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Eine Gruppe wird virtuell frei genannt, wenn sie eine freie Untergruppe mit endlichem Index besitzt. Eine wichtige Eigenschaft virtuell freier Gruppen ist die Tatsache, dass ihre Gruppenalgebra (über einem Grundkörper guter Charakteristik) stets erblich ist, d.h. die Kategorie ihrer Darstellungen hat globale Dimension 1. Inhalt der vorliegenden Arbeit ist das Zählen von absolut einfachen und halbeinfachen Darstellungen von endlich erzeugten virtuell freien Gruppen über endlichen Körpern. Es wird unter anderem bewiesen, dass die Anzahl absolut einfacher und halbeinfacher Darstellungen einer gegebenen Dimension durch das Auswerten ganzzahliger Polynome in der Kardinalität des Grundkörpers gegeben ist. Darüber hinaus wird auch die praktische Berechnung dieser Zählpolynome besprochen.

The article argues that the eruption of ‘indignation’ protests after 2011 produced new discourses questioning political representation that challenge one of the most important frameworks of the constructivist turn in democratic theory: Michael Saward’s representative claim. This article analyses these post-representative claims through Gayatri Chakravorty Spivak’s distinction between Vertretung (or representation as ‘acting for’) and Darstellung (aesthetic and performative representation), and concludes that it is possible to discursively construct ‘the people’ without implying representation as ‘stepping in someone’s place’.

Despite the increasing incidence of eating disorders, very few films have addressed these conditions in particular. What's more, most of the US-American mainstream fiction films that deal with eating disorders tend to be built on anachronistic clichés, hardly depicting their broad array. Furthermore, the traditional narrative structure of beginning, middle, and (happy) end misrepresents the erratic temporality of eating disorder symptoms as well as the nonlinear phases of recovery and relapse.

The author presents various theoretical and practical approaches from the US and Germany that tackle the question of how people and societies deal with their histories. He identifies similarities and differences between concepts like public history, popular history, and historical culture and asks whether they reflect on the educational dimension of historical representations in popular media. He also addresses research desiderata, hints at possibilities of interdisciplinary research, and describes the history of historical cultures as a neglected subject for the History of Education field. (DIPF/Orig.)

Demonstrating, representing, or showing is at the heart of every educational action. Historical representations on screen and stage do not "teach" us history but rather influence our ideas and interpretations of it. The contributions to this volume explore the depiction of history in theater and film from the intersection of historical scholarship, aesthetics, memory studies, and education. They examine the creation of historical images, film production and reception, the scriptwriting process, educational programming, and depictions of German-American encounters. Above all else, they explore how various theatrical and filmic productions show history rather than tell it. (DIPF/Orig.)

Even commercial theaters now offer a variety of educational programs for their historical theater productions which provide historical backgrounds and contexts for the plays and enrich regular theater experiences with aspects of historical learning. The author presents a variety of techniques for teaching complicated histories in conjunction with the current playbill. For example, for the stage play adaptations of The Diary of Anne Frank or Harper Lee’s To Kill A Mockingbird, the Stratford Festival arranged post-show chats, workshops, and prologues. She talks about her experiences with this educational framework program and reflects on the impact it had on the audiences. (DIPF/Orig.)

The final contribution examines the production history of Conspiracy (2001), a dramatization of the 1942 Wannsee Conference. The author uses archival sources such as script drafts, meeting minutes, and correspondence in order to trace just how filmmakers create historical images. This piece critically assesses Conspiracy as a case study for how filmmakers responsibly make complex and difficult histories accessible to wide audiences while largely avoiding cliché and sentimentality. Furthermore, as an Anglo-American production, Conspiracy also serves as an example of how Americans have depicted a key event from “German” history that had global impact. (DIPF/Orig.)

