{"id":30,"date":"2021-04-23T14:42:16","date_gmt":"2021-04-23T12:42:16","guid":{"rendered":"https:\/\/www.hgb-leipzig.de\/gendermedienaffekt\/?p=30"},"modified":"2021-07-16T16:29:47","modified_gmt":"2021-07-16T14:29:47","slug":"publikationen","status":"publish","type":"post","link":"https:\/\/www.hgb-leipzig.de\/gendermedienaffekt\/en\/publikationen\/","title":{"rendered":"Publications"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":89,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"grid":"{\r\n  \"colCount\": 12,\r\n  \"colGutter\": 1,\r\n  \"rowGutters\": [\r\n    2,\r\n    2,\r\n    2,\r\n    2,\r\n    2,\r\n    2,\r\n    2\r\n  ],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 16,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {}\r\n  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\"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 460,\r\n      \"attid\": 319,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Irina1.jpg\"\r\n      },\r\n      \"w\": 153,\r\n      \"h\": 217,\r\n      \"ar\": 1.4183006535947713,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">digital:gender<\/a><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\"> - <\/a><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">de:mapping politics. Spekulieren mit 30 Objekten<\/a><\/h1><p class=\\\"_Deutscher\\\">(im Erscheinen): Thema des von Katrin K\u00f6ppert, Irina Gradinari und Julia Bee hg. Bandes <em><\/em>(Spector Books Leipzig) sind aktuelle Gegenst\u00e4nde, Fundst\u00fccke oder Ph\u00e4nomene der Gender \/ Queer Media Studies. Die Beitr\u00e4ge n\u00e4hern sich durch Medienobjekte zeitgen\u00f6ssischen Konstellationen von Medien, Geschlecht und Sexualit\u00e4t an.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 0,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 391\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Irina Gradinari<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(2021): Au\u00dfengrenzen Europas: Interrelationen von Raum, Geschlecht und \u201eRasse\u201c, Bielefeld, Transcript (hg. mit Yumin Li und Myriam Naumann).<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 2,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 462\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">V\u00e9ronique Sina<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(2016): Comic - Film - Gender. Zur (Re-)Medialisierung von Geschlecht im Comicfilm. Bielefeld, transcript.<br \/><\/span><\/p><p class=\\\"_Deutscher\\\">\u00a0<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 4,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 5\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Mary Shnayien<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(2020): Explorations in Digital Cultures. On the Politics of Datafication, Calculation and Networking, Lu\u0308neburg, meson press (hg. mit Marcus Burkhardt, Katja Grasho\u0308fer).<br \/><\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 6,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 478\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Julia Bee<\/span><\/h1><p class=\\\"_Deutscher\\\">(2018): Gef\u00fcge des Zuschauen. Begehren, Differenz und Macht in Film- und Fernsehwahrnehmung, Bielefeld, transcript.<\/p><p class=\\\"_Deutscher\\\">\u00a0<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 8,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 746\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Irina Gradinari<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(im Erscheinen): Genre und Race. Mediale Interdependenzen von \u00c4sthetik und Politik und \u00c4sthetik, Wiesbaden, Springer VS (=Neue Perspektiven der Medien\u00e4sthetik) (hg. zusammen mit Ivo Ritzer). <\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 10,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 461\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 2,\r\n      \"col\": 0,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 390,\r\n      \"attid\": 139,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1.jpg\",\r\n  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\"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">Jennifer Eickelmann<\/a><\/h1><p class=\\\"_Deutscher\\\" data-pm-slice=\\\"1 1 []\\\"><span>(2017): \u201eHate Speech\u201c und Verletzbarkeit im <span class=\\\"term\\\">di\u00adgi\u00adta\u00adlen<\/span> Zeitalter. Ph\u00e4nomene mediatisierter Missachtung aus Perspektive der Gender Media Studies. Bielefeld, transcript.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 0,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 5040\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Katrin K\u00f6ppert<\/span><\/h1><p class=\\\"_Deutscher\\\">(2015): I is for Impasse. Affektive Queerverbindungen in Theorie_Aktivismus_Kunst. Berlin, b_books (hg. mit K\u00e4the von Bose, Ulrike Kl\u00f6ppel, Karin Michalski, Pat Treusch).