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The Freudian notion of repetition compulsion is marked, in its inaugural conception, by a negative connotation, that of a return of the same, which does not give the measure of the multiple facets of this register. Raising repetition to the rank of one of the four fundamental concepts of psychoanalysis, Lacan uses Kierkegaard's text entitled "La reprise" to point out the renewal, of fecundity that the movement towards repetition can induce. This article aims at underlining how much the creative dimension of repetition finds a particularly vivid illustration in the field of music, a domain that makes regular and varied use of the term "reprise". This article takes up themes deployed in a series of conferences during the academic year 2021/2022 at the École Pratique des Hautes Études en Psychopathologie, associating musicians – Vincent Ségal – psychoanalysts -Marc Morali, Corinne Tyszler, Olivier Douville- and music lovers, Mario Choueiry, and leaving a large place to musical listening. This study, beyond a reading of the repetition as an expression of the death pulsion, studies the way in which we can hear and put to work this Freudian notion through its manifestation in the musical register. It is a question here of exploring the question of repetition in the sphere of popular music but also in jazz and classical music in order to apprehend its articulation with the very movement of creation. In so-called popular music, and mainly in rock music, the cover consists, not in imitating but in proposing a version, more or less faithful or distant, of an original piece. Listening to this cover causes a particular satisfaction in the listener who can identify it. Usually considered as a tribute to the pioneers or the mark of a debt towards the elders, the cover version is however above all an attempt, impregnated with hostility, to erase the origin. This is how covers come to not only supplant the original pieces but also to repress them, to make them totally forgotten. Jazz is also attached to covering standards, not only as a necessary learning exercise, but as a way for those who try to impose their own style and thus gain recognition. The cover of standards can be the occasion to make hear the blind spot of a piece of origin or to make resurface a trait of identity unknown to itself. Within the context of classical music, the progression of a work is also regularly done through the repetition of a theme that always knows how to renew itself through slight displacements. Finally, the contemporary repetitive music pushes, perhaps to its height, this creativity inherent to the effects of the repetition. Pleasure, repression, origin, hostility, imitation and identification: these terms are closely linked to psychoanalysis, which only uses the concept of "repetition". It is however usual to hear oneself on the divan taking up the story of a dream that of a memory, or even to take up a new slice of analysis. This opens up the opportunity to question the creative function of repetition within analytic practice. Introducing the musical dimension of repetition into the analytic treatment leads us to question the specific talent it implies in the practitioner. Repetition only becomes creative through a shift in interpretation that can be found in the poetry of language, where the practitioner gains by approaching musical interpretation. [ABSTRACT FROM AUTHOR]