In addition to documentary theater, performances that reenact historical events with amateur actors prove to be a form of historical theater that keeps memories alive. Looking at the historical re-enactments at the Offenburger Freedom Festival in Germany or Colonial Williamsburg, Virginia, the author draws attention to the entangled German-American history of the Civil War and discusses the limits and possibilities offered by historical reenactments for history and civic education. He argues that besides the accepted forms of experimental archeology and living history programs in openair museums, historical theater – with students both as actors and audiences in live-action roleplay – can create positive effects for school curriculum-based learning processes. (DIPF/Orig.)

The author discusses the concept of historical images and how storytelling conventions pioneered in early twentieth-century Hollywood became global practices. His contribution uses the film Der Staat gegen Fritz Bauer (2015) as a case study for the creation and transmission of historical images on film. The film, a dramatization of Fritz Bauer’s involvement with the capture of Adolf Eichmann, explores the Attorney General’s life before he served as lead prosecutor at the Frankfurt Auschwitz Trials (1963-1965). He analyzes the ways that Der Staat gegen Fritz Bauer utilizes storytelling techniques pioneered in Hollywood to construct historical images of the Hessian Attorney General while simultaneously perpetuating well-worn myths about Bauer’s private life. For the author, the film exemplifies our current globalized film culture, where differences in national filmmaking styles have largely fallen by the wayside in favor of films that appeal to more global, transnational audiences connected to streaming services and no longer dependent on the theatrical distribution model. (DIPF/Orig.)

Demonstrating, representing, or showing is at the heart of every educational action. Historical representations on screen and stage do not "teach" us history but rather influence our ideas and interpretations of it. The contributions to this volume explore the depiction of history in theater and film from the intersection of historical scholarship, aesthetics, memory studies, and education. They examine the creation of historical images, film production and reception, the scriptwriting process, educational programming, and depictions of German-American encounters. Above all else, they explore how various theatrical and filmic productions show history rather than tell it. (DIPF/Orig.)

This article examines the film historian and critic Richard Schickel’s negative reception of Hollywood war films, particularly William Wyler’s The Best Years of Our Lives (1946). For the author, critics like Richard Schickel miss the mark when they deride war films such as The Best Years of Our Lives as jingoistic and unrealistic lies because they expect too much from the Hollywood dream factory and fall into the trap of casting themselves as crusaders for truth against patriotic propaganda. He argues for a more nuanced approach towards war films which treats audiences with respect instead of as passive consumers unwittingly accepting every fiction Hollywood delivers them. This contribution argues for an acknowledgment of the historical context in which films like The Best Years of Our Lives were made and a more balanced approach for analyzing Hollywood’s depiction of World War II. (DIPF/Orig.)

Historical authenticity in popular media has to be harmonized with aesthetic and dramatic considerations. With concepts like documentary theater (Dokumentartheater), theater-makers challenge historical authenticity and try to make historical sources accessible on stage. The author created another unique theater project based on collected sources. Her play The 614th Commandment is a result of over two years of research on the intersections of public history, documentary theater, and Jewish collective memory undertaken as part of the author’s Master’s thesis research for her Public History degree at the Free University of Berlin. The play itself is based on over 200 interviews conducted with American Jews in Los Angeles, California. She was inspired to embark on this project because of her both her own family history as well as her own experiences living in Berlin. Both the essay and the play deal with the intergenerational passing down of historical trauma and memory and ask how – or if – remembering such painful history can ever become less painful. (DIPF/Orig.)