<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 2,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 4\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Jasmin Degeling<\/span><\/h1><p class=\\\"_Deutscher\\\">(2021): Medien der Sorge, Zeitschrift f\u00fcr Medienwissenschaft Jg. 24, H. 1 (hg. mit Maren Haffke).<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 4,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 6\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Jasmin Degeling, Sarah Horn, Mary Shnayien<\/span><\/h1><p class=\\\"_Deutscher\\\">(2018): onlinejournal kultur &amp; geschlecht #21 (mit Astrid Deuber-Mankowsky). <span class=\\\"\\\">Die #21 des onlinejournal kultur &amp; geschlecht ist ein queeres Jubil\u00e4um und eine Sonderausgabe mit einer kollektiven Herausgeber*inschaft.<br \/><\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 6,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 477\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Isabell Otto<\/span><\/h1><p class=\\\"_Deutscher\\\">(2020): <span>Prozess und Zeitordnung. Temporalit\u00e4t unter der Bedingung digital vernetzter Medien. G\u00f6ttingen, Wallstein Verlag.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 8,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 397\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Katrin K\u00f6ppert<\/span><\/h1><p class=\\\"_Deutscher\\\">(2021): Queer Pain. Schmerz als Solidarisierung, Fotografie als Affizierung. Zu den Fotografien von Albrecht Becker (1920er bis 1990er Jahre). Berlin, Neofelis.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 10,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 7\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/Jennifer_Titelgrafik-2-Skandal-und-Empo\u0308rung.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 4,\r\n      \"col\": 0,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 307,\r\n      \"attid\": 295,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/Jennifer_Titelgrafik-2-Skandal-und-Empo\u0308rung.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/Jennifer_Titelgrafik-2-Skandal-und-Empo\u0308rung-265x376.jpg\"\r\n      },\r\n      \"w\": 452,\r\n      \"h\": 641,\r\n      \"ar\": 1.418141592920354,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 4,\r\n      \"col\": 2,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 412,\r\n      \"attid\": 313,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between-265x403.jpg\"\r\n      },\r\n      \"w\": 609,\r\n      \"h\": 925,\r\n      \"ar\": 1.5188834154351396,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 4,\r\n      \"col\": 4,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 811,\r\n      \"attid\": 312,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides-768x1168.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides-265x403.jpg\"\r\n      },\r\n      \"w\": 842,\r\n      \"h\": 1280,\r\n      \"ar\": 1.520190023752969,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 4,\r\n      \"col\": 6,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 617,\r\n      \"attid\": 303,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-1280x1835.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-1024x1468.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-768x1101.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-512x734.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-265x380.jpg\"\r\n      },\r\n      \"w\": 1484,\r\n      \"h\": 2127,\r\n      \"ar\": 1.4332884097035041,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 4,\r\n      \"col\": 8,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 745,\r\n      \"attid\": 315,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total-512x749.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total-265x388.jpg\"\r\n      },\r\n      \"w\": 720,\r\n      \"h\": 1053,\r\n      \"ar\": 1.4625,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/stephan-titelgrafik-trump-und-das-fernsehen.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 4,\r\n      \"col\": 10,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 235,\r\n      \"attid\": 305,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/stephan-titelgrafik-trump-und-das-fernsehen.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/stephan-titelgrafik-trump-und-das-fernsehen-265x398.jpg\"\r\n      },\r\n      \"w\": 333,\r\n      \"h\": 500,\r\n      \"ar\": 1.5015015015015014,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">Jennifer Eickelmann<\/a><\/h1><p class=\\\"_Deutscher\\\" data-pm-slice=\\\"1 1 []\\\"><span style=\\\"color: #000000;\\\"><span>(2020): <\/span><span>Rape Day im Spannungsfeld von Realit\u00e4t und Fiktion. Affektive \u00d6ffentlichkeiten und die Skandalisierung sexualisierter Gewalt im digitalen Spiel. In: Berliner Debatte Initial Jg. 31, H. 2, S. 22-34.