Friday, December 31, 2010

Best Lube To Masterbate

Dramamine

A slightly older band info ...

Dramamine is a drug that has been converted decades ago by clever Junkies innovative in the active drug use. The effect could be seen as a kind of escapism in an imaginary world, or as a positive rewrite kind of introverted ecstasy. This young band from Germany could provide the soundtrack to such impulses. Loud, noisy, sometimes with a certain pop-affinity, reduced and minimal, the next moment but cocky, doomy and above only as dripping pathos. A heavy, deep bass that can be felt not only by the ears, guitars, who do not want do not fit really, a detailed, herbaceous drums - all paired with an angry, frantic vocals, one more will be learned. They quickly learn that the musicians of this group already in various other formations were, far from a common language to communicate - With the sound of which we speak here, but rather as a different kind of knowledge sounds like an intersection of Press Gang, the Idle Hands and Co. ... Here, the instruments are not touched, here it held tightly! Live in or preserved form, then everything is quiet. It is 2010, and one could argue that the creative pool noisy, verdrogter guitar music was recently exhausted: Dramamine prove the opposite!

Dramamine are malls, Pogo, Julius, Torben & Stebbe. _______________________ _______________________



Dramamine is a medicament that was converted into active drug usage by some resourceful junkies decades ago. The effect can be described as some kind of escapism into an imaginary world, or – in a positive sense – as some kind of introverted ecstasy. This young band from Germany could be the soundtrack for these specific moods as of now. Loud, noisy, then with a certain pop-affinity, minimalistic, but in the very next second pretentious, doomy and oozing with pathos. A heavy, deep bass, which you will not only feel through your ears; guitars, which you will find hard to classify; a krauty drumming with an obvious love for details – all this put together with resentful, hectic vocals, which will finally leave you asking for more. You’re going to realise very quickly that these musicians have used the years they’ve spent in other bands to learn how to communicate in their own special language – although the sound that we’re talking about here emanates from a different awareness; this doesn’t sound like an intersection of Press Gang, Idle Hands, etc. Here the instruments don’t get touched, they’re being cleaved to. Experience it live or on record, afterwards everything will be quieter. It’s 2010, and you might think that the creative reservoir of noisy and drugged guitar music has been exhausted for a long time now: Dramamine prove you wrong!


Dramamine are Malle, Pogo, Julius, Torben & Stebbe.




Dramamine-Blog

Thursday, December 30, 2010

3d Shotacon Western Style

black lines X




»Salut 2010! «


Tuesday, December 28, 2010

Liberty Of The Seas Norwalk

RITUAL











My friends of ritual, that I have been a long time in "Tora Torapa" and have been playing recently in "knife" , I asked for a tape info text. Voilà:
The last release of ritual, the Kissing Pavement-7 "was on Reflections Records, in the limited edition a note stating where the four young men from Recklinghausen in the Ruhr area, now mostly to Munster moved, thanked friends for their loyalty and support. In short, Smith's underlined by a quote from Shakespeare's Sister, for five years. On the back of this slip You can read about the five years, dates and cities in chronological order: there are more than 250 places that were once the scene of a ritual concert. However, it is the development of this fast, dark and sometimes sad angry hardcore band fix not only the experience, to be guessed from this half-world trip. If one on the black vinyl, can listen to it - meaning this time: an energetic, well-defined sound, tight, aggressive percussion, precision, the possibilities of musical genres probing and sometimes by breaking guitars, a hard, cold, brutal bass and then this song: the head shaking the madness of this world, despair, anger and exhaustion forced to throw themselves with all the power and the whole weight of the body against the dullness of life, manifested in a rasping voice, so powerful, so experienced in protest that there is a unpacked and mitschleift, over rough concrete. This RITUAL have become. This band was always good, and now they are better. A large handful of releases has returned to long days and nights in rehearsal rooms, studios and stages of Europe, where a sound was created, which now stands for itself. After Kissing Pavement Julian Laur de Manos, Deni Pavic, Pascal Wagner and Philipp Wulf wrote a new drive, a milestone its continuing effort to reinvent itself and remain faithful to the same time, which was preserved for the New Year in Oldenburg and early 2011 on Reflections Records then sees the light of day. Here you can hear no real influence, but I know that is the huge input that moves the band, not in the rooms of Hardcore identify. If you want to do also, as one of Europe's most popular hardcore bands play live to the public as to respond in every possible occasion is full of passion all that is to be there, should head for one of their concerts. The offer stands.

Sunday, December 26, 2010

Blood Coming Out Of A Cat's Ear

black lines IX


Wednesday, December 22, 2010

How To Make Punkah Fans

Extremely Loud and Incredibly Close

After many pictures (and copies of my hands) is now a very recent work on urban areas, the literary treatment of trauma conditions, 11 September, the Dresden of 1945 and something that you could probably call childlike eccentricity. Looking back, I realize that Foer's text clearly brings together Günther Grass's The Tin Drum by WG Sebald's melancholy Dukturs is certainly inspired by the text / image installation. Sebald was also an author who was against the literary forget the bombing of German cities, making it a wide splits in the discourse of human memory undertook. Foer is taking this very experiment: a literary work-up of the bombing of Dresden. But a focus on our own influence is not so objectionable, not especially when one realizes how does this novel one to stir again. Are such difficult topics and to adopt those aspects relating to his artistry that Jonathan Safran Foer established authors as relevant to the post-(Post-Post-Post-Post-Post. ..) modernity. Listen to: The Beatles "I Am The Walrus"!

