Journal articles on the topic 'Andrew Sowles'

Mit den Geschehnissen der Vergangenheit bei GWI/Agfa mag sich Andrea Fiumicelli nicht mehr beschäftigen. Der neue Chef der IT-Sparte von Agfa setzt für die Zukunft auf die Integration der beiden Agfa-Hauptprodukte Orbis und Impax sowie eine konsequente Internationalisierung. Dabei sollen die Ex-GWI-Vorstände helfen.

Andrea Dinger-Broda und Michael Broda haben vor über 20 Jahren eine verhaltenstherapeutische Praxisgemeinschaft gegründet – in einer ländlichen Region mit hoher Arbeitslosigkeit. Zwei Psychotherapeutinnen und ein Psychotherapeut mit Kassensitz, eine angestellte Psychotherapeutin sowie vier Psychotherapeutinnen in Ausbildung versorgen ca. 280 PatientInnen in laufenden Therapien. Die Wartezeit auf ein Erstgespräch beträgt aktuell vier Monate. Christoph Flückiger hat mit den PraxisgründerInnen gesprochen.

Digitalisierung in sozialen Organisationen sowie digitale Technologien zur Unterstützung der Zusammenarbeit waren bereits vor der Corona-Pandemie weitverbreitet und haben sich inzwischen nicht nur als informelle Lösungen durchgesetzt. Die beiden österreichischen Wissenschaftlerinnen Dr. Sabine Klinger und Prof. Dr. Andrea Mayr haben in einer Studie einige Erfolgsfaktoren digitaler Zusammenarbeit erforscht: Es braucht klare Strukturen und Strategien, um die Digitalisierung der Zusammenarbeit in Organisationen erfolgreich und nachhaltig zu implementieren.

Die Ausbildung, die Heinrich Schütz bei Giovanni Gabrieli erhielt, Organist an San Marco in Venezia, war nicht allein auf die vokale Kompositionstechnik ausgerichtet. Dies ergibt sich nicht nur aus den Hinweisen darauf, dass Schütz in der Folgezeit als Organist wirkte, sondern auch aus einem Vergleich mit dem Berufsbild des Organisten. Anhaltspunkte bieten die Werküberlieferung und biographische Dokumente zu Musikern wie Andrea Gabrieli, Luzzasco Luzzaschi, Girolamo Frescobaldi, Jan Pieterszoon Sweelinck, Samuel Scheidt, Hieronymus Praetorius sowie zu den Gabrieli-Schülern Gregor Aichinger, Johann Grabbe, Christoph Klemsee und Gallus Guggumos. (Autor, Quelle: Bibliographie des Musikschrifttums online)

Abstract Grenzen sind in aller Munde. So singen diverse Philosophen (Régis Debray, Konrad Paul Liessmann, Peter Sloterdijk) das ,,Lob der Grenze(n)“; und der türkische Staatspräsident ermahnt den deutschen Außenminister: ,,Haddini bil“ (Erkenne deine Grenzen). Es gibt Nachrufe auf Stephen Hawking als ,,Der Mann, der keine Grenze akzeptierte“ bzw. ,,Geist ohne Grenze“; und der neue Film von Wim Wenders ist unter dem Titel Grenzenlos in die deutschen Kinos gekommen. Was aber sind Grenzen, wer zieht sie, und in welchem Interesse? Fragen wie diesen geht Andrea Komlosy, Professorin für Wirtschafts- und Sozialgeschichte in Wien sowie Vorsitzende des VGWS, in ihrem neuen Buch nach.

Spoliatus ante omnia restituendus est. Spuilzie as a Scottish method of restitution of lost propertyThe author of the study tries to answer the question about the theory of the nature of possession in Scottish jurisprudence on the basis of the existing model of possessory protection. To this end he analyses spuilzie — a Scottish remedy to seek restitution, popular especially in the 17th and 18th centuries.He presents the views of the most important Scottish jurists, regarded as institutional writers of the day: James Dalrymple, Viscount of Stair; Andrew MacDougall, Lord Bankton; and John Erskine of Carnock. In addition, he presents the case law of Scotland’s Supreme Court Court of Session concerning the subject matter in question.The problems analysed by the author are as follows: the origins and ways of defining the legal basis of the remedy, its legal nature, capacity to sue, separate procedures and forms of defence employed by the sued party in spuilzie cases.Spoliatus ante omnia restituendes est.Spuilzie als schottische Methode der Restitution des entgangenen BesitzesIn der Bearbeitung wurde versucht, die Frage nach der führenden Theorie in der schottischen Rechtslehre für die Entscheidung über die Natur des Besitzes, gestützt auf das geltende Modell des possessorischen Schutzes, zu beantworten. Zu diesem Ziel wurde die spuilzie — schottische Restitutionsklage analysiert, die besonders populär im 17. und 18. Jahrhundert gewesen ist.In dem Aufsatz wurden die Ansichten der führenden Rechtsautoritäten präsentièrt. Gemeint sind hier die als institutionelle Schreiber institutional writers anerkannten: der Viscount von Stair — James Dalrymple, der Lord Bankton — Andrew MacDouall sowie John Erskine aus Carnock. Es wurde auch die führende Rechtsprechung des schottischen Obersten Gerichtes Sessionsgericht in diesem Bereich vorgestellt.Die Erwägungen wurden aufgrund folgender Problematik geführt: Genesis und Art der Definierung der rechtlichen Grundlagen der Klage und ihres rechtlichen Charakters, der Klagebefugnis, der im Rahmen der Verfahren wegen spuilzie bestehender Verfahrensbesonderheiten und der durch den Beklagten präsentierten Verteidigungsformen.

Sowohl im Kontext der kommunalen Integrationspolitik als auch in der Stadtplanung, der Repräsentationspolitik und der regionalen Standort- und Wirtschaftspolitik ist das Thema ,Migration in den Städten‘ wieder auf die politische Agenda gesetzt worden. Doch der Gegenstand, die theoretischen Konzeptualisierungen und die Perspektivierungen sind oft uneindeutig und politisch umkämpft. Gerade auf stadtpolitischer Ebene haben sich zudem starke migrantische Organisationen und Proteste formiert, die oftmals in neuen Allianzen agieren und sich hegemonialen Vorstellungen von ,Integration‘ und ,sozialer Mischung‘ verweigern. Ein Fachgespräch zwischen Natalie Bayer, Andrej Holm und Henrik Lebuhn über städtische Migrationspolitiken in München und Berlin sowie über Fragen und Probleme, die sich auf diesem Feld an der Schnittstelle zwischen kritischer Wissenschaft und praktischer Politik ergeben.