<\/span><\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 0,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 392\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">V\u00e9ronique Sina<\/span><\/h1><p class=\\\"_Deutscher\\\">(2020): Spaces Between \u2013 Gender, Diversity and Identity in Comics. Berlin, Springer (hg. mit Nina Heindl).<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 2,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 413\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Isabell Otto<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(im Erscheinen): Taking Sides. Theories, Practices, and Cultures of Participation in Dissent. Bielefeld, transcript (mit Elke Bippus, Anne Ganzert).<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 4,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 398\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Sarah Horn<\/span><\/h1><p class=\\\"_Deutscher\\\">(2020): Testosteron queeren \u2013 FtM trans* Vlogs auf YouTube, in: Julia Bee\/Nicole Kandioler (Hg.): Differenz und Affirmationen. Queer\/feministische Positionen zur Medialit\u00e4t. Berlin, b_books.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 6,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 9\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Nanna Heidenreich<\/span><\/h1><p class=\\\"_Deutscher\\\">(2015): Total. Universalismus und Partikularismus in post_kolonialer Medientheorie. Bielefeld, transcript (hg. mit Ulrike Bergermann).<\/p><p>\u00a0<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 8,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 10\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Stephan Trinkaus<\/span><\/h1><p class=\\\"_Deutscher\\\" data-local-attribute=\\\"d3bn\\\" data-attrid=\\\"title\\\" data-ved=\\\"2ahUKEwjh8Ijb7_vwAhWrM-wKHUlwCugQ3B0oATATegQILBAL\\\"><span>(2020): Trump und das Fernsehen: Medien, Realit\u00e4t, Affekt, Politik. K\u00f6ln, Herbert von Halem Verlag (hg. mit <\/span>Dominik Maeder, Herbert Schwaab, Anne Ulrich, Tanja Weber).<\/p><h2 class=\\\"qrShPb kno-ecr-pt PZPZlf mfMhoc hNKfZe\\\" data-local-attribute=\\\"d3bn\\\" data-attrid=\\\"title\\\" data-ved=\\\"2ahUKEwjh8Ijb7_vwAhWrM-wKHUlwCugQ3B0oATATegQILBAL\\\"><span>\u00a0<\/span><\/h2>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 10,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 11\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/stephan-verantwortung-und-unverfu\u0308gbarkeit.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 6,\r\n      \"col\": 0,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 5038,\r\n      \"attid\": 306,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/stephan-verantwortung-und-unverfu\u0308gbarkeit.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/stephan-verantwortung-und-unverfu\u0308gbarkeit-265x376.jpg\"\r\n      },\r\n      \"w\": 352,\r\n      \"h\": 499,\r\n      \"ar\": 1.4176136363636365,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 6,\r\n      \"col\": 2,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 330,\r\n      \"attid\": 314,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste-265x403.jpg\"\r\n      },\r\n      \"w\": 550,\r\n      \"h\": 836,\r\n      \"ar\": 1.52,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Stephan Trinkaus<\/span><\/h1><p class=\\\"_Deutscher\\\">(2017): Verantwortung und Un\/Verf\u00fcgbarkeit. Impulse und Zug\u00e4nge eines (neo)materialistischen Feminismus (Forum Frauen- und Geschlechterforschung Bd 48; hg. mit Corinna Bath, Hanna Mei\u00dfner, Susanne V\u00f6lker).<small class=\\\"product_no infolist\\\"><span class=\\\"herausgeber\\\"><br \/><\/span><\/small><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 7,\r\n      \"col\": 0,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 12\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span style=\\\"text-decoration: underline;\\\">Nanna Heidenreich<\/span><\/h1><p class=\\\"_Deutscher\\\">(2015): V\/Erkennungsdienste, das Kino und die Perspektive der Migration. Bielefeld, transcript.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 7,\r\n      \"col\": 2,\r\n      \"colspan\": 2,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 8\r\n    }\r\n  ]\r\n}","phonegrid":"{\r\n  \"colCount\": 12,\r\n  \"colGutter\": 1,\r\n  \"rowGutters\": [\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5,\r\n    5\r\n  ],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 5,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {}\r\n  ],\r\n  \"bgColor\": null,\r\n  \"cont\": [\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 0,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 246,\r\n      \"attid\": 293,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash.jpg\",\r\n        \"_3840\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-3840x5760.jpg\",\r\n        \"_3200\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-3200x4800.jpg\",\r\n        \"_2560\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-2560x3840.