This dissertation examines how migration and development narratives are (re)produced in transnational digital migrant media using an example of Kenyan migration to Europe. It also raises questions about existing gaps in the literature on the role of the media specifically, transnational digital migrant media in constructing influential discourses. It achieves this quest by submitting to an objective to examine the contribution of migrant media discourses to development in migration-sending countries (De Haas, 2007). Using postcolonial-discourse theoretic approach, the thesis analyses the criteria for selection of texts on migration and development, and how the texts inform the discourse. The theoretical concepts of development in this thesis follow Arturo Escobar’s (1995) deconstruction of conventional development theory. It includes an appreciation of multi-faceted theoretic dynamics, especially historical effects on development and creation of hegemonic disparities causing migration of Kenyans to Europe. The dissertation explores the relation of liberal development narratives to Postcolonial perspectives of Edward Said (1977), Gayatri Chakravorty Spivak (1986) and Homi Bhabha (1983), whose writings expose stereotypes like those found in development constructs. The study highlights similar aspects of representations of migration and development in the media. It does not only expose migrant’s contribution to development but accentuates the discourse forming function of migrant media in the production of heterogeneous narratives on migration and development. This reflection is an attempt to look at possibilities of alternative development trajectories in migrant media and Postcolonial texts, that resist neo-colonial economic narratives forced on people of African descent. The findings for this thesis show that migrant media provides hegemonic ideas on development, as well as alternative counter-hegemonic views. Even though poverty and political instability of Africa characterize narratives in the mainstream media, migrant media utilizes new media platforms for “subalterns” to be heard. Migrants’ inputs on development (re)produced in migrant media, inform a discourse that champions initiatives aimed at improving livelihoods in migration-sending countries. To answer the main sociological question on (re)production of narratives this dissertation learns from Norman Fairclough’s (1995, 2012) guidelines to discourse analysis, as informed from Michel Foucault’s (1980) theoretic approach. As a qualitative research strategy, the dissertation explores Texts from transnational digital migrant media for Kenyans in Europe (Germany and UK) and expert interviews with Kenyan media producers in Germany and in Britain. On this basis, the thesis argues that not only are media expert’s contributors to development but also important creators of a discourse that qualifies migration as a reality in Kenya’s development. Diese Dissertation untersucht, wie Migrations- und Entwicklungserzählungen in transnationalen digitalen Migrantenmedien (am Beispiel der kenianischen Migration nach Europa) (re) produziert werden. Es wirft auch Fragen zu bestehenden Lücken in der Literatur zur Rolle der Medien, insbesondere transnationaler digitaler Migrantenmedien beim Aufbau von einflussreichen Diskursen auf. Dies wird erreicht, indem das Ziel verfolgt wird, den Beitrag von Mediendiskursen für Migranten zur Entwicklung in Migrationsländern zu untersuchen (De Haas, 2007). Im Rahmen des postkolonialdiskurtheoretischen Ansatzes analysiert die Arbeit die Kriterien für die Auswahl von Texten zu Migration und Entwicklung und wie die Texte den Diskurs beeinflussen. Die theoretischen Konzepte der Entwicklung in dieser Arbeit folgen der Dekonstruktion der konventionellen Entwicklungstheorie von Arturo Escobar (1995). Dies beinhaltet eine Bewertung der theoretischen Entwicklungsdynamik und hegemonialer Ungleichheiten, die zu einer Migration der Kenianer nach Europa führen. Die Dissertation untersucht die Beziehung liberaler Entwicklungserzählungen zu postkolonialen Perspektiven von Edward Said (1977), Gayatri Chakravorty Spivak (1986) und Homi Bhabha (1983), deren Schriften Stereotypen wie in Entwicklungskonstrukten aufdecken. Diese Dissertation beleuchtet ähnliche Aspekte von Repräsentationen von Migration und Entwicklung in den Medien. Die Ergebnisse dieser Dissertation zeigen, dass Migrantenmedien sowohl hegemoniale Entwicklungsideen als auch alternative gegenhegemonistische Ansichten liefern. Obwohl Armut und politische Instabilität Afrikas die Erzählungen in den Mainstream-Medien kennzeichnen, nutzen Migrantenmedien neue Medienplattformen, um "Subaltern" zu hören. Die Beiträge der Migranten auf die Entwicklung, die in Migrantenmedien abgebildet werden, informieren über einen Diskurs, der Initiativen fördert, die auf die Verbesserung der Lebensbedingungen in den Migrationsländern abzielen. Zur Beantwortung der wichtigsten soziologischen Frage nach der (Re-) Produktion von Narrativen lernt diese Dissertation aus den Richtlinien von Norman Fairclough (1995, 2012) zur Diskursanalyse, wie sie aus dem theoretischen Ansatz von Michel Foucault (1980) hervorgehen. Als qualitative Forschungsstrategie untersucht die Dissertation Texte aus transnationalen digitalen Migrantenmedien für Kenianer in Europa (Deutschland und Großbritannien) und Experteninterviews mit kenianischen Medienproduzenten in Deutschland und Großbritannien. Auf dieser Grundlage argumentiert die These, dass nicht nur Medienexperten zur Entwicklung beitragen, sondern auch wichtige Gestalter eines Diskurses sind, der Migration als eine Realität in der Entwicklung Kenias qualifiziert.

