"Talking about Marriage ..." : Polizeiarbeit in Upper West, Ghana /// Arbeitspapiere / Institut für Ethnologie und Afrikastudien ; 102

Polizei in Afrika ist korrupt und schlecht ausgebildet und eine „Marionette“ der Regierungen − so das nicht nur im populären, sondern auch sozialwissenschaftlichen Diskurs vermittelte Bild. Eine ethnographische Perspektive, die Polizeiarbeit im Alltag beobachtet und auf die Interaktionsstrategien der Polizisten mit Klienten und ihre Deutungen und Selbstbilder fokussiert, erlaubt neue Einsichten in das alltägliche Funktionieren der Organisation. Die vorliegende Arbeit basiert auf einem dreimonatigen Aufenthalt in der domestic violence unit der Police Headquarters in der Upper West Region Ghanas. Sie zeigt unter anderem, wie die Akteure die Ausbildung zum Polizisten, Gehaltsfragen, Versetzungen, Geschlechterverhältnis und Beförderungen konzeptionalisieren und wo sie sich in ihrer Arbeitswelt positionieren. Die besondere Aufmerksamkeit der Arbeit gilt der Interaktion der Polizisten mit Akteuren außerhalb ihrer Organisation, den „Klienten“. Eine zentrale Erkenntnis ist, dass die Klienten erst mit Hilfe typischer bürokratischer Praktiken und Redensarten als solche von den Polizisten konstruiert werden. Dabei sind die Klienten aber weder passiv polizeilicher Willkür ausgeliefert noch können einflussreiche Klienten die Polizei nach ihrem Gusto manipulieren. In zwei Fallstudien von Verhandlungssituationen wird deutlich, wie Polizisten Autorität in der Interaktion mit Klienten herstellen und legitimieren und welche Maßnahmen Klienten ihrerseits ergreifen, um die Situation zu ihren Gunsten zu gestalten.

(De)colonization through topophilia: Marjorie Kinnan Rawlings’s life and work in Florida

(De)colonization Through Topophilia: Marjorie Kinnan Rawlings’s Life and Work in Florida attempts to reveal the author’s intimate connection to and mental growth through her place, namely the Cross Creek environs, and its subsequent effect on her writing. In 1928, Marjorie Kinnan Rawlings and her first husband Charles Rawlings came to Cross Creek, Florida. They bought the shabby farmhouse on Cross Creek Road, trying to be both, writers and farmers. However, while Charles Rawlings was unable to write in the backwoods of the Florida Interior, Rawlings found her literary voice and entered a symbiotic, reciprocal relationship with the natural world of the Cracker frontier. Her biographical preconditions – a childhood spent in the rural area of Rock Creek, outside of Washington D. C. - and a father who had instilled in her a sense of place or topophilia, enabled her to overcome severe marriage tensions and the hostile climate women writers faced during the Depression era. Nature as a helping ally and as an “undomesticated”(1) space/place is a recurrent motif throughout most of Rawlings’s Florida literature. At a time when writing the American landscape/documentary and the extraction of the self from texts was the prevalent literary genre, Marjorie Kinnan Rawlings inscribed herself into her texts. However, she knew that the American public was not yet ready for a ‘feminist revolt’, but was receptive of the longtime ‘inaudible’ voices from America’s regions, especially with regard to urban poverty and a homeward yearning during the Depression years. Fusing with the dynamic eco-consciousness of her Cracker friends and neighbors, Rawlings wrote in the literary category of regionalism enabling her to pursue three of her major aims: an individuated self, a self that assimilated with the ‘master narratives’ of her time and the recognition of the Florida Cracker and Scrub region. The first part of this dissertation briefly introduces the largely unknown and underestimated writer Marjorie Kinnan Rawlings, providing background information on her younger years, the relationship toward her family and other influential persons in her life. Furthermore, it takes a closer look at the literary category of regionalism and Rawlings’s use of ‘place’ in her writings. The second part is concerned with the ‘region’ itself, the state of Florida. It focuses on the natural peculiarities of the state’s Interior, the scrub and hammock land around her Cracker hamlet as well as the unique culture of the Florida Cracker. Part IV is concerned with the analysis of her four Florida books. The author is still widely related to the ever-popular novel The Yearling (1938). South Moon Under (1933) and Golden Apples (1935), her first two novels, have not been frequently republished and have subsequently fallen into oblivion. Cross Creek (1942), Rawlings’s last Florida book, however, has recently gained renewed popularity through its use in classes on nature writers and the non-fiction essay but it requires and is here re-evaluated as the author’s (relational) autobiography. The analysis through place is brought to completion in this work and seems to intentionally close the circle of Rawlings’s Florida writings. It exemplifies once more that detachment from place is impossible for Rawlings and that the intermingling of life and place in literature, is essential for the (re)creation of her identity. Cross Creek is therefore not only one of Rawlings’s greatest achievements; it is more importantly the key to understanding the author’s self and her fiction. Through the ‘natural’ interrelationship of place and self and by looking “mutually outward and inward,”(2) Marjorie Kinnan Rawlings finds her literary voice, a home and ‘a room of her own’ in which to write and come to consciousness. Her Florida literature is not only product but also medium and process in her assessment of her identity and self. _____________ (1) Alaimo, Stacy. Undomesticated Ground: Recasting Nature as Feminist Space (Ithaca: Cornell UP, 2000) 23. (2) Libby, Brooke. “Nature Writing as Refuge: Autobiography in the Natural World” Reading Under the Sign of Nature. New Essays in Ecocriticism. Ed. John Tallmadge and Henry Harrington. (Salt Lake City: The U of Utah P, 2000) 200.