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-1920x2880.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-1280x1920.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-1024x1536.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-768x1152.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-512x768.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/adrien-olichon-gOdavfpH-3s-unsplash-265x398.jpg\"\r\n      },\r\n      \"w\": 4000,\r\n      \"h\": 6000,\r\n      \"ar\": 1.5,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/9783837647211tiU3hs9BIUb7a_180x300@2x.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 0,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 263,\r\n      \"attid\": 320,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/9783837647211tiU3hs9BIUb7a_180x300@2x.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/9783837647211tiU3hs9BIUb7a_180x300@2x-265x403.jpg\"\r\n      },\r\n      \"w\": 360,\r\n      \"h\": 547,\r\n      \"ar\": 1.5194444444444444,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">digital:gender<\/a><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\"> - <\/a><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">de:mapping politics. Spekulieren mit 30 Objekten<\/a><\/h1><p class=\\\"_Deutscher\\\">(im Erscheinen): Thema des von Katrin K\u00f6ppert, Irina Gradinari und Julia Bee hg. Bandes <em><\/em>(Spector Books Leipzig) sind aktuelle Gegenst\u00e4nde, Fundst\u00fccke oder Ph\u00e4nomene der Gender \/ Queer Media Studies. Die Beitr\u00e4ge n\u00e4hern sich durch Medienobjekte zeitgen\u00f6ssischen Konstellationen von Medien, Geschlecht und Sexualit\u00e4t an.<\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 1,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 391\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Irina Gradinari<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(2021): Au\u00dfengrenzen Europas: Interrelationen von Raum, Geschlecht und \u201eRasse\u201c, Bielefeld, Transcript (hg. mit Yumin Li und Myriam Naumann).<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 264\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/Vero_Cover_Comic-Film-Gender.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 2,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 422,\r\n      \"attid\": 307,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/Vero_Cover_Comic-Film-Gender.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/Vero_Cover_Comic-Film-Gender-265x403.jpg\"\r\n      },\r\n      \"w\": 395,\r\n      \"h\": 600,\r\n      \"ar\": 1.518987341772152,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/explorations-banner.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 2,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 581,\r\n      \"attid\": 322,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/explorations-banner.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/04\/explorations-banner-768x163.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/explorations-banner-512x109.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/explorations-banner-265x56.jpg\"\r\n      },\r\n      \"w\": 940,\r\n      \"h\": 200,\r\n      \"ar\": 0.2127659574468085,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>V\u00e9ronique Sina<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(2016): Comic - Film - Gender. Zur (Re-)Medialisierung von Geschlecht im Comicfilm. Bielefeld, transcript.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 423\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Mary Shnayien<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(2020): Explorations in Digital Cultures. On the Politics of Datafication, Calculation and Networking, Lu\u0308neburg, meson press (hg. mit Marcus Burkhardt, Katja Grasho\u0308fer).<br \/><\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 3,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 582\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 4,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 740,\r\n      \"attid\": 297,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens-1920x2918.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens-1280x1946.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens-1024x1556.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens-768x1167.