trauma and Jonathan Safran Foer rooms in his novel Extremely Loud and Incredibly Close "

Contents:

I. Introduction and objectives
II trauma and space in "Extremely Loud and Incredibly Close"
a. Oskar Schell and 9 / 11
b. New York as a place of trauma
c. The grandparents and their trauma Schell
d. Places and Non-Places: Augé and the home of Schell's
III. Conclusion
IV bibliography


I. Introduction and objectives

subject of this work is Jonathan Safran Foer second [1] novel "Extremely Loud and Incredibly Close," which is published in 2005. It deals with the nine-year-old Oskar Schell of New York and his family. In the seminar "urbanity and transculturation" was written in connection with which this work is different texts that deal with life in the big city, have been analyzed. This changed in the analysis and the perspectives in order to allow the most versatile viewing the city of literature and movies. In this paper, a restriction the perspective made, as Foer novel offers above all, especially for two perspectives, namely the to-find trauma and the importance of space. In the novel, although there is a high diversity discourse, many of the elements of the text construct but are not suitable for a concrete analysis in the context of the topos of the city, as they move into other relationships that move from city motif.
In "Extremely Loud and Incredibly Close" play two cities at a certain time a role, namely the German city of Dresden, during and immediately after the bombing by the Allies in 1945, and with the U.S. New York City around the time of the attacks on the World Trade Center on 11 September 2001, but especially during the two following years.
is parallel are by a montage of stories from the perspective of nine year old Oskar Schell, illustrated with pictures which he makes during his experiences, and letters from his grandmother to him, and through letters of his grandfather to Oscar's late father, of in the attacks in New York in 2001 was killed pulled a narrative line that is marked by the bombing of Dresden and the terrorist attacks. The bombing of Dresden in 1945 here is the cause of the trauma of Oskar's grandparents, he itself is overwhelmed by the loss of his father. The loss also applies Oskar's paternal grandmother, and places the trauma of her childhood by a renewed loss of a loved one again in the present. His grandfather is his father's side for the time being Oskar in secret, with even this renewed trauma experienced when he learns of the death of his son. The grandfather, who like his son, so Oscar deceased father's name, Thomas Schell embodied, but rather the bombing of Dresden and the consequences for the future life of those who were not killed by the bombs.
know the novel in its structure a link of trauma, which related to events in the story for the picture of each city in which they occurred, have defining significance. In addition, the city and certain areas in this set are in relationship with the trauma, on the premise that they are symptomatic of the trauma or from them are promised healing. The topos large city, is thus brought together in certain areas and associated trauma.
The novel makes it to the transfer of various theories of space. This should be focused Marc eye space theory to the places and non-places with the novel set in relation, as they literally occur in the stories about the past of Oskar's grandparents. In the case of Oskar's grandparents, exercises which suffered the bombing of trauma from a strong influence on the later life, so their social life affected by compulsive behaviors and mechanisms that arise in the attempt to arrange, with the past to live in the present can. Of particular importance is the space in which they live together, an apartment in New York. It is useful to consider this against the background of Marc eye space theory, as it is divided by Oskar's grandparents in places and non-places. This allows the hypothesis eye space theory could perhaps even as an inspiration for Foer Construct have acted.
the goals is to be examined which trauma of the protagonists are represented in the novel, and how to construct literary and linked to the rooms. It is first described, have suffered traumatic experiences which the protagonists and how they are represented in literature, and on this basis, to illuminate the room in which they move.
aim of this study is therefore to bring together considerations of the seminar on the theory of space in a topic related trauma and then to perform in the investigation of the novel. Can be found in "Extremely Loud and Incredibly Close" spaces, the scientific with the apparatus of the seminar can be made visible? What do these spaces based on living in each of them traumatized? How do they relate to the big city? The main question is to set the trial as a target to find this out, and is formulated in several parts: What is the trauma of the protagonist in Jonathan Safran Foer's novel "Extremely Loud and Incredibly Close" linked to the environment in which they live?
In the first two substantive chapters describes how the trauma of the respective figures were, how it manifests itself and how trauma is represented here in literature.
Finally, the conclusion to the findings of the investigations are collected, which ultimately will be answered with the knowledge that question.


II trauma and space in "Extremely Loud and Incredibly Close"