Der Inhalt der neuen Forschungsergebnisse dieser Arbeit stammen aus Kapitel 3 bis Kapitel 5. Es werden zwei Darstellungen skalarer Zufallsfelder {X(t)|t\in {R}^d} betrachtet, diese umfassen die moving average Darstellungen sowie die harmonizable Darstellungen, welche sich explizit durch das Hinzufügen eines sogenannten temperings von den bereits bekannten Darstellungen, welche unter anderem in [OSSRF] untersucht werden, unterscheidet. Grundlegend dazu wiederholen und führen wir im zweiten Kapitel zunächst verallgemeinerte Polarkoordinaten und E-homogene Funktionen sowie indepdently scattered random measures beziehungsweise multi stabile independently scattered random measures ein, um die entsprechenden Integraldarstellungen tätigen zu können. Anschließend studieren wir diese Darstellungen genauer und zeigen im dritten Kapitel die Existenz sowie das Verhalten der Pfade. Letzteres wird durch stationäre Zuwächse, stochastische Stetigkeit und das lokale Verhalten deutlich. Wir sind in der Lage explizit Elemente des Tangentialraumes anzugeben. Durch das hinzugefügte tempering ist es zudem möglich, bis jetzt nur im Falle der moving average Darstellung, eine weitere Familie von Zufallsfeldern anzugeben, welche durch "Abschneiden" des entsprechenden Integranden entsteht. Diese Zufallsfelder unterscheiden sich maßgeblich von den anderen, da sie stationär sind. In den darauffolgenden Kapiteln vier und fünf erweitern wir die getemperten Zufallsfelder durch die multi Stabilität, sodass der Stabilitätsparameter \alpha nun vom Ort der Betrachtung abhängt. In diesem Fall konnten wir ebenfalls die Existenz der oben genannten beiden Darstellungen sowie reichhaltige Eigenschaften wie stochastische Stetigkeit und das lokale Verhalten untersuchen., The content of the new research results are displayed in the chapters three, four and five and follow an introduction in chapter one as well as a repetition and a provision of basics in chapter two. The main objects throughout the dissertation are two special representations of scalar random fields, namely the moving average and the harmonizable representation. We were able to add a tempering to the already known integrand of the operator scaling stable random fields, which allows us to define several new random fields in chapter three. Moreover, the chapters four and five cover an application of the known generalization of stable random fields by adding a dependence on time or place of the stable parameter alpha onto our new fields. Furthermore, we were able to show properties like stochastic continuity and stationary increments as well as explicit elements of tangent field space for the representations. Last but not least, the new tempering allowed a definition of an isolated random field which differs from the other mentioned ones by stationary.

This article outlines the central components, foundations and key activities of the Feminist Museum Hack, an investigative, pedagogical, analytical and interventionist tool we have designed to explore patriarchal assumptions behind the language, images and stragecrafting (positioning, lighting) of museums and art galleries. We also share findings from a study of student and community participants who employed the Hack in a museum in Canada and an art gallery in England. While differences existed due to institutional genres, findings showed participants’ ability to see and to reimagine absences, objectification, fragmentation, and double-standards and apply these to the world beyond the institution’s walls. As a form of pedagogy of possibility, the Hack encourages critique, just ire and the imagination. As it hones visual literacy skills it emboldens participants to challenge the authority of the museum narratives and to engage in creative practices of agency and activism.