Die ErziehungswissenschaftlerInnen Andrea Batzel und Thorsten Bohl sowie die Linguistin Doreen Bryant legen dort auf 164 Seiten die Evaluation des Tübinger Theatercamps "Stadt der Kinder" vor. Nachdem das theoretische (Sprachförder-)Konzept (11-29) und die theoretischen (erziehungswissenschaftlichen) Grundlagen (S. 30-55) vorgestellt worden sind, werden die Forschungsfragen (56-59), die Methode (60-83) sowie die Ergebnisse (84-141) präsentiert und abschließend diskutiert (142-149). Die Ausführungen zum theoretischen (Sprachförder-)Konzept bestehen im Kern aus der leicht veränderten Fassung des bereits in Scenario 1/2012 publizierten, online frei verfügbaren Aufsatzes zum Pfingstcamp DaZ und Theater: Der dramapädagogische Ansatz zur Förderung der Bildungssprache. In den erziehungswissenschaftlichen Grundlagen werden die im Projekt evaluierten (nichtsprachlichen) Kompetenzen vorgestellt. Der pädagogisch-wissenschaftliche Duktus ist in diesem Kapitel streckenweise für DramapädagogInnen gewöhnungsbedürftig, umkreist aber viele auch für uns relevante Fragen: Was heißt genau sozial kompetent zu sein und wie kann eine solche Kompetenz evaluiert werden? Dieser Duktus mag auch daran liegen, dass diese Abschnitte zum Teil unter Mitarbeit von Studierenden entstanden sind. Die Ergebnisse einer meist mit viel Engagement und Energie angefertigten Abschlussarbeit werden nicht nur von den zu gutachtenden Hochschullehrenden zur Kenntnis genommen, sondern einer interessierten Öffentlichkeit zur Verfügung gestellt. Unter dem Aspekt einer in die aktuelle Forschung eingebundenen Lehre sowie der auf diese Weise praktizierten ...

Der Artikel widmet sich der esoterischen Konzeption der „kosmischen Evolution“ und der Teorie des „neuen Menschen“. Zu Beginn des 20. Jahrhunderts, als die okkulte Philosophie in Europa populär wurde, gewann diese Teorie viele Anhänger, die beschlossen, ihren Bewusstseinszustand zu einem „kosmischen Bewusstsein“ zu entwickeln und ihre Ernährung radikal zu ändern. Die Popularität des Vegetarismus örderte die Gründung zahlreicher vegetarischer Restaurants. Vor der Revolution im Jahre 1917 gab es über 50 von ihnen in Russland. Die Gründer und Kunden der beliebtesten dieser Orte waren Vertreter der Philosophie Lev olstojs sowie russische Teosophen und Posttheosophen. Der von der Esoterik inspirierte Vegetarismus war auch bei der zweiten Generation russischer Symbolisten sehr beliebt (u. a. Andrej Belyj, Maksimilian Vološin, Lev Kobylinskij-Ellis, Boris Leman-Diks, Nikolaj Belocvetov, Margarita Sabašnikova, Klavdija Bugaeva).

Die Verbindung zwischen Verstärkungsfasern und Betonmatrix wird gegenwärtig maßgeblich durch Adhäsionskräfte beeinflusst. Jedoch kann ausschließlich durch Adhäsion das Leistungspotenzial der Verstärkungsfasern nicht vollständig in das Betonbauteil übertragen werden. Für die Ausbildung eines profilierten Gittergewebes, zur Verbesserung des Formschlusses zwischen Bewehrung und Beton, bietet die Webtechnik durch den Einsatz von Dreherstrukturen mit einem gestreckten Steher- und Schussfaden sowie einem umwindenden und profilbildenden Dreherfaden sehr gute Lösungsansätze. Im Rahmen eines IGF-Forschungsprojekts werden leistungsfähige dreherbindige Gewebe auf der Basis von lasttragenden Carbonfasern und profilspendenden alkaliresistenten Glasfasern entwickelt und auf einer Greiferwebmaschine mit Open-Reed-Weaving-Einheit der Lindauer Dornier GmbH, Lindau, umgesetzt. Daniel Weise, Andre Seidel, Gerald Hoffmann, Lars Hahn, Chokri Cherif Institut für Textilmaschinen und Textile Hochleistungswerkstofftechnik (ITM) der TU Dresden, Dresden

Zusammenfassung. Psychopathie ist der relevanteste Prädiktor für die Prognose delinquenten Verhaltens. Bis zum heutigen Zeitpunkt wird Psychopathie üblicherweise mittels der PCL-R ( Hare, 1990/91 ), welche sehr zeit- und kostenaufwendig ist, erfasst. Das Psychopathic Personality Inventory ( Lilienfeld & Andrews, 1996 ) ist ein Selbstrating-Verfahren zur Erfassung psychopathischer Persönlichkeitseigenschaften, welches aus 10 Subskalen mit insgesamt 187 Items (8 Inhaltsskalen mit insgesamt 163 Items und 2 Validitätsskalen mit 24 Items) besteht. Die Deutsche Version wurde einer Stichprobe von insgesamt N = 290 Probanden (N = 187 Probanden einer Stichprobe der Normalbevölkerung und N = 103 Studenten) vorgelegt. Die psychometrischen Eigenschaften (Reliabilität und Validität) zeigen sehr zufrieden stellende Ergebnisse mit einer internen Konsistenz von α = .91 und einer Test-Retest-Reliabilität (nach Pearson; Zeitintervall: 12 Wochen) für den PPI-Gesamtscore von r = .96. Geschlechtsunterschiede für den Gesamtscore sowie für die Skalenscores wurden in erwarteter Richtung gefunden. Abschließend konnte die konvergente sowie diskriminante Validität mittels NEO-FFI und dem Interaktions-Angst-Fragebogen IAF bestätigt werden. Obwohl die faktorielle Struktur (überprüft mittels CFA und EFA) Abweichungen von der Originalversion aufzeigt, kann die deutsche Version des PPI als ein hoch reliables und valides Instrument angesehen werden.