a. Oskar Schell and 9 / 11
Oskar's trauma is caused by the loss of his father, he was very close. At no other people had as a child quite eccentric boy, such a relationship of trust like father, Thomas Schell. The two had shared rituals that enhanced the father-son relationship yet. The loss of the father is not the main reason for Oscar's major trauma, but rather the manner of his death: He was on the roof of one of the twin towers of the World Trade Center when it collapsed. Previously, he called home repeatedly, Oskar heard the calls to the answering machine. Shortly before the collapse, he called one last time. At this time, Oskar already home, but did not fear the phone. For him, this gesture is a liability that can not handle it, which also defines the separation from his fellow man, because he is due to the phone calls, of which only he knows something that can not open them. His guilt is so strong that the barrier to the truth he can not overcome, and although it feels really committed to the truth, more and more entangled in lies.
Oscar for his age very pronounced intellect pushes him in his crisis to constantly think up things. In an attempt to think about inventions that the catastrophe of 11 September would prevent the people trapped and could have saved it becomes clear how his entire thinking is shaped by the terrorist attack:
night it was the worst at it. I began to think of things and then I could not stop, like beavers, which I know. People think that they cut down trees to build their dams with it, but in truth they do, because their teeth continually grow, and if they did not grind them constantly, by gnawed through all the logs, they were the teeth into facial growth, and that would be her death. So it was me then with my brain [2].
So he can reflect well that he has a problem, but do not Way out of this.
Oskar's attempt to process his trauma manifests itself in the search for the key he found in the estate of his father's accidental. First, it employs so continue with the father, as he solves a mystery Affected by him will, on the other it continues a ritual from the days when his father was still alive, the playful search [3]. The last task could not be resolved due to the death Thomas Schell, what Oscar is becoming repetitive and not him leave to rest reminder of death is: "And now I will never know everything, what I find really should be" [4]. Shall try Oskar by searching for the key hole, this loose end finish in his relationship with his father because he promises but not a cure for his grief, but by finding a connection to his father feels that beyond his death. When he finally finds the key hole opens up in dialogue with the tenant, who turns out later to Oskar as his grandfather, the paradox in this search, the sense of just the search itself was not the result of:
I did not know what to say. I have found it, and so has the search to an end? I have found it, but it had nothing to do with Dad? I found it, and now I can walk around my whole life with lead feet [5]? "I wish I had not found it." "But you have been looking for it." "That's not what matters." "What then?" "I have found it, and now I can not look for it." I realized it was not understood me. "The search for the lock has helped me, my Dad even a bit longer to close." "Will you give him for not always be near?" I knew the truth. "No." [6].
The search for the castle or the handling of the process has been clarified Here the ambivalence, the Oscars means grieving. One is to process by searching his father's death, on the other keep it in the process of searching any longer in his presence. The finding of the castle before Oskar is the situation, but have found an answer, but at the same time know the father nor too far away. cope
Oscar trauma through the loss of the father and the failure thus created, in the world, observed not only on a physical level, but occurs over this limit. If Oscar has the feeling of doing something wrong in his environment overwhelmed or overrun by his grief is, he makes a bruise. Its auto-aggressive behavior worsened in him while still a feeling that something was wrong with his voice, he concealed the compulsion of his mother.
Adds together to these examples, it becomes clear that Oscar's behavior is shaped by his grief. His trauma is indeed subtle, but permeates all his life. He works constantly with the past, instead of this, as for example, tuen his grandparents to drive out, which means but also that he is constantly exposed to his trauma.
literary finds here no unusual form, which also may be that Oscar so from the perspective of the narrator to a reading public reports, the reader is informed as permanently from its interior. Although the text which will be of Oskar's grandparents told, written from the perspective of a narrator, but they imply a specific card, as they are letters.
At some point, when Oskar is overwhelmed, he tells the reader of actions associated with extreme remarks or violence [7]. Shortly thereafter, it is clear that the described situation has only played in his mind, his wishful thinking is. The reader will be disappointed here, because he first read must be assumed that the described really come about, because do not pick up those parts of the entire text Oscars.
are striking permanently inserted images that capture as in Sebald's novel "The Emigrants" moments that have impressed Oscar in his quest for the door lock and more often represent his feelings. Most of this occurs at the end of the novel, when Oscar says in the last lines that he referred to the death of his father would like to undo what has happened. This is followed by a series of photographs he has apparently printed from the Internet, reverse order in which the principle of the flip show the following, as a man flies from bottom to top of the facade of the World Trade Center along. His fall or jump into the death is wishful thinking Oscars reversed, just as he wants to undo the death of the father [8]. This is clear once again what makes the trauma so intense: Oscar overload, the unfathomable circumstances of the death of his father's grasp.