The important role that geometry plays in the mathematics curriculum has been extensively documented. However, the reduction of geometry in school mathematics, and the focus on basic computation and procedures, raises the question of the competencies students acquire and the classroom atmosphere in geometry lessons. The goal of this multiple case study was to analyse four students’ conceptions of geometryand the emotional atmosphere in geometry lessons on an individual level. Drawings were used as external representations of the students’ geometrical ideas and the emotional atmosphere. The results show that the participants have a narrow understanding of geometry, and that geometry teaching in their classrooms is reduced to frontal teaching with very limited communication. Nevertheless, the emotional atmospherein these four cases could be described as positive or ambivalent. Based on the data, the results are discussed not only with regard to the utility of drawings as a research method to gain insights into students’ conceptionsof geometry and emotional atmosphere in geometry lessons, but also with regard to their theoretical and practical implications.

eingereicht von Christina Pichler Literaturverzeichnis: Blatt 113-118 Paris Lodron Universität Salzburg, Diplomarbeit, 2018 (VLID)4991902

Die Dissertation untersucht den Anteil der Armutsthematik an der Etablierung des Kinos in Deutschland. Der Untersuchungsschwerpunkt konzentriert sich auf die Jahre 1907 bis 1913, einer entscheidenden Zeitspanne für die Institutionalisierung des Kinos als Medium sui generis. Ziel der Untersuchung ist es, anhand von Filmanalysen wiederkehrende Muster medialer Praktiken der kinematographischen Artikulation der Sozialen Frage zu eruieren und ihre thematische Relevanz bzw. ihren Anteil für die Etablierung des Kinos in Deutschland zu bestimmen. Im Fokus stehen die Medienprodukte, ihre Motivgestaltung und Inszenierungspraktiken., This dissertation examines the representation of poverty in early cinema and the institutionalization of cinema in Germany. The main concern the articulation of poverty within early short film programmes and long feature films and their significance for the establishment of cinema before 1914.

The study of primary teacher students’ knowledge of fractions is very important because fractions present a principal and highly complex set of concepts and skills within mathematics. The present study examines primary teacher students’ knowledge of fraction representations in Slovenia and Kosovo. According to research, there are five subconstructs of fractions: the part-whole subconstruct, the measure subconstruct, the quotient subconstruct, the operator subconstruct and the ratio subconstruct. Our research focused on the part-whole and the measure subconstructs of fractions, creating nine tasks that were represented by different modes of representation: area/region, number line and sets of objects. The sample consisted of 76 primary teacher students in Slovenia and 93 primary teacher students in Kosovo. Both similarities and differences of the primary teacher students’ interpretations of the representations across the two countries were revealed and compared. The findings suggest that primary teacher students from both countries need to upgrade their understanding of fractions. The analysis confirms that the formal mathematical knowledge acquired by primary teacher students is not necessarily adequate for teaching elementary concepts in school.

Sophisticated science reported on in comics. The once unthinkable is here as comics are being leveraged and enthusiastically welcomed into forums that would have been off limits not long ago. It's an exciting time of change. But in this headlong dash forward, I want to offer a pause for consideration, and suggest that we ask, what are the things that comics do uniquely compared to other forms of representation? And from there, let us explore how we can best take advantage of comics' particular affordances to do with comics things only comics can do.