Ende 2012 hat das Zitty Magazin des Tagesspiegels seine Werbekampagne „Das ist so Berlin“ gestartet. Seither sind kleine rot-weiße Aufkleber mit dieser Aussage überall in der Stadt aufgetaucht, auf Mülleimern, U-Bahn-Schildern und Bushaltestellen. Zum Teil als Reaktion auf diese Kampagne, fragt diese kritische, bilinguale Rezension Was ist so Berlin? um die aktuellen Linien und Fragestellungen der Stadtforschung in Berlin zu diskutieren. Dazu werden die Berlin-Sitzungen zweier internationaler Tagungen des Jahres 2013 rezensiert, die Sitzungen der Jahreskonferenz der Association of American Geographers (Los Angeles 9-13 April) und es Jahrestreffen des Research Committee 21 (Berlin 29-31), sowie der Sammelband – The Berlin Reader: A Compendium on Urban Change and Activism (Transcript, 2013), herausgegeben von Matthias Bernt, Britta Grell und Andrej Holm. Im Anschluss betont die Rezension die Notwendigkeit die Vorstellungen zu Berlin und Berlins exceptionalism, die in der Stadtforschung entwickelt werden, fortlaufend so zu beleuchten, dass eine pluralistische Rhetorik, die Position und Verantwortung von Forscher_innen und wissenschaftliche Forschungslücken, berücksichtigt werden.

Der Artikel schließt an die Debatte an, die sich seit den 80er Jahren um die Frage der Chorgröße bei Bach und daraus folgenden Konsequenzen für die heutige Aufführungspraxis dreht. Dabei ist das Anliegen weniger eine Parteinahme innerhalb der Diskussion als eine Erweiterung des zeitlichen Kontextes. So werden die Organisationsprinzipien der Thomaner-"Chöre" von der Frühzeit bis ins 19. Jahrhundert hinein ergründet. Dabei werden Kontinuitäten wie Brüche benannt und der Versuch unternommen, bisher unklare Begrifflichkeiten wie "Chorus", "Coetus" oder "Cantorey" schärfer voneinander abzugrenzen. Als Quellen werden das Album Alumnorum Thomanorum für die Zeit 1730-1800 sowie Rechnungshefte und -bücher vom 17. bis ins 19. Jahrhundert berücksichtigt. Aus diesen neu in die Diskussion eingebrachten sowie bereits bekannten Quellen werden Folgerungen zur Systematik, den Organisationsprinzipien und Einnahmequellen sowie personellen und strukturellen Zusammenhängen zwischen den einzelnen Ensembles der Thomasschule gezogen. Der Anhang liefert dazu unter anderem eine Umschrift und Übersetzung der Regeln für die "Concentores" der Thomas-"Cantoreyen" von 1634 und 1723. Erwähnte Artikel: Bernhard Friedrich Richter: Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs Zeit. BJ 1907, S. 32-78 Hans-Joachim Schulze: Studenten als Bachs Helfer bei der Leipziger Kirchenmusik. BJ 1984, S. 45-52 Hans-Joachim Schulze: Über den Endzweck der Kirchenmusik in Leipzig nach 1750. BJ 1995, S. 191-193 Michael Maul: Der 200. Jahrestag des Augsburger Religionsfriedens (1755) und die Leipziger Bach-Pflege in der zweiten Hälfte des 18. Jahrhunderts. BJ 2000, S. 101-118 Andreas Glöckner: "... daß ohne Hülffe derer Herren Studiosorum der Herr Cantor keine vollstimmende Music würde bestellen können ..." Bemerkungen zur Leipziger Kirchenmusik vor 1723 und nach 1750. BJ 2001, S. 131-140 Michael Maul, Peter Wollny: Quellenkundliches zu Bach-Aufführungen in Köthen, Ronneburg und Leipzig zwischen 1720 und 1760. BJ 2003, S. 97-141 Hans-Joachim Schulze: Parrott, Andrew: Bachs Chor [...] Stuttgart, Weimar, Kassel 2003. BJ 2003, S. 267-270 Andreas Glöckner: Alumnen und Externe in den Kantoreien der Thomasschule zur Zeit Bachs. BJ 2006, S. 9-36 Hans-Joachim Schulze: Neubacher, Jürgen: Georg Philipp Telemanns Hamburger Kirchenmusik [...] Hildesheim, Zürich, New York 2009. BJ 2009, S. 233-238 Joshua Rifkin: Chorliste und Chorgröße bei Johann Sebastian Bach. Neue Überlegungen zu einem alten Thema. BJ 2012, S. 121-143

With the objective of selecting and make available for the Basic Grains Program the promisory germ-plasm of rice, with high potentials for yields, resistant or tolerant to fungi-caused diseases, particularly piricularia (leaf blast), good plant architecture and adapted to different eco-systems in El Salvador. The study was implemented in two different surroundings: the Center for Technological Development in Izalco and the Center for Technological Development in San Andres, using the dry method. We evaluated 91 materials in simple lattice of 10 by 10, with two replicates. Two lots were sowed using six furrows with a lenghth of five meters each, separated by 0.30 meters. We used as indicator the commercial varieties X-10, CENTA A-4, CENTA A-5 and the elite lines L-1951, and L- 1956. The results we obtained were subjected to analysis for variation and selection index, identifying the best 15 materials by their yield, their vegetative cycle, and their reaction to diseases. The outstanding lines were elite L-1956 (5.7 t/Ha), used as indicator, and other lines: CT-8889-10-16-2-1-M, C-109 Cu83-SmCu-11Cu-5CU-1CU-MS, C145Cu82- SmCu-SmNa7Cu-4Cu, 3Cu-2Cu-MS, with yields of 5.6, 5.5. and 5.4. (t/Ha) respectively; all this surpassing the commercial indicator with largest production, CENTA A-5, which yielded 5.2 t/Ha. We recommend the evaluation of selected materials, in yielding assays.