Complex colloids by the emulsion solvent evaporation process

In this thesis, different complex colloids were prepared by the process of solvent evaporation from emulsion droplets (SEED). The term “complex” is used to include both an addressable functionality as well as the heterogeneous nature of the colloids.Firstly, as the SEED process was used throughout the thesis, its mechanism especially in regard to coalescence was investigated,. A wide variety of different techniques was employed to study the coalescence of nanodroplets during the evaporation of the solvent. Techniques such as DLS or FCS turned out not to be suitable methods to determine droplet coalescence because of their dependence on dilution. Thus, other methods were developed. TEM measurements were conducted on mixed polymeric emulsions with the results pointing to an absence of coalescence. However, these results were not quantifiable. FRET measurements on mixed polymeric emulsions also indicated an absence of coalescence. Again the results were not quantifiable. The amount of coalescence taking place was then quantified by the application of DC-FCCS. This method also allowed for measuring coalescence in other processes such as the miniemulsion polymerization or the polycondensation reaction on the interface of the droplets. By simulations it was shown that coalescence is not responsible for the usually observed broad size distribution of the produced particles. Therefore, the process itself, especially the emulsification step, needs to be improved to generate monodisperse colloids.rnThe Janus morphology is probably the best known among the different complex morphologies of nanoparticles. With the help of functional polymers, it was possible to marry click-chemistry to Janus particles. A large library of functional polymers was prepared by copolymerization and subsequent post-functionalization or by ATRP. The polymers were then used to generate Janus particles by the SEED process. Both dually functionalized Janus particles and particles with one functionalized face could be obtained. The latter were used for the quantification of functional groups on the surface of the Janus particles. For this, clickable fluorescent dyes were synthesized. The degree of functionality of the polymers was found to be closely mirrored in the degree of functionality of the surface. Thus, the marriage of click-chemistry to Janus particles was successful.Another complex morphology besides Janus particles are nanocapsules. Stimulus-responsive nanocapsules that show triggered release are a highly demanding and interesting system, as nanocapsules have promising applications in drug delivery and in self-healing materials. To achieve heterogeneity in the polymer shell, the stimulus-responsive block copolymer PVFc-b-PMMA was employed for the preparation of the capsules. The phase separation of the two blocks in the shell of the capsules led to a patchy morphology. These patches could then be oxidized resulting in morphology changes. In addition, swelling occurred because of the hydrophobic to hydrophilic transition of the patches induced by the oxidation. Due to the swelling, an encapsulated payload could diffuse out of the capsules, hence release was achieved.The concept of using block copolymers responsive to one stimulus for the preparation of stimulus-responsive capsules was extended to block copolymers responsive to more than one stimulus. Here, a block copolymer responsive to oxidation and a pH change as well as a block copolymer responsive to a pH change and temperature were studied in detail. The release from the nanocapsules could be regulated by tuning the different stimuli. In addition, by encapsulating stimuli-responsive payloads it was possible to selectively release a payload upon one stimulus but not upon the other one.In conclusion, the approaches taken in the course of this thesis demonstrate the broad applicability and usefulness of the SEED process to generate complex colloids. In addition, the experimental techniques established such as DC-FCCS will provide further insight into other research areas as well.