b. New York as a place of trauma
Oskar's story is reduced to the city of New York. Links the history of the grandparents Schell their time in Dresden with that in New York, New York will be in Oscar's case, to limit his experience. He edited the original plan, all the locks in New York trying to find the right key in the hole for the estate of the father found key [9]. He later reduced the search to all people with the surname "Black", as it is on the envelope in which he finds the key. No matter what point of his experiences while he is, is the scene of a permanent one city, the Central Park and the World Trade Center [10], and the Empire State Building as the representations of New York's home next to the Oscars, namely the "Schell's residence" will and that of his grandmother, and Oskar school and visited the homes of the "Blacks" to the central Handlungsort history. Oscar history is so tied to the city of New York, he moves like a targeted Flaneur motivated by the individual districts to find an answer to the question of the importance of the key. New York is the pitch of his search, and also by the fact, as a city identified with the terrorist attacks to be, the place of his trauma. Oskar begins to explore the city in which he travels to the parts of New York, in which he never true, to find out the truth. The city is simultaneously the space of trauma management, because he fears many of his search, the 11th with the September are linked overcome, it must.
a special place in New York is also a kind of non-place, as the home of the grandparents Schell, which will be presented later in this context [11]: The Sixth District [12]. The sixth district is the brainchild of Oscar's father. The night before the attacks, Thomas Schell told his son a bedtime story about this sixth district, which was his invention, once part of New York, but then broke from the shore and was driven off, is now gone. The sixth district is for Oscar after the death of a father imaginary vanishing point where he thinks if he misses his father very extreme or overwhelmed by a particular situation: "I wish we could crumble to a remote place, for example, in the sixth district" [13]. An imaginary part of the city is therefore a place which promises to cure, it can provide but not because he is not even existent. Thus, the sixth district in the city of New York became the symbol for Oscar's mental dilemma.
addition, the sixth district to a place that represents the absence of Oskar's father. He is missing the link between Oskar and the old Thomas Schell, as they get to know [14]. When they meet for the first time, Oskar describes this meeting as follows: "He was standing on a carpet, I on another. The line where they met, reminded me of a place that is in any of the districts [15]. Later, he exceeds this limit, in which he identified the tenant as his grandfather and bury him with the unabgeschickte letters to Thomas Schell's empty coffin. Thus, the sixth district as an imaginary place in New York as a key element of the story.
c. The grandparents and their trauma Schell
Quite different is the case with Oscar grandparents. Their trauma turns out much more intense, and the literary representation is not equivalent to that which can be found at Oskar. Of course this is connected with the cause of the trauma. The extent of destruction by a four-hour-long bombardment of an entire city is different in its extremes by wrapping two planes into the tallest buildings in the world, then the collapse [16]. involved in the actual filtered Was Oskar disaster only from the outside and alienation through a media, so the grandparents Schell experienced the disaster as being directly affected. Lost Oscar his father were both Thomas Schell and the grandmother, whose name we learn in the novel do not orphans, also lost all the people who were close to them, in the case of Thomas Schell even his unborn child that he expected the sister of his future wife . The consequences of the bombing and the loss manifest themselves in everyday life, which is determined by the trauma. Thomas Schell has stopped speaking, Oscars grandmother torture permanent loss fears. These are just two of the symptoms, that is traumatizing their Foer. Thomas Schell, who before the birth of Oskar's father left his wife, writes his first unborn child a letter every day, since he has left. These letters, he never sent off, but collects them. At the end of the story, he buries them in a symbolic act, digging as an attempt to cope with the trauma, with Oscar the empty coffin of his son and fills it. The letters all bear the heading "Why do not I'm with you." They tell the life story of Thomas Schell Sr., and revolve around the experiences of the night the bombing of Dresden, which indicate the reason why the old Thomas Schell can be with his son, to the loss of his son, whom he still yes never knew of the attacks by 11th September 2001. Inserted into his narrative are similar to Oskar photographs, the castle is always a show that has either a shifted or no keyhole, sometimes also one in which a key is inserted. This assembly combines its history with the search Oscars, the late Thomas Schell is the key by the Post as a link between his father and his son, lock and key at the same time. not
As the old Thomas Schell speaks, he writes everything in the books he always carries with him. In the novel, then the sentences he writes, are printed on each page. Most often one reads "Sorry," which is indeed always in the context of a specific situation is, however, suggests that the endless suffering that has happened to Thomas Schell, could be meant. This is typical of a trauma, as the often traumatized by the situation that caused his injury, is possessed. Cathy Caruth defines trauma as follows:
the pathology [of trauma] is solely in the structure of their experience or perception: At the time of occurrence, the event is not fully embedded into the consciousness or experienced in its entirety. What has happened instead is experienced until later in life, namely the fact that the traumatized person is taken again by him in possession. Traumatized to be means of an image or event possessed to be [17].
Thomas Schell's trauma is expressed in his letters, in which he lived through his situation again. Two letters make it abundantly clear is the trauma he has suffered. To link the traumatic experiences of the bombing of Dresden with the death of the son on 11 September, the second trauma. At first he wrote to his son as someone he does not know, knowing not to send the letters. He speaks to a real person, even though the dialogue does not occur. Thomas Schell needs this imaginary dialogue partner, to testify about his Experiences, which is part of trauma management. Dori Laub describes this process as follows:
includes the trauma of witnessing the listener on by this listener acts as a blank space where the event is registered for the first time [ ...] The person who listens, must therefore be at the same time to witness their own. Only when the continuous sequence of internal risks are aware in themselves and the risks in the inner witness of trauma, it can make the process of testimony. The only way they can produce the witness and also about the process of Testifying and the overwhelming force watch [18].
first Thomas Schell bypasses this requirement, in which he submits the letter, after 11 September 2001, he goes round it, in which he writes to a dead person. His testimony fails because, as his work-up and is buried by the burial of the letters.
not been sent the letter, describing the bombing of Dresden know, on a visual feature, so random and without apparent pattern words and word parts circled in red, which is vaguely reminiscent of herunterhagelnde bombs and explosions. By marking the unstructured and incited acts Report will be transported to endless confusion, Thomas Schell experienced at that time [19]. dies
When his witness is not testifying, he describes Thomas Schell and the trauma he has suffered by his death. The 11th September is thus linked with the bombing of Dresden, the two events are milestones of a biography. Now that Thomas Schell know for sure that his son can not read his story, it opens completely. Thomas Schell's trauma is so great that he can not send its report to a survivor.
Jonathan Safran Foer, in the event of the old Thomas Schell's trauma by the formatting the typeface is most clearly dar. this in the chapter "Why I am not with you - 11/09/2003 [20], in which he describes his meeting with Oskar. The characters move ever further along the nearer Thomas Schell in his descriptions of the present is. At the end of the paragraph is all black, the reader, it is impossible to read the story. In the meeting with Oscar, the death of the Unknown Son and the re-encounter with his wife manifests its life history, present, brings his injury with his life and manifests itself in the excessive demands.
describes in his letter he also, as the contact his wife has taken up again, demonstrating again that he is incapable in its trauma, open to a living person. Here, too, know the text on a specialty. Thomas Schell she is calling from a pay phone and uses the Buchstaben-/Zahlencodierung the phone booth to enter into dialogue. Here are three pages of numbers between 2 and 9 [21]. As can be any number the importance of three or four letters here and the reader is overwhelmed, as a deciphering of this code is beyond the normal reading time. In both cases, the reader may not be able to witness any more than Thomas Schell's dead son.
This construction reflects the difficulties that arise when one tries to deal with trauma. Caty Caruth to the literature is just as much an approach as more traditional methods:
more precise the symptoms of post traumatic stress disorder are identified and defined, the more there seems to be limits to shift our understanding - so that, finally, to psychoanalysis that are medically oriented psychiatry, sociology, history and even literature refers back to explain the PTSD and to heal or to show why traditional explanations and cures no longer apply [22].
Looking Foer draft grandparents Schell, one finds again in this authentic traumatized. Caruth description of traumatized people is like a film for Foer construction of the grandparents could
traumatized people say, man, an impossible story in them, or they themselves are a symptom of a history that they do not wholly owned may [23].
you think of the tattoos "Yes" and "No" to Thomas Schell left and right hands, it is clear that he here just as in Caruth Description symbolizes, which may mean the trauma of such an experience for the individual: he is to survive between the desire and a longing for death caught, which is due to the permanent overwhelmed by life after the disaster, can not speak well, as evidenced by the Tattoos can be seen. So Thomas Schell became symptom-read his own history.
The trauma of Oskar's grandmother, however, is not shown so clearly. At the end of the novel leaves her Oscar to go after her husband, who has taken the excessive demand due again to escape from a regulated life. She writes letters to Oskar, which the novel can be read and distributed are always titled "My Feelings". Here she describes her life story, what they already did once before the birth of Oskar's father. At that time writing down she pressed on her typewriter, however, only the space bar so produced thousands of blank pages for their story told: a story that was the tragedy of the loss of loved ones wiped out [24].
your fear of loss is also reflected in a character, it has developed in dealing with Oskar. If they spend time together, she constantly asks if he was okay, this is always what Oskar needs to confirm [25].
On 11 September mixes the tragedy of her youth with her presence. When they take care of Oscar, because her daughter is not here yet, she is talking to Oscar, trying to distract him. Scattered in this dialogue is a thought:
Sometimes I felt as if the room to collapse on us. Someone was on the bed. Maria, who jumped. Your father, who was sleeping. Anna, I put both hands on the cheeks. My father, who pinched my cheeks. Everything to me [26].
Right after Oskar's mother comes home, and although none about can tell the whereabouts of Thomas Schell, Schell grandmother seems to know what happened to her son, as she also knows that Oscar is already know. "You tried to catch her eye, and I knew you knew it" [27], she later wrote in her letter to Oskar. The loss of a son on 11 September in New York and the loss of their family comes together here in Dresden.