So heftig und kontrovers wie der von Patsy L’Amour LaLove, einer an der HU Berlin promovierten Geschlechterforscherin, herausgegebene Essayband (Beißreflexe, 2017) wurde seit langer Zeit kein (wissenschaftliches) Buch mehr diskutiert. Es drängt sich der Eindruck auf, dass die sich selbst als aktivistische »Polittunte « verstehende Herausgeberin offensichtlich den Zeitgeist eines mit sich selbst strauchelnden Queerfeminismus getroffen habe: Solch eine Vielzahl an mehr als nur leidenschaftlichen Reaktionen allerlei Couleur konnte eine in erster Linie akademische Anthologie mit Texten zur aktuellen Verfassung der LGBTIQ*-Kultur und -Szene sowie zum Stand der akademisch geführten und im Zweifelsfall auch gelebten Queer Studies seit geraumer Zeit nicht verzeichnen – was sich unter anderem in der mittlerweile nun vierten Auflage des Titels innerhalb eines Jahres seit Veröffentlichung niederschlägt. Im Zuge der Debatte, welche in den letzten Wochen und Monaten in verschiedensten Medien (Zeit, Tagesspiegel, NZZ, FAZ, Süddeutsche) um die Publikation entbrannte, haben sich sowohl die darin versammelten AutorInnen als auch Judith Butler, Sabine Hark, Paula-Irene Billa, Alice Schwarzer und andere zu Wort gemeldet. Der selbst als Autor in besagtem Band vertretene freie Journalist und Redakteur Dirk Ludigs beanstandet seinerseits, dass die queeren akademischen Diskurse unserer Tage einem toten Rennen gleichen. Der Stellungskrieg der Kulturtheorien verändere nicht nur nichts mehr in den Köpfen aller Teilnehmenden, seine Debatten gehen zudem noch praktisch spurlos an all jenen vorbei, zu deren Verbesserung der Verhältnisse sie angeblich geführt werden würden. Es sei, so die Position des selber seit den 80er Jahren in der queeraktivistischen Szene Berlins sozialisierten Autors, an der Zeit, die (zu) weitgehende Akademisierung queeren Denkens und Handelns kritisch zu hinterfragen und nach fruchtbaren Quellen für einen anderen queeren Aktivismus zu suchen. Eine entgegengesetzte Position vertritt Andrea Geier. Auch sie räumt ein, dass die Identitätspolitik in eine Krise geraten sei –der Vorwurf, dass mehr um die Anerkennung von Identitäten statt für deren Überwindung gekämpft werde, würde darüber hinaus von Neudeutungen postmoderner Theorien begleiten werden sowie von der Frage, ob sich aus akademischen Theoriediskursen überhaupt noch emanzipatorisches Potential gewinnen ließe. Ihr Beitrag erörtert aus akademisch geschulter und kritischer Perspektive diese Entwicklungen und plädiert mit Nachdruck für eine Debattenkultur, welche sich mit intersektional geschärftem Blick notwendig komplexen Aushandlungsprozessen der uns heute in all ihren komplexen Facetten und Problematiken begegnenden Identitätskultur und -politik auseinandersetzt. It has been a long time since a (scientific) anthology has been discussed so intensely and controversially as it has been the case with the volume of Patsy L’Amour LaLove (Beißreflexe, 2017), who achieved her PhD in Gender studies at the HU Berlin. It is not easy to shake off the impression that the editor, who thinks of herself as an activist »Polittunte« (political pansy) has captured the Zeitgeist of a queer-feminism that is at war with itself: a fact which is reflected in the multitude of rather passionate responses from all kinds of social backgrounds; no other first and foremost academic anthology composed of texts concerning the current constitution of the LGBTIQ*-culture and –scene as well as discussing the current status of academically argued and sometimes lived queer-studies has been able to garner so much attention. The huge success of this work is also reflected in this being the fourth edition within one year since its original publication. Referring to the debate kindled by the anthology which has been present in different newspapers over the past weeks and months (Zeit, Tagesspiegel, NZZ, FAZ, Süddeutsche), some of the authors have made a public statement as well as other public figures such as Judith Butler, Sabine Hark, Paula-Irene Billa and Alice Schwarzer. Free journalist and editor, Dirk Ludigs, who is an author of one of the articles from the anthology has since stated that today’s academic discussion concerning queer subjects resembles a dead heat. The practice of positional warfare in culture theories not only fails to evoke a change in the minds of its participants but rather passes by the very people whose circumstances it originally helped to alleviate. Being an author of the Berlin queer-activist scene since the 1980s he states that it is time to challenge the (too) extensive academisation of queer thinking and action and to be on the outlook for other sources of queer activism. Andrea Geier supports a contradicting position; she, too, acknowledges the crisis of identity politics – the accusation that the fight is mainly about recognition of identity and less about the triumph over it is backed up by new interpretations of postmodern theories as well as the question of whether it is possible to gain emancipatory potential out of academic theory-driven discussions. Her article discussed these developments from an academically educated and critical perspective and expressively supports the call for a culture of debate that, with a keen eye for intersectional themes, discusses the necessarily complex negotiation processes of identity culture and politics in all their facets and inherent problems

Zusammenfassung. In drei Studien mit berufstätigen Personen wird der Versuch einer faktoriellen, konvergenten und diskriminanten Validierung eines Inventars zur Erfassung von intraorganisationalen Einflußstrategien ( Blickle, 1995 ) unternommen. Zur Überprüfung der faktoriellen Validität werden Fremdbeschreibungen des Einflußverhaltens von Kolleginnen und Kollegen sowie Untergebenen erhoben und Faktoren mittels der explorativen Maximum-Likelihood-Methode extrahiert. Es ergeben sich dabei die gleichen Faktoren wie bei den Selbstbeschreibungen der lateralen und nach oben gerichteten Einflußnahme. Zur Prüfung der konvergenten und diskriminanten Validität werden Selbstbeschreibungen des Einflußverhaltens mit je zwei Fremdbeschreibungen im Sinne einer Multitrait-Multimethod-Analyse in Beziehung gesetzt und mit (unvollständigen) Strukturgleichungsmodellen ausgewertet. Die Befunde stützen weitgehend die Validität des Inventars. Es werden die Grenzen von Fremdbeschreibungen nicht-geschulter Beobachter als Validierungsinstrumente diskutiert.