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/Julia-Gefu\u0308ge-des-Zuschauens-265x403.jpg\"\r\n      },\r\n      \"w\": 2400,\r\n      \"h\": 3648,\r\n      \"ar\": 1.52,\r\n      \"alt\": \"\",\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Irina1.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 4,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 898,\r\n      \"attid\": 319,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Irina1.jpg\"\r\n      },\r\n      \"w\": 153,\r\n      \"h\": 217,\r\n      \"ar\": 1.4183006535947713,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Julia Bee<\/span><\/h1><p class=\\\"_Deutscher\\\">(2018): Gef\u00fcge des Zuschauen. Begehren, Differenz und Macht in Film- und Fernsehwahrnehmung, Bielefeld, transcript.<\/p><p class=\\\"_Deutscher\\\">\u00a0<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 13,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Irina Gradinari<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(im Erscheinen): Genre und Race. Mediale Interdependenzen von \u00c4sthetik und Politik und \u00c4sthetik, Wiesbaden, Springer VS (=Neue Perspektiven der Medien\u00e4sthetik) (hg. mit (zusammen mit Ivo Ritzer). <\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 14\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 6,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 390,\r\n      \"attid\": 139,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1-1920x2918.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1-1280x1946.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1-1024x1556.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1-768x1167.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Jennifer_Titelgrafik_1-265x403.jpg\"\r\n      },\r\n      \"w\": 2400,\r\n      \"h\": 3648,\r\n      \"ar\": 1.52,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/AQ_Cover_2.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 6,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 265,\r\n      \"attid\": 309,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/AQ_Cover_2.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2021\/04\/AQ_Cover_2-1280x1662.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2021\/04\/AQ_Cover_2-1024x1329.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/04\/AQ_Cover_2-768x997.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/AQ_Cover_2-512x665.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/AQ_Cover_2-265x344.jpg\"\r\n      },\r\n      \"w\": 1835,\r\n      \"h\": 2382,\r\n      \"ar\": 1.2980926430517712,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">Jennifer Eickelmann<\/a><\/h1><p class=\\\"_Deutscher\\\" data-pm-slice=\\\"1 1 []\\\"><span style=\\\"color: #000000;\\\"><span>(2020): <\/span><span>Rape Day im Spannungsfeld von Realit\u00e4t und Fiktion. Affektive \u00d6ffentlichkeiten und die Skandalisierung sexualisierter Gewalt im digitalen Spiel. In: Berliner Debatte Initial Jg. 31, H. 2, S. 22-34.<\/span><\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 7,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 392\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Katrin K\u00f6ppert<\/span><\/h1><p class=\\\"_Deutscher\\\">(2015): I is for Impasse. Affektive Queerverbindungen in Theorie_Aktivismus_Kunst. Berlin, b_books (hg. mit K\u00e4the von Bose, Ulrike Kl\u00f6ppel, Karin Michalski, Pat Treusch).<\/p>\",\r\n      \"align\": \"middle\",\r\n      \"row\": 7,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 266\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/Jasmin_ZfM24_Medien-der-Sorge.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 8,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 267,\r\n      \"attid\": 294,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/Jasmin_ZfM24_Medien-der-Sorge.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/Jasmin_ZfM24_Medien-der-Sorge-265x368.jpg\"\r\n      },\r\n      \"w\": 380,\r\n      \"h\": 527,\r\n      \"ar\": 1.3868421052631579,\r\n      \"alt\": \"\",\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Opera-Momentaufnahme_2021-06-02_143559_kulturundgeschlecht.blogs_.ruhr-uni-bochum.de_.png\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 8,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 426,\r\n      \"attid\": 321,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Opera-Momentaufnahme_2021-06-02_143559_kulturundgeschlecht.blogs_.ruhr-uni-bochum.de_.png\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Opera-Momentaufnahme_2021-06-02_143559_kulturundgeschlecht.blogs_.ruhr-uni-bochum.de_-265x260.png\"\r\n      },\r\n      \"w\": 403,\r\n      \"h\": 396,\r\n      \"ar\": 0.9826302729528535,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Jasmin Degeling<\/span><\/h1><p class=\\\"_Deutscher\\\">(2021): Medien der Sorge, Zeitschrift f\u00fcr Medienwissenschaft Jg. 24, H. 1 (hg. mit Maren Haffke).