C’est après deux opus sur l’immigration turque en Allemagne que le réalisateur turc-allemand Fatih Akin décide d’explorer la période la plus sombre de son pays d’origine. Avec le film The Cut (2014), il clôt la trilogie Liebe, Tod und Teufel. Ce mémoire réfléchit sur l’utilisation du genre Western dans la représentation du génocide arménien. Nous ferons tout d’abord un court historique du genre Western et de la représentation génocidaire au cinéma, pour ensuite analyser le film d’après la notion de genre et voir dans quelle mesure l’utilisation d’un genre connu universellement permet à Fatih Akin de ne pas justifier ses choix esthétiques. Au cours de cette analyse, nous nous baserons sur quatre éléments clés afin d’établir un lien avec le genre Western: la figure du héros, les paysages, le mythe de la frontière ainsi que le titre du film lui-même. Le but de ce travail ne sera pas d’être comparatif, mais bien de déterminer dans quelle mesure le film s’inscrit dans le mouvement Postwestern. Enfin, la notion d’identité nous permettra de comprendre de quelle manière le film The Cut s’insère au sein de la trilogie d’Akin., It is after his second opus on Turkish immigration in Germany that Turkish-German director Fatih Akin decided to explore the darkest period of his country of origin. With the film The Cut, he ends the trilogy Liebe, Tod und Teufel. This master’s thesis reflects on the use of the Western genre in the representation of the Armenian Genocide. We will start with a short history of the Western genre and the representation of genocide in cinema. Then we will analyse the film as per the notion of genre and see under which measure the use of a universally known genre enables Fatih Akin to justify his aesthetic choices. During this analysis, we will use four key elements as the groundwork to establish a link with the Western genre. They are the figure of the hero, the landscapes, the myth of the frontier and the title of the film itself. The intention of this research is not to be comparative, but to situate the film within the movement that is the Post-western. Finally, the notion of identity will allow us to understand how the film The Cut exists within Akin’s trilogy., Nach seinem zweiten Opus zur türkischen Immigration entschied sich der türkisch-deutsche Regisseur Fatih Akin, die dunkelste Periode seines Heimatlandes zu verfilmen. Mit dem Film The Cut beendet er seine Trilogie Liebe, Tod und Teufel. Diese Magisterarbeit analysiert die Verwendung des Westerngenres in der Darstellung des armenischen Völkermordes in The Cut. Begonnen wird mit einem kurzen Überblick über die Geschichte des Westerngenres, bevor auf die Darstellung des Völkermords im Film eingegangen wird. Im Anschluss wird untersucht, inwiefern die Verwendung des Genres Western Fatih Akin seine filmästhetischen Entscheidungen ermöglicht. Diese Untersuchung basiert auf der Grundlage von vier Schlüsselmotiven: der Heldenfigur, der Landschaft, des Mythos des Grenzlandes sowie des Filmtitels selbst. Die Intention dieser Analyse ist jedoch nicht vergleichender Natur. Es wird vielmehr versucht, den Film in seine Einzelteile zu zerlegen, um ihn in die Post-Western-Bewegung einbetten zu können, ohne dabei das Identitätsstreben der ersten beiden Filme der Trilogie außer Acht zu lassen. In diesem Kontext lässt sich eine Verbindung mit dem Heimatfilm herstellen und es wird ein besseres Verständnis für die Rolle von The Cut innerhalb der Trilogie ermöglicht.

This essay interrogates how the globally-syndicated series Little Mosque on the Prairie (2007-2012) mobilises one of the most beloved television formats – the situation comedy – to insert a banal and normalised gaze toward Muslims and contest hostile representations of Islam in Western media. Through what I have termed ‘oppositional banality’ the show relocates Muslim identities to the realm of everyday life and out of the confines of global terrorism. Rather than being under the scrutiny of news cameras and viewed through cataclysmic international events the Muslims in Little Mosque are made comical and timeless, subjected to the emotional entanglements of ordinary life.

This article explores issues of representation and the development of participatory practices in the context of researching women's experiences of training to be rape crisis counselors. In moving between context and methods, research generated poetry, participants' responses and preferences, and discussion of textual presences, the layered text format invites the reader to develop a sense of how the reflective practitioner may negotiate, and constantly renegotiate, the unstable nature of what it means to represent both self/ves and Others within participatory qualitative research. URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1201224, Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, Vol 13, No 1 (2012): Participatory Qualitative Research