Aggression bzw. Gewalt gehören seit Beginn der Theaterkunst zu den dominierenden Motiven im dramatischen Diskurs. In den letzten Jahren nahm diese Tendenz, beeinflusst vom britischen ‚In-Yer-Face-Theater‘, zu und fand ihren besonderen Ausdruck im ‚neuen Dokumentardrama‘. Am Beispiel der Theatertexte Der Kick (2005) von Andres Veiel und Gesine Schmidt sowie Amoklauf mein Kinderspiel (2006) von Thomas Freyer, die spektakuläre brutale Gewalttaten dokumentieren, analysiert der vorliegende Beitrag zwei Strategien der Dramatisierung von Aggression und hebt die politisch-pädagogische Dimension des ‚neuen Dokumentardramas‘ hervor.

Met die 450e herdenking van die Heidelbergse Kategismus as vertrekpunt, word met die huidige en die vorige artikel gepoog om lig te werp op die plek, die rol en die interpretasie van die opstanding van Jesus Christus in veral Sondag 17 en 22, spesifiek in die konteks van twee besondere eras in die Nederduitse Gereformeerde (NG) Kerk. In die vorige artikel is allereers ’n bespreking gevoer oor die Heidelbergse Kategismus (HK). Daar is gekyk na die resepsie van die betrokke HK-geloofsartikels in die era van Andrew Murray, spesifiek teen die agtergrond van die negentiende-eeuse liberale teologie in Nederland. In die huidige artikel word soortgelyk gekyk na die resepsie van die betrokke HK-geloofsartikels in die NG Kerk na 2000, teen die agtergrond van die herverskyning van die negentiende-eeuse liberale teologie in die vorm van die Jesus Seminaar, die Nuwe Hervorming en ondersteuners daarvan binne die NG Kerk. Sowel die negentiende-eeuse liberale stryd in die NG Kerk asook die stryd oor die opstanding in die NG Kerk van die eerste dekade van die een-en-twintigste eeu, soos verder in hierdie artikel sal blyk, was gekenmerk deur kontekstueelbepaalde uniekhede. Die gemene deler was dat albei deel was van tye van teologiese vrysinnigheid. In die lig van hierdie bespreking word tot die gevolgtrekking gekom dat die NG Kerk tans, betreffende haar identiteit as gereformeerde kerk waarskynlik in ’n kritieke geloofs- en toekomskrisis verkeer. Dit impliseer kommerwekkende gevolge vir haar Skrifverstaan en getuienis as belydenis en belydende kerk van Jesus Christus en haar toekoms. Alleen duidelike visie, verantwoordelike leierskap en ’n herontdekking van die verlossingskrag van Christus se kruis en opstanding sal herstellende, positiewe en dinamiese oplossings kan bied om sodoende die NG Kerk te red van ’n snelwentelende afwaartse spiraal.With the 450th celebrations of the origin of the Heidelberg Catechism (HC) in mind, the main aim of this and the previous article is to focus on the place, role and interpretation of the doctrine of the resurrection in HC (Sunday 17 and 22), within two very specific and critical eras in the history of the Dutch Reformed Church (DRC) in South Africa. The first article focused on the reception of the HC in the time of Andrew Murray during the nineteenth century, and specifically against the background of the then liberal theology in both the Netherlands and South Africa. In this current article I look at the reception of the same HC articles (Sunday 17 and 22) in the DRC after 2000, against the background of the reappearance of the nineteenth century liberal theology in the Netherlands, and specifically with reference to the Jesus Seminar, the New Reformation and those sympathetic to the latter in the DRC. Both these nineteenth- and twenty-first-century developments had their own unique contexts but what they had in common were a specific theological liberal mindset. In view of this discussion it is concluded that the DRC as a reformed church is not only caught up in an identity crisis, but even in a survival crisis of no small proportions. This also has serious implications for its use of Scripture and its confessional character. Only strong vision, able leadership and a rediscovery of the redeeming power of the cross and resurrection of Christ will be able to provide a remedial, positive, and dynamic solution, saving the DRC from an ever downward spiral.

Met die 450e herdenking van die Heidelbergse Kategismus (HK) as vertrekpunt word in twee artikels gepoog om lig te werp op die plek, die rol en die interpretasie van die opstanding van Jesus Christus uit veral Sondag 17 en 22, spesifiek in die konteks van twee besondere eras in die Nederduitse Gereformeerde (NG) Kerk. Na ’n kort bespreking van die Heidelbergse Kategismus , word in hierdie eerste artikel uitgebreid gekyk na die resepsie van die betrokke HK-geloofsartikels in die era van Andrew Murray, spesifiek teen die agtergrond van die negentiende-eeuse liberale teologie in Nederland. In ’n tweede artikel word soortgelyk gekyk na die resepsie van die betrokke HK-geloofsartikels in die NG Kerk na 2000, veral teen die agtergrond van die herverskyning van die liberale teologie in die vorm van die Jesus Seminaar, die Nuwe Hervorming en die aanhangers daarvan se standpunte binne die NG Kerk. Sowel die negentiende-eeuse liberale stryd in die NG Kerk as die stryd rondom die opstanding in die NG Kerk van die eerste dekade van die een-en-twintigste eeu, soos in die tweede artikel duidelik sal blyk, was gekenmerk deur kontekstueelbepaalde uniekhede. Die gemene deler is dat albei deel was van tye van teologiese vrysinnigheid. In die lig van hierdie bespreking, ook ten opsigte van die negentiende eeu, sal tot die gevolgtrekking gekom word dat die NG Kerk, wat sy identiteit as gereformeerde kerk betref, tans waarskynlik in ’n kritieke geloofs- en toekomskrisis verkeer wat kommerwekkende gevolge vir sy Skrifverstaan en getuienis as belydenis en belydende kerk van Jesus Christus en sy toekoms inhou. Alleen ’n duidelike visie, verantwoordelike leierskap en die herontdekking van die kruis en die opstanding as ononderhandelbare heilsgebeure, wat ook deur die HK gehandhaaf word, sal die NG Kerk kan red van ’n snelwentelende afwaartse spiraal. Slegs die pasgenoemde faktore kan ’n herstellende, positiewe en dinamiese oplossing vir hierdie proses bied wat sigself tans in die NG Kerk afspeel.With the 450th celebrations of the origin of the Heidelberg Catechism (HC) in mind, the main aim of two articles is to focus on the place, role and interpretation of the doctrine of the resurrection in this Catechism, within two very specific and critical eras in the history of the Dutch Reformed Church; (DRC) in South Africa. After a brief introduction to the Heidelberg Catechism, the aim in this first article is to focus extensively on the reception of the HC in the time of Andrew Murray during the nineteenth century, and specifically against the background of the then liberal theology in both the Netherlands and South Africa. In the second article I look at the reception of the same HC articles of faith in the DRC since 2000, against the background of the reappearance of the nineteenth century liberal theology in the form of the Jesus Seminar, the New Reformation and those sympathetic to the latter in the DR Church. It will become clear that both these nineteenth and twenty-first century developments had their own unique contexts. What they had in common was a specific theological liberal-mindedness. In view of this discussion about the nineteenth century developments, it will be concluded that the DR Church as a reformed church is currently not only caught up in an identity crisis but even in a survival crisis of no small proportions. This also has serious implications for its use of Scriptures and its confessional character. Only a strong vision, able leadership from all parties within the church and a rediscovery of the redeeming power of the cross and of the resurrection as basic doctrinal tenets, also upheld by the HC, can save the DR Church from an ever moving downward spiral. Only these factors can provide a remedial, positive and dynamic solution to this process in the DR Church.

