Pre-CME onset fuses: do the STEREO heliospheric imagers hold the clues to the CME onset process?

Understanding the onset of coronal mass ejections (CMEs) is surely one of the holy grails of solar physics today. Inspection of data from the Heliospheric Imagers (HI), which are part of the SECCHI instrument suite aboard the two NASA STEREO spacecraft, appears to have revealed pre-eruption signatures which may provide valuable evidence for identifying the CME onset mechanism. Specifically, an examination of the HI images has revealed narrow rays comprised of a series of outward-propagating plasma blobs apparently forming near the edge of the streamer belt prior to many CME eruptions. In this pilot study, we inspect a limited dataset to explore the significance of this phenomenon, which we have termed a pre-CME ‘fuse’. Although, the enhanced expulsion of blobs may be consistent with an increase in the release of outward-propagating blobs from the streamers themselves, it could also be interpreted as evidence for interchange reconnection in the period leading to a CME onset. Indeed, it is argued that the latter could even have implications for the end-of-life of CMEs. Thus, the presence of these pre-CME fuses provides evidence that the CME onset mechanism is either related to streamer reconnection processes or the reconnection between closed field lines in the streamer belt and adjacent, open field lines. We investigate the nature of these fuses, including their timing and location with respect to CME launch sites, as well as their speed and topology.

Inverting the lives of 'others': retelling the Nazi past in 'Ehe im Schatten' and 'Das Leben der Anderen'

The article compares Florian Henckel von Donnersmarck's film Das Leben der Anderen (2006) with Kurt Maetzig's early post-war film Ehe im Schatten (1947). The comparison is based on significant narrative and thematic elements which the films share: They both have a ‘theatre couple’, representatives of the ‘Bildungsbürgertum’, at the centre of the story; in both cases the couple faces a crisis caused by the first and second German dictatorship respectively and then both try to solve the crisis by relying on the classical ‘bürgerliches Erbe’, particularly the ‘bürgerliches Trauerspiel’. The extensive use of the ‘bürgerliches Erbe’ in the films activates the function this heritage had for the definition of the German nation in the nineteenth century. However, while Maetzig's film shows how the ‘heritage’ and its representatives fail in the face of National Socialism, von Donnersmarck's film claims the effectiveness of this ‘heritage’ in the fight against the East German dictatorship. Von Donnersmarck thus inverts a critical film tradition of which Ehe im Schatten is an example; furthermore, as this tradition emerged from dealing with the Third Reich, von Donnersmarck's film, it will be argued, is more interested in the redemption of the Nazi past than the East German past.