Gender und Genre in melodramatischen Literaturverfilmungen der Gegenwart - Far From Heaven, The Hours, A Single Man

Die Dissertation Gender und Genre in melodramatischen Literaturverfilmungen der Gegenwart untersucht das Medium Film anhand von Todd Haynes’ Far from Heaven (2002), Stephen Daldrys The Hours (2002) und Tom Fords A Single Man (2009) als Quelle des Wissens über gesellschaftlich-normierte Geschlechterrollen und sozialkonstruierte Genderkonzepte. Die Arbeit versteht sich als eine nachhaltige Schnittstellenforschung zwischen Gender-, Literatur-, Film- und Medienwissenschaften und zeigt die Öffnung der Germanistik für den medial geprägten Kulturwandel, welcher den deutschen bzw. den deutschsprachigen Kulturraum betrifft. Gender und Geschlecht destabilisieren die Gesellschaft und die „heterosexuelle Matrix“ durch das individuelle Suchen, Finden, Konstruieren und Anerkennen einer eigenen, individuellen Genderidentität. Dieser Prozess kann unter Zuhilfenahme des Erzählens von Geschlecht im Film verdeutlicht werden, denn die audiovisuelle Fiktion modelliert Wirklichkeitsvorstellungen und das Wirklichkeitsverständnis der Rezipienten. Wobei offen bleibt, ob die Fiktion die Realität oder die Realität die Fiktion imitiert. Denn es gibt nicht nur eine Wahrheit, sondern mehrere, vielleicht unzählige Bedeutungszuschreibungen. Die drei paradigmatischen Literaturverfilmungen wurden jeweils in Bezug zu ihren Literaturvorlagen von Virginia Woolf, Michael Cunningham und Christopher Isherwood gesetzt. Sie können als Beispiele für ein wissendes, postmodernes Pastiche des Themen-Clusters Diskriminierung/Homophobie/Homosexualität/„Rasse“ gelten. Alle drei Filme verhandeln durch gemeinsame, melodramatische Motive (Spiegel, Telefon, Krieg, Familie) die Darstellbarkeit von Emotionen, Begehren, Sehnsüchten, Einsamkeit und dem Verlust der Liebe. Durch Verbindungslinien zu den Melodramen von Douglas Sirk und mittels den Theorien von u.a. Judith Butler, Stanley Cavell, Carolin Emcke, Thomas Elsaesser, Sigmund Freud, Hermann Kappelhoff und Laura Mulvey wurde das Begriffspaar Genre und Gender her-ausgestellt und im zeitgenössischen Geschlechter-Diskurs verortet. Das im Verlauf der Arbeit erarbeitete Wissen zu Gender, Sexualität, Körper und Geschlecht wurde als ein Gender-Genre-Hybrid verstanden und im Genre des queeren bzw. homosexuellen Melodrams (gay melodrama) neu verortet. Die drei Filme sind als ein Wiederbelebungsversuch bzw. ein Erweiterungsversuch des melodramatischen Genres unter dem Genderaspekt anzusehen. Die Analyse und Dekonstruktion feststehender Begriffe im Kontext der Gender- und Gay Studies und dem Queer Cinema lösen produktive Krisen und damit emanzipierte Verfahren aus. Diese müssen immer wieder neu beschrieben werden, damit sie wahrgenommen und verstanden werden. Daher sind die drei melodramatischen Literaturverfilmungen ein fiktionales Dokumentationsmodell gesellschaftlicher Konflikte, welches anhand individueller Schicksale verdeutlicht wird.