Precision Livestock Farming (PLF) approach requires immense amount of datacollection, aggregation and processing, using various hardware and softwaresolutions, and is applied in many farms trying to achieve the most efficient andeffective way of production. Hardware and software compatible systems capable ofachieving this goal are called Farm Management Information Systems (FMIS), andare a necessity for a complete and successful implementation for PrecisionAgriculture (PA) branch approaches. However, most of commercially availableFMIS do not only focus on crop management, but also have limited availability tosmall and average sized farms, in terms of price, supported language and specificfeatures. Simpler FMIS, on the other hand, do not have necessary capabilities tofully support PLF. There are currently very small amount of high grade pig farmoriented FMIS, especially for farms with less than a hundred of sows. Therefore,there exists the need for solutions for managing farms with limited number ofsows. To help address this need, authors proposed and developed architecture forunified data warehouse (DW), which was scalable and extendable cloud based datastorage and processing system with support of individual data analysis. DW hascapabilities to data interexchange and/or be integrated in existing FMIS throughoutvariety of data-in/data-out interfaces, like UIs, unmanned data supplier orconsumer systems. The core of the DW is designed to provide data processingflexibility and versatility, whereas data flow within the core is organized betweendata vaults in a controllable and reliable way.

Australian suburbia, historically and culturally, has been viewed as a feminised domain, associated with the domestic and family, routine and order. Where “the city is coded as a masculine and disorderly space… suburbia, as a realm of domesticity and the family, is coded as a feminine and disciplinary space” (Wilson 46). This article argues how the treatment of suburbia in fiction as “feminine” has impacted not only on the representation and development of the character of the “suburban female”, but also on the shape and form of her narrative journeys. Suburbia’s subordination as domestic and everyday, a restrictive realm of housework and child rearing, refers to the anti-suburban critique and establishes the dichotomy of suburbia/feminine/domesticity in contrast to bush or city/masculine/freedom as first observed by Marilyn Lake in her analysis of 1890s Australia. Despite the fact that suburbia necessarily contains the “masculine” as well as the “feminine”, the “feminine” dominates to such an extent that positive masculine traits are threatened there. In social commentary and also literature, the former is viewed negatively as a state from which to escape. As Tim Rowse suggests, “women, domesticity = spiritual starvation. (Men, wide open spaces, achievement = heroism of the Australian spirit)” (208). In twentieth-century Australian fiction, this is especially the case for male characters, the preservation of whose masculinity often depends on a flight from the suburbs to elsewhere—the bush, the city, or overseas. In Patrick White’s The Tree Of Man (1955), for example, During identifies the recurrent male character of the “tear-away” who “flee(s) domesticity and family life” (96). Novelist George Johnston also establishes a satirical depiction of suburbia as both suffocatingly feminine and as a place to escape at any cost. For example, in My Brother Jack (1964), David Meredith “craves escape from the ‘shabby suburban squalor’ into which he was born” (Gerster 566). Suburbia functions as a departure point for the male protagonist who must discard any remnants of femininity, imposed on him by his suburban childhood, before embarking upon narratives of adventure and maturation as far away from the suburbs as possible. Thus, flight becomes essential to the development of male protagonist and proliferates as a narrative trajectory in Australian fiction. Andrew McCann suggests that its prevalence establishes a fictional “struggle with and escape from the suburb as a condition of something like a fully developed personality” (Decomposing 56-57). In this case, any literary attempt to transform the “suburban female”, a character inscribed by her gender and her locale, without recourse to flight appears futile. However, McCann’s assertion rests on a literary tradition of male flight from suburbia, not female. A narrative of female flight is a relatively recent phenomenon, influenced by the second wave feminism of the 1970s and 1980s. For most of the twentieth century, the suburban female typically remained in suburbia, a figure of neglect, satire, and exploitation. A reading of twentieth-century Australian fiction until the 1970s implies that flight from suburbia was not a plausible option for the average “suburban female”. Rather, it is the exceptional heroine, such as Teresa in Christina Stead’s For Love Alone (1945), who is brave, ambitious, or foolish enough to leave, and when she does there were often negative consequences. For most however, suburbia was a setting where she belonged despite its negative attributes. These attributes of conformity and boredom, repetition, and philistinism, as presented by proponents of anti-suburbanism, are mainly depicted as problematic to male characters, not female. Excluded from narratives of flight, for most of the twentieth-century the suburban female typically remained in suburbia, a figure of neglect, satire, and even exploitation, her stories mostly untold. The character of the suburban female emerges out of the suburban/feminine/domestic dichotomy as a recurrent, albeit negative, character in Australian fiction. As Rowse states, the negative image of suburbia is transferred to an equally negative image of women (208). At best, the suburban female is a figure of mild satire; at worst, a menacing threat to masculine values. Male writers George Johnston, Patrick White and, later, David Ireland, portrayed the suburban female as a negative figure, or at least an object of satire, in the life of a male protagonist attempting to escape suburbia and all it stood for. In his satirical novels and plays, for example, Patrick White makes “the unspoken assumption… that suburbia is an essentially female domain” (Gerster 567), exemplifying narrow female stereotypes who “are dumb and age badly, ending up in mindless, usually dissatisfied, maternity and domesticity” (During 95). Feminist Anne Summers condemns White for his portrayal of women which she interprets as a “means of evading having to cope with women as unique and diverse individuals, reducing them instead to a sexist conglomerate”, and for his use of women to “represent suburban stultification” (88). Typically “wife” or “mother”, the suburban female is often used as a convenient device of oppositional resistance to a male lead, while being denied her own voice or story. In Johnston’s My Brother Jack (1964), for example, protagonist David Meredith contrasts “the subdued vigour of fulfillment tempered by a powerful and deeply-lodged serenity” (215) of motherhood displayed by Jack’s wife Shelia with the “smart and mannish” (213) Helen, but nothing deeper