Memes als moderne Bildungsmedien: Humor als Medium pädagogischer Interaktion zur Wissenskonstruktion im Physikunterricht

Memes stellen ein modernes Bildmedium dar. Im Beitrag wird die Frage verfolgt, ob Memes mit ihrem inhärenten Humor innerhalb des Unterrichts auch als Bildungsmedium dienen und didaktisch genutzt werden können. Dazu wird Humor als generalisiertes Kommunikationsmedium pädagogischer Interaktion beschrieben, um Memes als moderne Bildmedien - in ihrer Wirkung als humorvolle Form der affektiven und kognitiven Inkongruenzstiftung - zur Entwicklung von Fachkonzepten im Physikunterricht fassen zu können. (DIPF/Orig.)

Ökonomische Betrachtungen zu kurz- und langfristigen Maßnahmen in der Fischerei. Vorstellung von drei Forschungsprojekten

At present, there is practically no research on fisheries economics in Germany. Due to special interest of a research assistant in the field of land economics at the Institute of Botany of the University of Greifswald two projects on fisheries economics are being carried out, and a Ph. D. thesis on this topic has been finished. Basically two levels must be distinguished: business level and economics. Business economics relate mainly to operational and market analysis, but also to consequences of political measures for a single company. Economical considerations relate to long-term measures. It is important to find a compromise between short-term economical success and stable long-term conditions for the fishery.

能用于三亲杂交的植物双元表达小载体pSY系列的构建及转基因鉴定

根癌农杆菌通过将一段含有“癌”基因的T-DNA导入植物基因组中，引起植物的肿瘤：冠瘿。根癌农杆菌的这种能力来源于Ti质粒（Tumor inducing plasmid）。遗传工程中，根癌农杆菌的这一特性被用来将连接入Ti质粒T-DNA区两个边界之间的外源基因转入植物基因组。随着植物分子生物学的发展，T-DNA转化的原理被进一步阐明，农杆菌介导的转基因技术也得到进一步优化，更适合遗传工程操作。特别是Ti质粒毒性区和T-DNA区的反式作用（即位于不同质粒的T-DNA和毒性区也能侵染植物）被发现以来，双元表达载体的构建使遗传工程操作大为简便。 常用的双元表达载体大小都在11kb以上，尽管远远小于几百kb的野生型Ti质粒，但在实际的体外操作中还是不够简便。常用的植物双元表达载体pBI121的基因序列被测定（Frisch et al.，1995），数据显示非T-DNA区一半以上的序列被发现和功能无关，这使双元载体的进一步缩小成为可能。本文即通过PCR方法克隆到pBI121非T-DNA区中载体复制、三亲杂交必需的片段，结合载体pART27中的T-DNA区（含有真核、原核表达活性的嵌合npt II基因）创造了小的合成型植物表达双元载体pSY1（小于7kb）。然后将pBI121上带有35S启动子和nos终止子的GUS基因克隆到pSY1的T-DNA区中，得到pSY2（约10kb）。进一步用pROK2上的35S启动子和nos终止子区替换pSY2上的GUS表达区，得到pSY3（约8kb）。通过三亲法将pSY2转入根癌农杆菌中，根癌农杆菌再通过叶盘法侵染烟草叶片，获得愈伤组织，愈伤组织进一步分化出小苗。GUS组织化学染色表明GUS基因在转基因的愈伤组织和小苗中均有表达，PCR检测也证明GUS基因被导入了植物基因组。pSY系列载体能成功的用于植物遗传转化。

K-Contagion: Sound, Space and Speed in Psy's 'Gangnam Style'