<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 9,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 268,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Jasmin Degeling, Sarah Horn, Mary Shnayien<\/span><\/h1><p class=\\\"_Deutscher\\\">(2018): onlinejournal kultur &amp; geschlecht #21 (mit Astrid Deuber-Mankowsky). <span class=\\\"\\\">Die #21 des onlinejournal kultur &amp; geschlecht ist ein queeres Jubil\u00e4um und eine Sonderausgabe mit einer kollektiven Herausgeber*inschaft.<br \/><\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 9,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 427\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Cover_Prozess-und-Zeitordnung.png\",\r\n      \"align\": \"top\",\r\n      \"row\": 10,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 585,\r\n      \"attid\": 311,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Cover_Prozess-und-Zeitordnung.png\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Cover_Prozess-und-Zeitordnung-265x393.png\"\r\n      },\r\n      \"w\": 350,\r\n      \"h\": 519,\r\n      \"ar\": 1.4828571428571429,\r\n      \"alt\": \"\",\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/kat_Queer-Pain.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 10,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 744,\r\n      \"attid\": 300,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/kat_Queer-Pain.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/05\/kat_Queer-Pain-512x716.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/kat_Queer-Pain-265x371.jpg\"\r\n      },\r\n      \"w\": 715,\r\n      \"h\": 1000,\r\n      \"ar\": 1.3986013986013985,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Isabell Otto<\/span><\/h1><p class=\\\"_Deutscher\\\">(2020): <span>Prozess und Zeitordnung. Temporalit\u00e4t unter der Bedingung digital vernetzter Medien. G\u00f6ttingen, Wallstein Verlag.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 11,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 586,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Katrin K\u00f6ppert<\/span><\/h1><p class=\\\"_Deutscher\\\">(2021): Queer Pain. Schmerz als Solidarisierung, Fotografie als Affizierung. Zu den Fotografien von Albrecht Becker (1920er bis 1990er Jahre). Berlin, Neofelis.<\/p>\",\r\n      \"align\": \"middle\",\r\n      \"row\": 11,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 747\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/Jennifer_Titelgrafik-2-Skandal-und-Empo\u0308rung.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 12,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 905,\r\n      \"attid\": 295,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/Jennifer_Titelgrafik-2-Skandal-und-Empo\u0308rung.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/Jennifer_Titelgrafik-2-Skandal-und-Empo\u0308rung-265x376.jpg\"\r\n      },\r\n      \"w\": 452,\r\n      \"h\": 641,\r\n      \"ar\": 1.418141592920354,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 12,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 269,\r\n      \"attid\": 313,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Vero_Cover_Spaces-Between-265x403.jpg\"\r\n      },\r\n      \"w\": 609,\r\n      \"h\": 925,\r\n      \"ar\": 1.5188834154351396,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><a rel=\\\"noopener\\\" href=\\\"https:\/\/www.sternberg-press.com\/product\/the-roundabout-revolutions-critical-spatial-practice-6\/\\\" target=\\\"_blank\\\">Jennifer Eickelmann<\/a><\/h1><p class=\\\"_Deutscher\\\" data-pm-slice=\\\"1 1 []\\\"><span>(2020): Rape Day im Spannungsfeld von Realit\u00e4t und Fiktion. Affektive \u00d6ffentlichkeiten und die Skandalisierung sexualisierter Gewalt im digitalen Spiel. In: Berliner Debatte Initial Jg. 31, H. 2, S. 22-34.<\/span><\/p>\",\r\n      \"align\": \"middle\",\r\n      \"row\": 13,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 906,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>V\u00e9ronique Sina<\/span><\/h1><p class=\\\"_Deutscher\\\">(2020): Spaces Between \u2013 Gender, Diversity and Identity in Comics. Berlin, Springer (hg. mit Nina Heindl).<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 13,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 270\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 14,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 432,\r\n      \"attid\": 312,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides-768x1168.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Cover_Taking-Sides-265x403.jpg\"\r\n      },\r\n      \"w\": 842,\r\n      \"h\": 1280,\r\n      \"ar\": 1.520190023752969,\r\n      \"alt\": \"\",\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 14,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 591,\r\n      \"attid\": 303,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-1280x1835.