Wanderungen durch Eis und Wüste: Grenzgebiete und Grenzgestalten bei Franz Kafka. Von Vampiren und anderen Kreaturen aus der Zwischenzone.

Presentation (2014)

Wandlungen politisch motivierter Gewalt in der Bundesrepublik

in Gruppendynamik (1995), 26. Jg(1), 89-123

"Wann den Aarmut un d'Dir klappt, spréngt d'Léift zur Fënster eraus"

Article for general public (2015)

Weekly column on contemporary history ("L'histoire du temps présent") in Luxembourg newspaper Tageblatt, here on history of exclusionary policies against poor

Wann kam die Grenze auf die Karte? Zur Konstruktion von Herrschaftsgebieten zwischen Reich und Frankreich in der Frühen Neuzeit

Scientific Conference (2019, September 19)

Feste politische Grenzen, wie man sie heute kennt, die ein Staatsgebiet nach innen wie nach außen umfassend begrenzen, sind im Raum zwischen Maas und Rhein ein Produkt des späten 18. Jahrhunderts. Für ... [more ▼]

Feste politische Grenzen, wie man sie heute kennt, die ein Staatsgebiet nach innen wie nach außen umfassend begrenzen, sind im Raum zwischen Maas und Rhein ein Produkt des späten 18. Jahrhunderts. Für diese Region wird nach dem Ursprung dieser festen Grenzlinien gesucht, die heute ein selbstverständlicher Bestandteil von Karten sind. Seit dem späten 16. Jahrhundert wurden im Westen des Heiligen Römischen Reiches erstmals historische Karten publiziert und im Druck verbreitet, die unser Bild der territorialen Landschaft bis heute prägen. Ab wann aber werden solche Grenzlinien zur Darstellung territorial-räumlicher Verhältnisse verwendet? Und welche Rolle kommt ihnen bei der Konstruktion von Herrschaft im Raum zu? Diesen Fragen widmet sich der Beitrag für die Region zwischen Maas und Rhein. Sie liegt an der Schnittstelle von Germania und Romania und ist durch Einflüsse beiderseits der Sprachgrenze geprägt. [less ▲]

„Wann werde ich alt sein?“ Zur Bedeutung wahrgenommener Restlebenszeit und subjektivem Alter für das Bewusstsein des Älterwerdens.

in Proceedings In E.-M. Kessler, & H.-W. Wahl (Chairs), Subjektive Repräsentationen von normalem und pathologischem Altern. (2011)

Wanting more is not always better: Associations of goal-orientation with age, outcome vs. process focus, and subjective indicators of well-being

Poster (2008, July)

War and the Beautiful : On the Aestheticizing of the First World War in Film Yesterday and Today

in Heil, Reinhard (Ed.) Tensions and Convergences : Technological and Aesthetic Transformations of Society (2007)

Our lecture explores the medial construction and aestheticising of the war, examining current TV documentaries on the First World War. Two time planes are here intertwined: on the first level we see how ... [more ▼]

Our lecture explores the medial construction and aestheticising of the war, examining current TV documentaries on the First World War. Two time planes are here intertwined: on the first level we see how the film medium during World War One lends to the industrialised war events a new aesthetic dimension. In the second, contemporary level, this film material is reassembled and charged with additional significance. Both temporal levels are inseparably intertwined with one another – both construct the modern mythos of the “clean” war. In contemporary TV documentaries the aesthetic of mechanised war is endowed with an additional function that transcends the former. It ties in with a widespread tendency in German mnemonic culture of perceiving the Germans primarily as victims. World War One was not – as is so often asserted – the “first mediatised war“. Already in the American Civil War, as well as in subsequent wars, intensive photo coverage was developed, ever more frequently with the work of amateur photographers. Photographs of war action became ubiquitous. Nevertheless, a qualitative developmental leap did occur in film portrayal during the First World War. At that time, war reports resorted repeatedly to traditional iconographic stylistic devices and pictorial aesthetic conventions of war photography: the weapon still life, “general’s-eye-views“ of the battle field, heroic soldiers, war as “picnic”; especially the non-functional film reports, though, remained rigid, and with a multitude of artificial scenes, delivered a hardly realistic view of combat events. However, the fictional portrayal of war in movies supervened, and by writing over real war experiences with played out scenarios, gradually blurred the distinction between fiction and reality, transforming war into entertainment. The TV documentaries we examined resort to wartime pictorial material, though in their recombination of the film sequences following our contemporary video-aesthetic, with a high pictorial content, quick cuts and dramatic production. This aesthetic is closely oriented towards our contemporary images of the modern, engineered war. Our first part consists in a detailed film- and picture analysis of wartime film material. In our second part, we examine how TV authors work with this material. Our focus here will be on the aestheticising of technological artefacts in war events and the stylising of scientific war research as symbols of modern warfare. These two inquiries constitute the basis of a conclusive synthesis, which examines continuities and breaks in the narration these pictures transport. The lecture offers a contribution to the discussion on the treatment of pictures in the media and in historical science. Inherent in this research is also the principal question of whether the little picture- and film material we have determines our view of the First World War. Are not the images of World War One not rather reread and reassembled in the course of contemporary discourse? [less ▲]

War Children in the Post-war. A West-East perspective on child policies, child experiences and warchildhood remembrance cultures in Europe since 1945

Presentation (2012)

War Losses (Belgium)

in International Encyclopedia of the First World War (2016)

War memory and integration

Presentation (2008)