Park Jae-Sang’s (otherwise known as PSY) bewilderingly successful pop contagion ‘Gangnam Style’ needs no introduction. As of January 2013, it has become the most watched video in YouTube’s history and has garnered over 1.23 billion hits since. ‘Gangnam Style’ has also become a rapid global pop phenomenon with multiple parodic reproductions, imitations and adaptations; Rapper PSY himself has become an international name and styled as the ‘anti-hero’ of the glamour-driven K-pop scene. His fame has transcended the social sphere and permeated the political stratosphere with politicians such as Barrack Obama and David Cameron being among the many whom PSY has exchanged pleasantries with. Apart from breaking ground and creating social and media history in many ways, ‘Gangnam Style’ has even been purported by UN Secretary-General Ban Ki Moon to be a “force for world peace” – cultural barriers are demolished as the world dances. Underlying this sentiment is the video’s almost universal appeal that assumes a supracultural yet equally paradoxical translatability: Korea’s neoteric ‘K-Wave’ phenomenon is at once local yet global, and where the latter is predicated on the former quality. The paper’s concern is thus two-fold. It will consider the dromological aspects of this musical contagion as it exemplifies and performs quite literally Paul Virilio’s thesis that the modern condition is driven by speed yet arrested to a dictatorship of movement. While many theories have been put forward for this astounding pop peculiarity, this paper would also examine the intercultural currents that advocate such a global (pop) cultural response. Through an analysis of sonic qualities – digital techno-beat rhythms, synth-based musicality, cyclical lyrics, horse-galloping movements – and acoustic receptions, it will consider the simultaneous and dichotomous currents of glocalisation and globalisation as it relates to the ways in which sonic ‘hyper-links’ establish new concepts of global-cultural identities even as these seem to be interrogated in the borderless worlds of hyper-mediatised realities and cultural technologies.

Das neue digitale ‚Shakespeare-Bildarchiv Oppel-Hammerschmidt‘ an der Universitätsbibliothek Mainz : Reden und Beiträge anlässlich seiner öffentlichen Vorstellung am 17. November 2008 an der Johannes Gutenberg-Universität Mainz