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-1024x1468.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-768x1101.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-512x734.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/sarah_differenzen_cover-265x380.jpg\"\r\n      },\r\n      \"w\": 1484,\r\n      \"h\": 2127,\r\n      \"ar\": 1.4332884097035041,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Isabell Otto<\/span><\/h1><p class=\\\"_Deutscher\\\"><span>(im Erscheinen): Taking Sides. Theories, Practices, and Cultures of Participation in Dissent. Bielefeld, transcript (mit Elke Bippus, Anne Ganzert).<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 15,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 433,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Sarah Horn<\/span><\/h1><p class=\\\"_Deutscher\\\">(2020): Testosteron queeren \u2013 FtM trans* Vlogs auf YouTube, in: Julia Bee\/Nicole Kandioler (Hg.): Differenz und Affirmationen. Queer\/feministische Positionen zur Medialit\u00e4t. Berlin, b_books.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 15,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 592\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 16,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 750,\r\n      \"attid\": 315,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total-512x749.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Nanna_total-265x388.jpg\"\r\n      },\r\n      \"w\": 720,\r\n      \"h\": 1053,\r\n      \"ar\": 1.4625,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/stephan-titelgrafik-trump-und-das-fernsehen.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 16,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 909,\r\n      \"attid\": 305,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/stephan-titelgrafik-trump-und-das-fernsehen.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/stephan-titelgrafik-trump-und-das-fernsehen-265x398.jpg\"\r\n      },\r\n      \"w\": 333,\r\n      \"h\": 500,\r\n      \"ar\": 1.5015015015015014,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Nanna Heidenreich<\/span><\/h1><p class=\\\"_Deutscher\\\">(2015): Total. Universalismus und Partikularismus in post_kolonialer Medientheorie. Bielefeld, transcript (hg. mit Ulrike Bergermann).<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 17,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 751,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Stephan Trinkaus<\/span><\/h1><p class=\\\"_Deutscher\\\" data-local-attribute=\\\"d3bn\\\" data-attrid=\\\"title\\\" data-ved=\\\"2ahUKEwjh8Ijb7_vwAhWrM-wKHUlwCugQ3B0oATATegQILBAL\\\"><span>(2020): Trump und das Fernsehen: Medien, Realit\u00e4t, Affekt, Politik. K\u00f6ln, Herbert von Halem Verlag (hg. mit <\/span>Dominik Maeder, Herbert Schwaab, Anne Ulrich, Tanja Weber).<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 17,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 910\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/05\/stephan-verantwortung-und-unverfu\u0308gbarkeit.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 18,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1069,\r\n      \"attid\": 306,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/05\/stephan-verantwortung-und-unverfu\u0308gbarkeit.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/05\/stephan-verantwortung-und-unverfu\u0308gbarkeit-265x376.jpg\"\r\n      },\r\n      \"w\": 352,\r\n      \"h\": 499,\r\n      \"ar\": 1.4176136363636365,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 18,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1228,\r\n      \"attid\": 314,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste-512x778.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2021\/04\/Nanna_Verkennungsdienste-265x403.jpg\"\r\n      },\r\n      \"w\": 550,\r\n      \"h\": 836,\r\n      \"ar\": 1.52,\r\n      \"alt\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Stephan Trinkaus<\/span><\/h1><p class=\\\"_Deutscher\\\">(2017): Verantwortung und Un\/Verf\u00fcgbarkeit. Impulse und Zug\u00e4nge eines (neo)materialistischen Feminismus (Forum Frauen- und Geschlechterforschung Bd 48; hg. mit Corinna Bath, Hanna Mei\u00dfner, Susanne V\u00f6lker).<small class=\\\"product_no infolist\\\"><span class=\\\"herausgeber\\\"><br \/><\/span><\/small><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 19,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1070,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_Head\\\"><span>Nanna Heidenreich<\/span><\/h1><p class=\\\"_Deutscher\\\">(2015): V\/Erkennungsdienste, das Kino und die Perspektive der Migration. 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