d. Places and Non-Places: Augé and the home of Schell's
Through their experiences, it is the grandparents Schell basically impossible to live in a long-term relationship to lead. They are from her former social environment, the only survivors of the bombing, which also means that they remember from their permanent presence at each other their experiences and the heavy losses. Thus, the home of Schell's, in which they move in after their reunion years after the bombing in New York, to a special place: It is here that living together, which is actually impossible. The grandparents Schell therefore develop a strategy that fails but in the end, but at times allows them to live together, but at the same time, as in the previous chapter in Cary Caruth quote illustrates, is symptomatic of their trauma. They divide their homes into places and Non-places that are subject to certain rules. These rules govern their daily lives, even if they offer in existential question is not answered:
So many rules, sometimes I do not matter at all, which is a rule and what is not, whether we even something for the cause itself sake do today, I leave 'em, that is the central control, or I'm just about to break this key rule [28]?
In the non-places is about privacy, because the non-places mean as opposed to the normal places always to be alone. Shortly after their reunion will begin on Schell to structure their flat in places and non-places, as reported by Thomas Schell
We are only a few months of marriage, as we locked even certain areas of our home as a "non-places" from where it had its absolute privacy, we agreed to the cordoned-off areas not to look, that it is to parts of our apartment acted that did not exist and where they could even stop temporarily to exist, the first was in the bedroom, at the foot of the bed, we marked in colored tape on the carpet, he was just big enough to stand in it may, he was a good place to break up, we knew he was there, but we never looked back, it worked so well that we decided in the living room also set up a non-place, which we thought was necessary, because now and again one would like to dissolve in the living room, and sometimes you simply want resolution so to this area, we made a little larger, so that one could lie down on us, the rule was that we never watched this rectangular area, he did not exist, and if you stayed in it, you could hear even to exist, that was enough for a while, but only for a while, we needed more rules [...][ 29].
The non-places thus mean an entertaining escape from the presence in them, it is possible to stop for a limited period to exist. "We set up in the apartment a safer location. There was heard to be "[30]. This escapism seems necessary in order to survive, is how Thomas Schell, that this rich for a while, but then more rules are needed [31]. The non-places are the basis of life and the structure Schell her apartment from scratch. The places and non-places are never places that can be clearly state, but rather certain delineated areas of the apartment. This can already do the comparison with Marc eye reflections on the places and non-places, Augé says about this:
This applies to the non-place just as the place that it never existed in pure form, but rather sit in it together new places, relations are reconstructed [...][ 32]. are
Assuming that the non-places in Foer novel structured as Augé describes it, fall directly on other parallels. exist, the mere fact that the Schell can stop in the non-places, depends on the light eye to the fact that "a place of identity, relation and history is marked" [33], which in case of dwelling of the Schell yes undoubtedly given, since it marks precisely their situation, whereas "a space that has no identity and call themselves neither relational nor as historically, can a non-place" marks. This fact is disappearing for Schell's basic requirement to enter the non-places, as they solve this from their history. Augé says, "the place will never disappear completely, and the non-place alternate never fully ago" [34] it is also the home of Schell's constantly there, while the non-places remain elusive. This brings the clamp with problems which eventually cause the system to fail, so the locations are different between "something" and "nothing". For a better overview Schell create a plan. "We got the floor plan of our apartment out of the closet in the hall and stuck it inside the front door, we left nothing and something with an orange and a green highlighter from one another" [35]. Schell grandmother urges this a question which in turn shows how the Schell are symptomatic of her own trauma, "I asked him a question that had bothered me since we had set up years ago, the first non-places. What are we? Something or nothing? "[36]. Thomas Schell told in one of his letters, he said it back then:
[...] I said to her: "Something," as I put his hands on his face and like a bridal veil lifted again. "We are something, right?" But in my heart of hearts I knew the truth [37].
After 11 September fall back, the two renewed their trauma in this pattern and go for several hours in a closet in the apartment of his grandmother. This shows conclusively that it is in the non-places is about to get a retreat where you can deal with itself: "[...] we both needed more space for ourselves, Non-places we needed "[38]. In non-life meeting here two meanings of space, namely, its real purpose, and "the relationship that maintains the individual to such spaces" [39]. Refers Augé here even on the public space, it fit his criteria and descriptions of the non-places on the non-places of the Schell Foer novel.