On the basis of illustrations of Shakespeare's Hamlet, the new digital 'Oppel-Hammerschmidt Shakespeare Illustration Archive' at the Mainz University Library - together with a lavishly-constructed and multiply-linked Web interface version - was presented to the public on 17 November 2008. This e-book, edited by Andreas Anderhub and Hildegard Hammerschmidt-Hummel, contains the speeches and presentations given on the occasion of the opening ceremony of the electronic archive. The collection of the new archive, published here for the first time, holds about 3,500 images and is part of the only Shakespeare illustration archive in the world. The Shakespeare Illustration Archive was founded in 1946 by the internationally acclaimed Shakespeare and Goethe scholar, Prof. Horst Oppel. This part of the archive was donated to the Mainz University Library on condition that its holdings be digitalised and made available to the public. The collection has been named 'The Oppel-Hammerschmidt Shakespeare Illustration Archive' in accordance with the terms of the Agreement of Donation of 9, 15, and 16 September 2005, and honouring the 16 March 1988 Delegation of Authority and Declaration of Intent by Frau Ingeborg Oppel, Prof. Oppel's widow and legal assignee. Vice-President Prof. Jürgen Oldenstein opened the proceedings by noting that 2008 had been a good year for international Shakespeare scholarship. For, in London, the site of the 'Theatre' in Shoreditch, where Shakespeare's company performed, had been unearthed, and in Mainz the Shakespeare Archive had gone online with thousands of illustrations. The Dean of the Faculty of Philosophy and Philology, Prof. Mechthild Dreyer, who mentioned that she herself had long been successfully employing interdisciplinary research methods, took particular pleasure in the transdisciplinary approach to research resolutely pursued by Prof. Hammerschmidt-Hummel. Prof. Clemens Zintzen (Cologne), former President of the Mainz Academy of Literature and Sciences, recalled highlights from the more than sixty-year-long history of the Shakespeare Illustration Archive. Prof. Kurt Otten (Heidelberg and Cambridge) drew an impressive portrait of Horst Oppel's personality as an academic and praised his influential books on Goethe and Shakespeare. He pointed out that Oppel's Shakespeare Illustration Archive, the basis for many a dissertation, had enjoyed great popularity around the world. Prof. Otten also delineated the academic career of Prof. Hammerschmidt-Hummel and her new findings regarding Shakespeare's time, life and work. Prof. Rüdiger Ahrens OBE (Würzburg) drew attention to Prof. Hammerschmidt-Hummel's research results, directly or indirectly arising out of her work on the Shakespeare Illustration Archive. This research had centred on proving the authenticity of four visual representations of Shakespeare (the Chandos and Flower portraits, the Davenant bust and the Darmstadt Shakespeare death mask); solving the mystery around Shakespeare's 'Dark Lady'; and establishing the dramatist's Catholic religion. Prof. Hammerschmidt-Hummel reported on her 'Shakespeare Illustration' project, describing the nature, dimensions and significance of the Archive's pictorial material, which relates to all of Shakespeare's plays and stretches over five centuries. She explained that the digital 'Oppel-Hammerschmidt Illustration Archive' was an addition to the three-volume edition she had compiled, authored and edited for publication in 2003. Unlike the print version, however, the digital collection had only been partly editorially prepared. It represented source material and a basis for further work. Hammerschmidt-Hummel expressed her thanks to the Head of the Central University Library, Dr Andreas Anderhub, for his untiring commitment. After the initial donation had been made, he had entered enthusiastically into setting up the necessary contacts, getting all the work underway, and clearing the legal hurdles. Hammerschmidt-Hummel was especially grateful to University of Mainz librarian Heike Geisel, who had worked for nearly five years to carry out the large-scale digitalization of a total of 8,800 items. Frau Geisel was also extremely resourceful in devising ways of making the collection yield even more, e.g. by classifying and cross-linking the data, assembling clusters of individual topics that lend themselves to research, and (in collaboration with the art historian Dr Klaus Weber) making the archive's index of artists compatible with the data-bank of artists held by the University of Mainz Institute of Art History. In addition, she compiled an extremely helpful 'users' guide' to the new digital collection. Frau Geisel had enjoyed invaluable support from Dr Annette Holzapfel-Pschorn, the leading academic in the Central IT Department at the University, who set up an intelligent, most impressive Web interface using the latest application technologies. Frau Geisel and Dr Holzapfel-Pschorn were highly praised for their convincing demonstration, using illustrations to Hamlet, of how to access this well-devised and exceptionally user-friendly Web version. For legal reasons, Prof. Hammerschmidt-Hummel pointed out, the collection could not be released for open access on the internet. The media - as Dr Anderhub stressed in his foreword - had shown great interest in the new digital collection of thousands of Shakespearean illustrations (cf. Benjamin Cor's TV feature in "Tagesthemen", 17 November 2008, presented by Tom Buhrow). The ‘Oppel-Hammerschmidt Shakespeare Illustration Archive’ should also meet with particular interest not only among academic specialists, but also among the performers of the arts and persons active in the cultural realm in general, as well as theatre and film directors, literary managers, teachers, and countless Shakespeare enthusiasts.

Benefits and challenges in practice-oriented psychotherapy research in Germany: The TK and the QS-PSY-BAY projects of quality assurance in outpatient psychotherapy

Objective: Two patient-focused long-term research projects performed in the German outpatient psychotherapy system are focused on in this article. The TK (Techniker Krankenkasse) project is the first study to evaluate a quality assurance and feedback system with regard to its practical feasibility in German routine care. The other study (“Quality Assurance in Outpatient Psychotherapy in Bavaria”; QS-PSY-BAY) was designed to test a new approach for quality assurance in outpatient psychotherapy using electronic documentation of patient characteristics and outcome parameters. In addition this project provides the opportunity to analyze data on health-related costs for the patients undergoing outpatient psychotherapy. Method: Both projects and their results indicating high effect sizes are briefly described. Results: From the perspectives of the research teams, advisory boards and other stakeholders, the experiences with these projects are discussed focusing on obstacles, challenges, difficulties, and benefits in developing and implementing the studies. The triangle collaboration of therapists, researchers, and health insurance companies/health service institutions turned out to be fruitful in both studies. Conclusions: Despite some controversies between the partners the experiences indicate the importance of practiced-research collaborations to provide relevant information about the delivery of outpatient psychotherapy in the health system