is revealed about the inner lives of these female characters. Feminist scholars identify a failure to depict the suburban female as more than a useful stereotype, partially attributing the cause of this failure to a surfeit of patriarchal stories featuring adventuresome male heroes and set in the outback or on foreign battlefields. Summers states how “more written words have been devoted to creating, and then analysing and extolling… [the] Australian male than to any other single facet of Australian life” (82-83). Where she is more active, the suburban female is a malignant force, threatening to undermine masculine goals of self-realisation or achievement, or at her worst, to wholly emasculate the male protagonist such that he is incapable of escape. Even here the motivations behind her actions are not revealed and she appears two-dimensional, viewed only in relation to her destructive effect on the weakened male protagonist. In her criticism of David Ireland’s The Glass Canoe (1976), Joan Kirkby observes how “the suburbs are populated with real women who are represented in the text as angry mothers and wives or simply as the embodiment of voraciously feral sexuality” (5). In those few instances where the suburban female features as more than an accessory to the male narrative, she lacks the courage and inner strength to embark upon her own journey out of suburbia. Instead, she is depicted as a victim, misunderstood and miserable, entrapped by the suburban milieu to which she is meant to belong but, for some unexplored reason, does not. The inference is that this particular suburban female is atypical, potentially flawed in her inability to find contentment within a region strongly designated her own. The unhappy suburban female is therefore tragic, or at least pitiable, languishing in a suburban environment that she loathes, often satirised for her futile resistance to the status quo. Rarely is she permitted the masculine recourse of flight. In those exceptional instances where she does leave, however, she is unlikely to find what she is looking for. A subsequent return to the place of childhood, most often situated in suburbia, is a recurrent narrative in many stories of Australian female protagonist, but less so the male protagonist. Although this mistreatment of the suburban female is most prevalent in fiction by male writers, female writers were also criticised for failing to give a true and authentic voice to her character, regardless of the broader question of whether writers should be truthful in their characterisations. For example, Summers criticises Henry Handel Richardson as “responsible for, if not creating, then at least providing a powerful reinforcement to the idea that women as wives are impediments to male self-realisation” with characters who “reappear, with the monotonous regularity of the weekly wash, as stereotyped and passive suburban housewives” (87-88). All this changed, however, with the arrival of second wave feminism leading to a proliferation of stories of female exodus from the suburbs. A considered portrait of the life of the suburban female in suburbia was neglected in favour of a narrative journey; a trend attributable in part to a feminist polemic that granted her freedom, adventure, and a story so long as she did not dare choose to stay. During the second wave feminism of the 1970s and 1980s, women were urged by leading figures such as Betty Friedan and Germaine Greer to abandon ascribed roles of housewife and mother, led typically in the suburbs, in pursuit of new freedoms and adventures. As Lesley Johnson and Justine Lloyd note, “in exhorting women to ‘leave home’ and find their fulfillment in the world of work, early second wave feminists provided a life story through which women could understand themselves as modern individuals” (154) and it is this “life story” which recurs in women’s fiction of the time. Women writers, many of whom identified as feminist, mirrored these trajectories of flight from suburbia in their novels, transplanting the suburban female from her suburban setting to embark upon “new” narratives of self-discovery. The impact of second wave feminism upon the literary output of Australian women writers during the 1970s and 1980s has been firmly established by feminist scholars Johnson, Lloyd, Lake, and Susan Sheridan, who were also active participants in the movement. Sheridan argues that there has been a strong “relationship of women’s cultural production to feminist ideas and politics” (Faultlines xi) and Johnson identifies a “history of feminism as an awakening” at the heart of these “life stories” (11). Citing Mary Morris, feminist Janet Woolf remarks flight as a means by which a feminine history of stagnation is remedied: “from Penelope to the present, women have waited… If we grow weary of waiting, we can go on a journey” (xxii). The appeal of these narratives may lie in attempts by their female protagonists to find new ways of being outside the traditional limits of a domestic, commonly suburban, existence. Flight, or movement, features as a recurrent narrative mode by which these alternative realities are configured, either by mimicking or subverting traditional narrative forms. Indeed, selection of the appropriate narrative form for these emancipatory journeys differed between writers and became the subject of vigorous, feminist and literary debate. For some feminists, the linear narrative was the only true path to freedom for the female protagonist. Following the work of Carolyn G. Heilbrun and Elaine Showalter, Joy Hooton observes how some feminist critics privileged “the integrated ego and the linear destiny, regarding women’s difference in self-realization as a failure or deprivation” (90). Women writers such as Barbara Hanrahan adopted the traditional linear trajectory, previously reserved for the male protagonist as bushman or soldier, explorer or drifter, to liberate the “suburban female”. These stories feature the female protagonist trading a stultifying life in the suburbs for the city, overseas or, less typically, the outback. During these geographical journeys, she is transformed from her narrow suburban self to a more actualised, worldly self in the mode of a traditional, linear Bildungsroman. For example, Hanrahan’s semi-autobiographical debut The Scent of Eucalyptus (1973) is a story of escape from oppressive suburbia, “concentrating on that favourite Australian theme, the voyage overseas” (Gelder and Salzman, Diversity 63). Similarly, Sea-green (1974) features a “rejection of domestic drabness in favour of experience in London” (Goodwin 252) and Kewpie Doll (1984) is another narrative of flight from the suburbs, this time via pursuit of “an artistic life” (253). In these and other novels, the act of relocation to a specific destination is necessary to transformation, with the inference that the protagonist could not have become what she is at the end of the story without first leaving the suburbs. However, use of this linear narrative, which is also coincidentally anti-suburban, was criticised by Summers (86) for being “masculinist”. To be truly free, she argued, the female protagonist needed to forge her own unique paths to liberation, rather