannung sowie nach einer Gegenwelt. Diese konkret-historische Untersuchung schließt mit einem Kapitel über die sich entwickelnde Informationsgesellschaft in der "vernetzen Welt". Gegen Ende dieses Teils wird bereits auf das Internet als virtueller touristischer Treffpunkt eingegangen, und diese Sphäre als adäquate Begegnungsform hervorgehoben. Der zweite Abschnitt ist der Tourismusindustrie zugewendet, wobei schon dieser Begriff auf die kommerzgetriebene Vermarktung touristischer Bedürfnisse zielt, deren Ursprung bereits im ersten Abschnitt lokalisiert wird. In dieser Analyse kommen sowohl die menschliche Neugier und Veränderungsbereitschaft wie der flottierende Wiedersruch zwischen dem Ruhe- und Aufbruchsbedürfnis zur Sprache. Letztendlich mündet diese Beschaffenheit des touristischen Verlangens in der unaufhebbar auseinanderklaffenden und zugleich verknüpften Bewegung des Individuums in den "parallelen Welten" der Notwendigkeit und der Freiheit, die freilich nicht mit den Sphären von Arbeits- und Freizeit bzw. Tourismus zusammenfallen. Für das Verständnis des Tourismus sind als sowohl begründeten wie eingefaßten Fluchtversuch aus den Zumutungen des Alltags neben der sozialwissenschaftlichen Grundierung auch sozialphilosophische Betrachtungen zur Hilfe herangezogen worden. So stellt sich zum Schluß des Abschnitts die (touristische) Reise als vielschichtige historisch - soziologisch bestimmte soziale Kommunikationsform dar, um deren innere Dynamik es hier geht, während das reale Begegnungsfeld des Reisenden nur gestreift wird. Diese kommt erst über virtuell vorgestellte Reiseziele ins Bild. Die "touristische Präsentation im Internet" ist aus der technisch-sozialen Begründung und Wirkung der neuen elektronischen Medien einerseits und der spezifischen Neigungen der touristischen Werbung anderseits abgeleitet. Unter Heranziehung der wichtigsten Literatur wird die sozial-techisch induzierte Verschiebung von der unmittelbaren Realität zur virtuellen erläutert. Die Werbung im touristischen Feld unterliegt bestimmten Bedingungen, so daß auch in diesem Bereich Inividualisierung und Flexibilisierung eine immer größere Rolle spielen und sich von daher das Internet als Kommunikationsform anbietet. Zum Schluß wird diese Annahme mit empirischen Befund sowohl von anderer Stelle wie in einer eigenen Untersuchung überprüft. Die eigene Untersuchung der Autorin konzentriert sich auf die Frage der aktuellen Nutzung des Internets und versucht darauf prognostische Perspektiven zu gewinnen. Jedoch werden mit den Neigungen und Nutzungsgewohnheiten einer noch dünnen, aber wachsenden Schicht von Internetnutzern im Tourismus Komponenten sichtbar, die ihren Ursprung nicht im Medium selbst haben können, sondern auf die Dynamik der Entfremdung in der entwickelten Industriegesellschaft zielen.

Dissertation--Universität Köln, 1988. / Mention parallèle de titre ou de responsabilité : Soledad, alienación y melancolía en la literatura argentina actual : desde 1955 hasta el presente : con un resumen en español. Bibliogr. p. 255-278.

The unforeseeable outbreak and progression of the covid-19-pandemic accompanied by crucial measures of both social and spatial distancing has emphasized digital technologies’ role within the spotlight of educational research and practice. A major challenge of technology-enhanced education is the preservation of the spatio-social character of learning despite distance. Virtual learning spaces hold the potential to spatially situate learning and make learners feel like actually being in a real physical learning environment (e. g., Hartmann & Bannert, 2022; Eiris et al., 2020, Makransky & Mayer, 2022). Compared to highly immersive virtual realities that are, for instance, accessed through a head-mounted display, interactive virtual learning environments based on 360-degree panoramas are less expensive to produce while seeming to enable comparable experiences of presence (Eiris et al., 2020; Ritter & Chambers, 2021). However, this rather novel learning format has not yet been empirically investigated in depth, neither in terms of its foundation nor regarding learners’ experience of presence during its use. The subsequently described study aims to provide a first in-depth insight into learners’ spatial and social presence experience in interactive 360-degree panoramas. Therefore, we first summarize the current theoretical and mpirical state of research. We then present the methodological approach and results of the study conducted, discuss them critically, and derive a comprehensive agenda for follow-up research. [Aus: Introduction]

This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.

This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.