III. Conclusion

Jonathan Safran Foer's novel "Extremely Loud and Incredibly Close" by a family biography brings together two events of history that changed the image of the city in which they passed. Dresden and New York are here Schell to the landmarks of the trauma of the couple. At the same time the attempt of an eccentric boy is presented to cope with the death of his father. This story offers many discourses, centrally, however, concerns the topos of the trauma. The experience and the processing of this attempt by the trauma associated with areas where there is the New York after 11 September for Oskar to the disaster site, but also to a field that draws its way of processing. In the case of Oskar's grandparents taking their joint home a special place. Here you can read their trauma, which is so large that its strategies to restructure the housing so that it offers them fictitious places to disappear and to forget the individual histories for a moment, fails. By 11 September, worse still their trauma and they fall into patterns that recall their dealings with each other after the bombing of Dresden. The trauma of grandparents expressed especially in Thomas Schell and style of writing, this is modified so that the reader of the text in places, can not decipher to guess the intangibility of a traumatic experience can.
The City of New York and the home of Schell's words are directly related to the trauma of the protagonists, in which they are symptomatic of the individual trauma. By Oscar Search for the New York Palace is on the board of an attempt to remember the lost father and at the same time to separate from him, which is the ambivalent nature of grief processing.
marked the home of the grandparents, the superiority of trauma on the individual. Their strategies are linked to the apartment as a room that is split in places and non-places fail, but at the extremes of their trauma. By 11 September will be repeated this trauma. Since the end of the novel is clearly only that Thomas Schell is leaving his wife again, but this goes back to it and probably go with him to Dresden, is left open, as they ultimately deal with the re-traumatization can. been
Marc eye theory of the places and non-places seems to be inspiration for Foer Model to be, as this can engage with the criteria eye. A concrete placing of eye construct can be found, however, since this describes most of public spaces, while the apartment is the Schell's a private room.


IV bibliography

Foer, Jonathan, Extremely Loud and Incredibly Close, Frankfurt am Main 2008 [2005].

Caruth, Cathy: Trauma as a historical experience: the past catch up. In: Ulrich Baer (ed.): No one testifies for the witness. Memorial culture after the Shoah, Frankfurt am Main 2000th

Laub, Dori: witness or the difficulties of listening. In: Ulrich Baer (ed.): No one testifies for the witness. Memorial culture after the Shoah, Frankfurt am Main 2000th

Augé, Marc: Of the locations of the non-places. In: Augé, Marc: Places and non-places. Preliminary to an ethnology of solitude, Frankfurt am Main 1994th


named Literature:

Foer, Jonathan: Everything Is Illuminated, Frankfurt am Main 2005th

Sebald, WG: The Emigrants, Frankfurt am Main 1992nd


Footnotes:

[1] Foer's first novel "Everything Is Illuminated" deals of 2002, already shown with the trauma issues, here through the experiences of a Jewish community, which in National Socialism will be killed, also offers some interesting spaces. So live in one of the houses, which seeks the protagonist, an old woman who kept an incredible amount of books and photographs in her house in order to preserve the memory of the deceased alive.
[2] Foer 2008, 53f
[3] (Foer 2008, 20) "A great game that I played with Dad on some Sundays, the reconnaissance expedition.
[4] Foer 2008, 24
[5] "lead feet" is a colloquial word creations Oscars and means depression.
[6] Foer 2008, 408
[7] For example, in connection with participating in the Shakespeare performance at the Oscar. Here he describes in embedded stage directions, the dialogues that highlight the play, pause, as it is taking some other guy who plays in the play, the skull after he addressed about this and to insult the theater audience modification of the Shakespeare's text, reported how despotic conduct of the accused in the day would be. The scenario ends with the sentence "That would have been great," which eventually becomes clear that everything has only played in Oskar's imagination (cf. Foer 2008, -193).
[8] Cf. Foer 2008, 436-467
[9] Ibid., 60f
[10] The World Trade Center is of course only in Oskar's imagination Handlungsort because it no longer even exist. Since the terrorist attacks of 11 September 2001 but the city changed, the stop and the collapse also be read as a representation of the city.
[11] Cf. Chapter "II d.: Places and Non-Places: Augé and the home of Schell's "
[12] See chapter" The Sixth District, "Foer 2008, 287-296
[13] Foer 2008, 190
[14] where Oskar in this situation, the stranger still as the "tenant" is responsible, the previous phantom lodger to his grandmother about his kinship to win to be he only later clarity .
[15] Foer 2008, 315f
[16] Of course, these two disasters do not ascribe significances who claim to which, the events in its area for the individual has a traumatic significance and are forced the construct of the novel to these two historic events in relation to me [NB d. A.].
[17] Caruth 2000, 85
[18] Laub 2000, 68f
[19] Cf. Foer 2008, 275-286
[20] Ibid., 365-381
[21] Ibid., 356-360
[22] Caruth 2000, 84
[23] Ibid., 86
[24] Cf. Foer, 2008, 160f
[25] Ibid., 135
[26] Ibid., 303
[27] Ebd.
[28] Foer 2008, 145
[29] Ebd., 146f
[30] Foer 2008, 234
[31] s.o.
[32] Augé 1994, 93
[33] Ebd., 92
[34] Ebd., 94
[35] Foer 2008, 149
[36] Ebd., 235f
[37] Ebd., 149
[38] Foer 2008, 367
[39] Augé 1994, 110

Monday, December 20, 2010

Clear Blunt Wrap Side Effects

black lines VIII

Ikusa Otome Valkyrie Onlin

Off gray city walls









Sunday, December 19, 2010

Bad Case Of Ingrown Hair

black lines VII

The next text is already prepared, waiting to publication elsewhere, in parallel here to see the light of the world. But good things take time ... To bridge therefore once again a few black lines, suitable for Christmas!


Tuesday, June 1, 2010

Pkkemon With Genitals

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regard to current events: This site is under construction . The data collection for the time being, Germany is completed. Due to the expansion of the project on China and the U.S., this page is internationalized.

Sunday, May 30, 2010

Do Genital Warts Burn

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Thursday, March 4, 2010

Witty Wedding Invitation Wordings

THORSTEN TREJTNAR ALIAS ECKSTEIN THE FATS CRIMINAL DEFAMATION PIG CRIMINAL DEFAMATION AND CRIMINALS

VERLEUMDUNGSVRBRECHER THORSTEN TREJTNAR PRISON AND POLICE KNOWN AS CLUB PRESIDENT
PROBLEMS

UNEMPLOYED GRAZER Weg 40, 60599 FRANKFURT, AS CRIMINAL DEFAMATION OF FIGS
AGAIN IDENTIFIED.

THE FATS VERLEUMDERSCHWEIN MUST BE IRREVOCABLY HARMLESS!
NAMES AND ADDRESSES OF POLICE
His accomplice URGENT REPORT!
THORSTEN TREJTNAR born 9/18/1969 = THORSTEN RICH ECKSTEIN DEFAMATION, TRADE AND CRIMINAL ASSOCIATION PRESIDENT
CRIMINAL DEFAMATION THORSTEN TREJTNAR, CLUB PRESIDENT OF ...
5th Aug. 2009 ... THE CRIMINAL DEFAMATION THORSTEN TREIJTNAR, and its submerged cowardly criminal defamation, the only Pseudonyms occur ...



But that was the story unfortunately does not end. Although Mr signed as the Treaty would also Thorsten Trejtnar keep it really would have what he has signed the contract:
quote: "... no longer hold any information on the Internet" and
Quote: with "the correspondence authorities , set public institutions ... with immediate effect "...