than relying on established masculine lines. Evidence of a “new” non-linear narrative in novels by women writers was interpreted by feminist and literary scholars Gillian Whitlock, Margaret Henderson, Ann Oakley, Sheridan, Johnson, and Summers, as an attempt to capture the female experience more convincingly than the linear form that had been used to recount stories of the journeying male as far back as Homer. Typifying the link between the second wave feminism and fiction, Helen Garner’s Monkey Grip features Nora’s nomadic, non-linear “flights” back and forth across Melbourne’s inner suburbs. Nora’s promiscuity belies her addiction to romantic love that compromises her, even as she struggles to become independent and free. In this way, Nora’s quest for freedom­—fragmented, cyclical, repetitive, impeded by men— mirrors Garner’s “attempt to capture certain areas of female experience” (Gelder and Salzman, Diversity 55), not accessible via a linear narrative. Later, in Honour and Other People’s Children (1980) and The Children’s Bach (1984), the protagonists’ struggles to achieve self-actualisation within a more domesticated, family setting perhaps cast doubt on the efficacy of the feminist call to abandon family, motherhood, and all things domestic in preference for the masculinist tradition of emancipatory flight. Pam Gilbert, for instance, reads The Children’s Bach as “an extremely perceptive analysis of a woman caught within spheres of domesticity, nurturing, loneliness, and sexuality” (18) via the character of “protected suburban mum, Athena” (19). The complexity of this characterisation of a suburban female belies the anti-suburban critique by not resorting to satire or stereotype, but by engaging deeply with a woman’s life inside suburbia. It also allows that flight from suburbia is not always possible, or even desired. Also seeming to contradict the plausibility of linear flight, Jessica Anderson’s Tirra Lirra by the River (1978), features (another) Nora returning to her childhood Brisbane after a lifetime of flight; first from her suburban upbringing and then from a repressive marriage to the relative freedoms of London. The poignancy of the novel, set towards the end of the protagonist’s life, rests in Nora’s inability to find a true sense of belonging, despite her migrations. She “has spent most of her life waiting, confined to houses or places that restrict her, places she feels she does not belong to, including her family home, the city of Brisbane, her husband’s house, Australia itself” (Gleeson-White 184). Thus, although Nora’s life can be read as “the story of a very slow emergence from a doomed attempt to lead a conventional, married life… into an independent existence in London” (Gelder and Salzman, Diversity 65), the novel suggests that the search for belonging—at least for Australian women—is problematic. Moreover, any narrative of female escape from suburbia is potentially problematic due to the gendering of suburban experience as feminine. The suburban female who leaves suburbia necessarily rejects not only her “natural” place of belonging, but domesticity as a way of being and, to some extent, even her sex. In her work on memoir, Hooton identifies a stark difference between the shape of female and male biography to argue that women’s experience of life is innately non-linear. However, the use of non-linear narrative by feminist fiction writers of the second wave was arguably more conscious, even political in seeking a new, untainted form through which to explore the female condition. It was a powerful notion, arguably contributing to a golden age of women’s writing by novelists Helen Garner, Barbara Hanrahan, Jessica Anderson, and others. It also exerted a marked effect on fiction by Kate Grenville, Amanda Lohrey, and Janette Turner Hospital, as well as grunge novelists, well into the 1990s. By contrast, other canonical, albeit older, women writers of the time, Thea Astley and Elizabeth Jolley, neither of whom identified as feminist (Fringe 341; Neuter 196), do not seek to “rescue” the suburban female from her milieu. Like Patrick White, Astley seems, at least superficially, to perpetuate narrow stereotypes of the suburban female as “mindless consumers of fashion” and/or “signifiers of sexual disorder” (Sheridan, Satirist 262). Although flight is permitted those female characters who “need to ‘vanish’ if they are to find some alternative to narrow-mindedness and social oppression” (Gelder and Salzman, Celebration 186), it has little to do with feminism. As Brian Matthews attests of Astley’s work, “nothing could be further from the world-view of the second wave feminist writers of the 1980s” (76) and indeed her female characters are generally less sympathetic than those inhabiting novels by the “feminist” writers. Jolley also leaves the female protagonist to fend for herself, with a more optimistic, forceful vision of “female characters who, in their sheer eccentricity, shed any social expectations” to inhabit “a realm empowered by the imagination” (Gelder and Salzman, Celebration 194). If Jolley’s suburban females desire escape then they must earn it, not by direct or shifting relocations, but via other, more extreme and often creative, modes of transformation. These two writers however, were exceptional in their resistance to the influence of second wave feminism. Thus, three narrative categories emerge in which the suburban female may be transformed: linear flight from suburbia, non-linear flight from suburbia, or non-flight whereby the protagonist remains inside suburbia throughout the entire novel. Evidence of a rejection of the flight narrative by contemporary Australian women writers may signal a re-examination of the suburban female within, not outside, her suburban setting. It may also reveal a weakening of the influence of both second wave feminism and anti-suburban critiques on this much maligned character of Australian fiction, and on suburbia as a fictional setting. References Anderson, Jessica. Tirra Lirra by the River. Melbourne: Macmillan, 1978. Astley, Thea. “Writing as a Neuter: Extracts from Interview by Candida Baker.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. 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A History of Australian Literature. Basingstoke: Macmillan Education, 1986. Greer, Germain. The Female Eunuch. London: Granada, 1970. Hanrahan, Barbara. The Scent of Eucalyptus. St Lucia, Qld: U of Queensland P, 1973. ———. Sea-Green. London: Chatto & Windus, 1974. ———. Kewpie Doll. London: Hogarth Press, 1989. Hooton, Joy. Stories of Herself When Young: Autobiographies of Childhood by Australian Women Writers. Melbourne: Oxford UP, 1990. Ireland, David. The Glass Canoe. Melbourne: Macmillan, 1976. Johnson, Lesley. The Modern Girl: Girlhood and Growing Up. Sydney: Allen & Unwin, 1993. ———, and Justine Lloyd. Sentenced to Everyday Life: Feminism and the Housewife. New York: Berg, 2004. Johnston, George. My Brother Jack. London: Collins/Fontana, 1967. Jolley, Elizabeth. “Fringe Dwellers: Extracts from Interview by Jennifer Ellison.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. Gillian Whitlock. 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