Dieser Beitrag untersucht Fragen der Darstellung und der Entwicklung von partizipativen Praktiken im Kontext der Erforschung von Erfahrungen von Frauen bei einem Training als Krisenberaterinnen bei Vergewaltigung. Beim Durchgang durch Kontext und Methoden, durch Forschung generierte Dichtung, von Teilnehmer/innenreaktionen und -vorlieben sowie die Diskussion textueller Präsentationen lädt das Format des geschichteten Texts Lesende dazu ein, ein Gefühl dafür zu entwickeln, wie reflektierte Praktiker/innen immer wieder die instabilen Antworten auf die Frage aushandeln müssen, was es innerhalb der partizipativen Forschung bedeutet, beides darzustellen: das Selbst bzw. die Selbste und die Anderen.URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1201224, This article explores issues of representation and the development of participatory practices in the context of researching women's experiences of training to be rape crisis counselors. In moving between context and methods, research generated poetry, participants' responses and preferences, and discussion of textual presences, the layered text format invites the reader to develop a sense of how the reflective practitioner may negotiate, and constantly renegotiate, the unstable nature of what it means to represent both self/ves and Others within participatory qualitative research.URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1201224, Este artículo explora cuestiones de representación y de desarrollo de prácticas participativas en el contexto del investigar las experiencias de las mujeres durante la capacitación para ser consejeras de crisis de violación. Al moverse entre contexto y métodos, la poesía generada por la investigación, las preferencias y respuestas de las participantes, y la discusión de presencias textuales, el formato de texto en capas invita al lector a desarrollar un sentido de cómo la practicante reflexiva pueda negociar, y renegociar constantemente, la naturaleza inestable de lo que significa representarse a si misma y a otras dentro de la investigación cualitativa participativa.URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1201224

Auf einer kompakten torischen Varietät \(\it X\) wird eine Folge p\(_{N}\) von Wahrscheinlichkeitsdichten untersucht, die einen semiklassischen Strahl approximiert. Um explizite asymptotische Aussagen und Formeln herleiten zu können, wird eine zugeordnete Folge streng plurisubharmonischer Funktionen auf ihre Konvergenzeigenschaften untersucht. Es zeigt sich, dass die Grenzfunktion \(\phi_{\xi}\) auch streng plurisubharmonisch ist und somit eine Kählerform auf \(\it X\) definiert. Durch Aussnutzung der Konvexitäts- und Ausschöpfungseigenschaften der Funktion \(\phi_{\xi}\) werden explizite asymptotische Formeln für die Folge p\(_{N}\) und die zugehörige Folge der Verteilungsfunktionen hergeleitet. On a compact toric variety \(\it X\) a sequence p\(_{N}\) of probability densities is investigated that approximates a semiclassical ray. In order to derive explicit asymptotic statements and formulas we examine an associated sequence of strictly plurisubharmonic functions. As it turns out the limit function \(\phi_{\xi}\) is itself strictly plurisubharmonic and, thus, defines a Kähler form on \(\it X\). By applying convexity and exhaustion properties of that function we derive explicit asymptotic formulas for the sequence p\(_{N}\) and the associated sequence of distribution functions.