Far from it. Gjergi B. believed that you can meet with Thorsten Trejtnar agreements that he is complying. Nevertheless, informed the President of the Hessischer Rundfunk thick to report this, that the club an evil impostor arrested has made. Of the contract, and the fact that everything was already paid, he told appeared to contain nothing. We recommend to have a lawyer examine Mr. B., if this breach of the contract agreement has been made by Mr Trejtnar. After all, would Mr. Trejtnar in a breach of contract penalty to pay 2,000 euros. Whether the money ever get is of course questionable. But there are still the imprisoned in order and spare adhesive to make the already Jörg Reinhols aka Fastix from Kassel already had experience recently. (See our report Jörg Reinhardt sat in jail)

We urgently warn against contracts with the money from non-Verein eV, and guess who have a dispute with to first contact the club to a suitable lawyer before even contacting the club will be contacted. Secure the pages with the defamation lawsuit and report it. The file number under which determines the Staatswanwaltschaft Frankfurt vs Thorsten Trejtnar, see above in the private report to Thorsten Trejtnar.
#
Trejtnar Thorsten - Thorsten prosecutor determined
Trejtnar, born Eckstein - penniless and soon convicted? ... When eV from Thorsten Trejtnar or not the club rip-offs ...
schreihals.host22.com/berichterstattung/.../index.html - Cached -
# #


Anti fraudulent office: Who was that! This is not funny anymore!
Thorsten Trejtnar said ... Can you rid of that not even Max Baumann? The nerves. Its complexes, he will live elsewhere. ...
antiabzockzentrale.blogspot.com / ... / who-was-das.html - Cached - Similar
# #

rwegs in the depths of the Web AS AN VERLEUMDERSCHWEIN THORSTEN TREJTNAR MUST BE HARMLESS
!
@ Thorsten Trejtnar ups Urs Vac, why do you publish a supposedly reputable acting president of the Society non eV rip-offs, not a data ...

Saturday, February 20, 2010

Wendy Calio Nip Slips

Thorsten Trejtnar born 09/18/1969, the lazy fat Verleumderschwein police known criminals soon in handcuffs

VERLEUMDUNGSVRBRECHER THORSTEN TREJTNAR PRISON AND POLICE KNOWN AS CLUB PRESIDENT
PROBLEMS
UNEMPLOYED GRAZER Weg 40, 60599 FRANKFURT, AS
FEIGE CRIMINAL DEFAMATION AGAIN IDENTIFIED.

NAMES AND ADDRESSES His accomplice
URGENT POLICE REPORT!
But that was the story unfortunately does not end. Although Mr signed as the Treaty would also Thorsten Trejtnar keep it really would have what he has signed the contract:
quote: "... no longer hold any information on the Internet" and
Quote: with "the correspondence authorities , set public institutions ... with immediate effect "...

Far from it. Gjergi B. believed that you can meet with Thorsten Trejtnar agreements that he is complying. Nevertheless, informed the President of the Hessischer Rundfunk thick, to report that that the club has made an evil fraudster arrested. Of the contract, and the fact that everything was already paid, he told appeared to contain nothing. We recommend to have a lawyer examine Mr. B., if this breach of the contract agreement has been made by Mr Trejtnar. After all, would Mr. Trejtnar in a breach of contract penalty to pay 2,000 euros. Whether the money ever get is of course questionable. But there are still the imprisoned in order and spare adhesive to make the already Jörg Reinhols aka Fastix from Kassel already had experience recently. (See our report Jörg Reinhardt sat in jail)

We urgently warn against contracts with the club not money from eV and advised to contact in case of disputes with the club at the outset to an appropriate lawyer before even contacting the club will be contacted. Secure the pages with the defamation lawsuit and report it. The file number under which determines the Staatswanwaltschaft Frankfurt vs Thorsten Trejtnar, see above in the private report to Thorsten Trejtnar.

Warrior Boot Camp Price

Thorsten Trejtnar the lazy Verleumderschwein police known criminals soon in handcuffs

VERLEUMDUNGSVRBRECHER THORSTEN TREJTNAR PRISON AND POLICE KNOWN AS CLUB PRESIDENT
PROBLEMS
UNEMPLOYED GRAZER Weg 40, 60599 FRANKFURT, AS CRIMINAL DEFAMATION OF FIGS
AGAIN IDENTIFIED.


NAMES AND ADDRESSES His accomplice URGENT POLICE
REPORT!
But that was the story unfortunately does not end. Although Mr signed as the Treaty would also Thorsten Trejtnar keep it really would have what he has signed the contract:
quote: "... no longer hold any information on the Internet" and
Quote: with "the correspondence authorities , set public institutions ... with immediate effect "...

Far from it. Gjergi B. believed that you can meet with Thorsten Trejtnar agreements that he is complying. Nevertheless, informed the President of the Hessischer Rundfunk thick to report this, that the club has made an evil fraudster arrested. Of the contract, and the fact that everything was already paid, he told appeared to contain nothing. We recommend to have a lawyer examine Mr. B., if this breach of the contract agreement has been made by Mr Trejtnar. After all, would Mr. Trejtnar in a breach of contract penalty to pay 2,000 euros. Whether the money ever get is of course questionable. But there are still the imprisoned in order and spare adhesive to make the already Jörg Reinhols aka Fastix from Kassel already had experience recently. (See our report Jörg Reinhardt sat in jail)

We urgently warn against contracts with the money from non-Verein eV, and guess who have a dispute with the club initially on a suitable to contact attorney before even contacting the club will be contacted. Secure the pages with the defamation lawsuit and report it. The file number under which determines the Staatswanwaltschaft Frankfurt vs Thorsten Trejtnar, see above in the private report to Thorsten Trejtnar.