Ein Gespräch mit Cornelia Ulbert zur Governance von Risiken zwischen wissenschaftlicher Analyse und politischer Aushandlung. Die Fragen stellte Karsten Schubert.

The purpose of this article is twofold: on the one hand, we present the outlines of a history of university collections in Germany. On the other hand, we discuss this history as a case study of the changing attitudes of the sciences towards their material heritage. Based on data from 1094 German university collections, we distinguish three periods that are by no means homogeneous but offer a helpful starting point for a discussion of the entangled institutional and epistemic factors in (...) the history of university collections. In the 19th century, university collections were institutionalized and widely recognized as indispensable in research and teaching. During the 20th century, university collection became increasingly marginalized both on an institutional and theoretical level. Towards the end of the 20th century, the situation of university collections improved partly because of their reconsideration as material heritage. (shrink)

Romania and the United States of America share some history that is similar in many respects. Both states have struggled to gain their independence, their sovereignty, and historical recognition. That in which they have followed a different path was about the civilization pattern in which each of the two states was established. We need to remind here and pay all the due respect to them, the Romanian and American historians who have dealt with the early issues of the US-Romanian relations, (...) that is Paul Cernovodeanu, Cornelia Bodea, Ion Stanciu, Dumitru Vitcu, Constantin Bușe, Keith Hitchins, Stephen FischerGalați, Radu R. Florescu, James F. Clarke, and many others. (shrink)

Preliminary Material /Reto Rössler, Tim Sparenberg and Philipp Weber -- Kosmos & Kontingenz /Reto Rössler, Tim Sparenberg and Philipp Weber -- "De la théorie à la pratique“ /Eva Marie Noller -- Mittelalterliche Kosmologie und Kontingenz /Cornelia Selent -- Kontingenz der Stimmen im Kosmos der Lettern -,Atomologie', Technologie und William Baldwins Beware the Cat /Ronja Bodola -- Hypothese, Abweichung und Traum Keplers Ellipsen /Reto Rössler -- "Nur leerer Raum und Schatten“ /Hartmut Böhme -- Gewissheit als sentiment /Christian Reidenbach -- Poiesis (...) im "Gegenhalt“ der anderen Welten: Epistemische und kosmologische Kontingenz bei Breitinger und Brockes /Johannes Wankhammer -- Ungereimtheit - Poesie und Prosa um 1755 /Wolfgang Hottner -- "Es giebt freylich unzähliche Welten“ /Tim Sparenberg -- Kontingenz, Ordnung und realer Grund bei Kant /Thijs Menting -- Im Grunde das Regellose /Philipp Weber -- Kontingenz und Latenz /Helmut Müller-Sievers -- Revolution in Permanenz: Auguste Blanquis Ewigkeit durch die Sterne /Alexandra Heimes -- "Kosmische Gesetze“? /Elisa Ronzheimer -- Vom unendlichen Universum zur Dialektik der Kontingenz /Thomas Ebke -- Stetigkeit im kosmischen Diskontinuum /Timothy Attanucci -- Versuch einer Kosmologie des Performativen in der Kunst /Maximilian Haas -- Kosmopolitismus und Internationalismus: Zwei Modelle, zwei Erbschaften /Étienne Balibar -- Vom kontingenten Kosmos zur Kosmopolitik /Karin Harrasser -- Auswahlbibliographie /Reto Rössler, Tim Sparenberg and Philipp Weber -- Begriffsregister /Reto Rössler, Tim Sparenberg and Philipp Weber -- Autorinnen und Autoren /Reto Rössler, Tim Sparenberg and Philipp Weber. (shrink)

Gregory La Cava’s 1936 screwball comedy film My Man Godfrey is structured by consubstantiality, which will be defined here as the reification of a second, oppositional element in response to the negation of a first. Because the second element is conditioned by the very thing it negated, a third element is required to reverse the (subjective) point of view as corollary to the first, objective reversal. The film takes place in the depths of the Great Depression; its story centers on (...) the discovery and restoration of ‘the forgotten man’, represented by Godfrey Parke, who has renounced his wealth and social position to live in a shanty-town under the pseudonym of Smith following a failed love-affair. After being ‘claimed’ during a scavenger hunt, he becomes the butler of the family of a New York industrialist, Alexander Bullock. One daughter, Irene, falls in love with him; the other, Cornelia, attempts to frame him by planting ‘stolen’ pearls. Godfrey eludes her trap and uses collateral from the pearls to invest in the futures market, where he rescues his host’s company’s shares to save the family from ruin. With surplus funds he reclaims the shanty-town site and builds a modernist night-club, employing his former ‘forgotten men’ companions. Consubstantiality is played out visually and dramatically. Its component parts are encoded into a visual paradigm to demonstrate the toroidal logic that connects consubstantiality to Jacques Lacan’s theories of discourse and sexuation. Here, topology qualifies Freud’s contention that ‘Psyche is extended; knows nothing of it’ by showing how the non-orientation of the 2-d manifold becomes the self-intersecting traps of 3-d immersion – traps that are already well-known as dramatic devices. (shrink)