Minimally invasive surgery represents the standard intervention technique for the treatment of various abdominal diseases. Compared to open surgery, it provides many benefits for the patient, like diminishment of e.g. pain, operative trauma or scarring. To make such treatments more comfortable for the patient, a novel intervention method called "Natural Orifice Translumenal Endoscopic Surgery" (NOTES) is currently investigated. Here, visible scarring is avoided by introducing the needed endoscopes and instruments through anatomical openings and performing all needed incisions at the interior of the body. While both intervention methods are preferable because of faster recovery of the patient, their execution exhibits a great challenge. In contrast to open surgery, there exist several drawbacks for the surgeon, which include a missing spatial view at the operation field, unusual hand-eye coordination and restricted movement of endoscopes and instruments. To circumvent these problems, there is an ongoing research for development of computer algorithms and hardware systems which support the surgeon during these interventions. In this context, one step is the recent experimental introduction of the novel technology of "Time-of-Flight" (ToF) cameras into endoscopic surgery. This technology enables the acquisition of depth images of the operation field at interactive frame rates. This additional information source provides valuable data for a wide range of medical applications, provided that computer algorithms are applied that utilize this information efficiently. This thesis contributes to the depicted medical scenario and introduces several new algorithms for the processing of color and depth image sequences of operation fields. Based on this input, the algorithms deal with the tasks of surface reconstruction, surface rendering and augmented visualization. All proposed algorithms are capable of processing the incoming data incrementally, thus allowing the user to interactively control the progress of acquisition and processing. Die minimal-invasive Chirurgie stellt heutzutage die übliche Interventionsmethode dar, um verschiedenste Erkrankungen im Abdominalbereich zu behandeln. Im Vergleich zur offenen Chirurgie bietet diese viele Vorteile für den Patienten, beispielsweise eine Reduktion von Schmerzen, operativen Verletzungen und Narbenbildung. Um solche Behandlungen für den Patienten noch unproblematischer zu gestalten, wird momentan eine neuartige Behandlungsmethode namens "transluminale endoskopische Chirurgie durch natürliche Körperöffnungen" ("Natural Orifice Translumenal Endoscopic Surgery" -- NOTES) untersucht. Hierbei wird sichtbare Narbenbildung vollständig vermieden, indem die zur Operation benötigten Endoskope und Instrumente durch anatomische Öffnungen eingeführt, und notwendige Schnitte ausschließlich im Inneren des Körpers durchgeführt werden. Während beide Behandlungsmethoden in Hinblick auf die Genesung des Patienten vorzuziehen sind, stellt deren Durchführung eine große Herausforderung dar. Im Gegensatz zur offenen Chirurgie ergeben sich hier einige Schwierigkeiten für den Chirurgen, beispielsweise eine fehlende räumliche Sicht auf das Operationsgebiet, eine ungewohnte Hand-Auge-Koordination oder eine eingeschränkte Bewegungsfreiheit von Endoskop und Instrumenten. Um diese Probleme anzugehen, finden kontinuierlich Forschungsarbeiten zur Entwicklung von Algorithmen und Hardwaresystemen statt, welche den Chirurgen während dieser Eingriffe unterstützen. Ein Ergebnis in diesem Zusammenhang ist eine erste experimentelle Einführung der neuartigen "Time-of-Flight"-Kameratechnologie im Bereich der endoskopischen Chirurgie. Diese Technologie ermöglicht die Aufnahme von Tiefenbildern des Operationsgebietes bei interaktiven Bildwiederholraten. Diese zusätzliche Informationsquelle stellt wertvolle Daten für eine Reihe von medizinischen Anwendungen bereit, sofern Algorithmen angewendet werden können, welche diese Informationen effizient umsetzen. Die vorliegende Arbeit leistet einen Beitrag zu dem geschilderten medizinischen Szenario, indem sie eine Reihe von neuen Algorithmen zur Verarbeitung von Farb- und Tiefenbildsequenzen von Operationsgebieten einführt. Basierend auf diesen Eingabedaten beschäftigen sich diese Algorithmen mit der Oberflächenrekonstruktion, der Darstellung von Oberflächen sowie deren erweiterten Visualisierung. Alle dargestellten Algorithmen sind in der Lage, die eingehenden Daten inkrementell zu verarbeiten, und ermöglichen es dem Benutzer, den Verlauf von Aufnahme und Verarbeitung interaktiv zu steuern.

Image-Based Rendering is the task of generating novel views from existing images. In this thesis different new methods to solve this problem are presented. These methods are designed to fulfil special goals such as scalability and interactive rendering performance. First, the theory of the Plenoptic Function is introduced as the mathematical foundation of image formation. Then a new taxonomy is introduced to categorise existing methods and an extensive overview of known approaches is given. This is followed by a detailed analysis of the design goals and the requirements with regards to input data. It is concluded that for perspectively correct image generation from sparse spatial sampling geometry information about the scene is necessary. This leads to the design of three different Image-Based Rendering methods. The rendering results are analysed on different data sets. For this analysis, error metrics are defined to evaluate different aspects.