La notion freudienne de compulsion de répétition est marquée, dans sa conception inaugurale, d'une connotation négative, celle d'un retour du même, qui ne donne pas la mesure des facettes multiples de ce registre. Élevant la répétition au rang d'un des quatre concepts fondamentaux de la psychanalyse, Lacan se soutient du texte de Kierkegaard intitulé « La reprise » pour pointer la dimension de renouvellement, de fécondité que peut induire le mouvement vers la répétition. Cet article s'attache à souligner combien la dimension de créativité de la répétition trouve une illustration particulièrement vive dans le champ musical, domaine qui fait un usage régulier et varié du terme de reprise. Cet écrit reprend des thèmes déployés dans une série de conférences tenues au cours de l'année universitaire 2021/2022 à l'École Pratique des Hautes Études en Psychopathologie, associant musiciens – Vincent Ségal – psychanalystes – Marc Morali, Corinne Tyszler, Olivier Douville – et mélomanes – Mario Choueiry – et laissant une grande place à l'écoute musicale. Cette étude, au-delà d'une lecture de la répétition comme expression de la pulsion de mort, appréhende la façon dont on peut entendre et mettre au travail cette notion freudienne par le biais de son expression dans le registre musical. Il s'agit ici d'explorer la question de la reprise dans la sphère des musiques populaires contemporaines mais également dans le jazz et la musique classique pour en appréhender l'articulation avec le mouvement même de la création. Dans les musiques dites populaires contemporaines et principalement le rock, la reprise – ou « cover » dans sa version anglaise – consiste, non pas à imiter mais à proposer une version, plus ou moins fidèle ou éloignée, d'un morceau original. L'écoute de cette reprise provoque une satisfaction particulière chez l'auditeur qui sait l'identifier. Considérée habituellement comme un hommage rendu aux pionniers ou la marque d'une dette envers les aînés, la reprise est pourtant avant tout tentative, imprégnée d'hostilité, d'effacement de l'origine. C'est ainsi que des reprises en viennent non seulement à supplanter les morceaux originaux mais également à les refouler, à les faire totalement oublier. Le Jazz s'attache également à la reprise de standards, non seulement comme exercice d'apprentissage nécessaire mais comme marque, pour celui qui s'y essaye à imposer son propre style et ainsi se faire reconnaître. La reprise de standards peut ainsi être l'occasion de faire entendre le point aveugle d'un morceau d'origine ou d'en faire resurgir un trait d'identité inconnu de lui-même. Dans le cadre de la musique classique, par des procédés multiples, la progression d'une œuvre se fait aussi régulièrement par le biais de la reprise d'un thème qui toujours sait se renouveler à la faveur de légers déplacements. Enfin, la musique contemporaine répétitive pousse, peut-être à son comble, cette dimension d'une créativité inhérente aux effets de la répétition. Plaisir, refoulement, origine, hostilité, imitation et identification : ces termes attachés à la reprise sont étroitement liés à la psychanalyse qui ne dispose que du concept de « répétition ». Il est pourtant habituel de s'entendre sur le divan reprendre le récit d'un rêve, celui d'un souvenir, ou bien même de reprendre une nouvelle tranche d'analyse. S'ouvre ainsi l'occasion d'interroger la fonction créatrice de la répétition au sein même de la pratique analytique. L'introduction de ce registre de la reprise dans sa dimension musicale au sein de la cure analytique conduit à interroger le talent spécifique qu'elle implique chez le praticien. La répétition ne devient créatrice qu'à la faveur d'un décalage que l'interprétation peut retrouver dans la poésie de la langue où le praticien gagne à se rapprocher de l'interprétation musicale. The Freudian notion of repetition compulsion is marked, in its inaugural conception, by a negative connotation, that of a return of the same, which does not fully reflect the multiple facets of this register. Raising repetition to the rank of one of the four fundamental concepts of psychoanalysis, Lacan uses Kierkegaard's text entitled "Repetition" to point out the renewal of fecundity that the tendency towards repetition can induce. This article demonstrates how the creative dimension of repetition finds a particularly vivid illustration in the field of music, a domain that makes regular and varied use of the term "repetition." This article takes up themes deployed in a series of conferences during the academic year 2021/2022 at the École Pratique des Hautes Études en Psychopathologie, associating musicians – Vincent Ségal – psychoanalysts – Marc Morali, Corinne Tyszler, Olivier Douville – and music lovers, Mario Choueiry, and leaving a large place to musical listening. This study, beyond a reading of the repetition as an expression of the death drive, studies the way in which we can hear and put to work this Freudian notion through its manifestation in the musical register. In this paper, we explore the question of repetition in the sphere of popular music but also in jazz and classical music in order to apprehend its articulation with the very movement of creation. In so-called popular music, and mainly in rock music, the covering a song consists in proposing a version, more or less faithful or distant, of an original piece – and not in imitating it. Listening to this cover causes a particular satisfaction in the listener who can identify it. Usually considered as a tribute to the pioneers or the mark of a debt towards elders, the cover version is however above all an attempt, impregnated with hostility, to erase the origin. This is how covers come to not only supplant the original pieces but also to repress them, to make them totally forgotten. Jazz is also attached to covering standards, not only as a necessary learning exercise, but as a way for artists impose their own style and thus gain recognition. The cover of a standard can be the occasion to make audible a blind spot in the original work, or to bring to the surface a trait of identity unknown to itself. Within the context of classical music, the progression of a work is also regularly done through the repetition of a theme that renews itself through slight displacements. Finally, contemporary repetitive music pushes, perhaps to its height, the creativity inherent to the effects of repetition. Pleasure, repression, origin, hostility, imitation, and identification: these terms that are related to repetition are closely linked to psychoanalysis, which only has at its disposal the concept of "repetition." It is, however, typical to hear oneself on the divan taking up the story of a dream or that of a memory; one can even "repeat" by continuing one's analysis after a break or termination. This opens up the opportunity to question the creative function of repetition within analytic practice. Introducing the musical dimension of repetition into the analytic treatment leads us to question the specific talent it implies in the practitioner. Repetition only becomes creative through a shift in interpretation that can be found in the poetry of language, where the practitioner is enriched by approaching musical interpretation. [ABSTRACT FROM AUTHOR]

Cette étude a porté sur les déterminants et motivations de la reprise des études secondaires chez les adultes à Kinshasa. Sa principale préoccupation a consisté à rechercher, découvrir et analyser les véritables motivations de cette reprise de la scolarité abandonnée depuis longtemps. C’est pour mettre à la disposition des responsables politiques et gestionnaires de l’éducation ainsi qu’aux institutions de recherches des données pertinentes et de qualité, leur permettant de travailler pour le progrès de la Nation, c’est-à-dire en faveur de tout le peuple et de toute la population afin que le droit à l’éducation pour tous, soit garanti à toute personne, enfant, jeune et adulte en République Démocratique du Congo. Le résultat obtenu a démontré que l’amélioration des conditions de vie actuelle pousse les adultes de Kinshasa à se requalifier grâce à une scolarité relevée en vue de s’octroyer à un épanouissement intellectuel, économique, social et culturel.

A case of whooping cough in a moderate form in a child of the first month of life is described in the presented clinical observation. The moderate form was manifested by the duration of the preconvulsive period up to 5 days, the appearance of cyanosis of the face when coughing in the early stages of the disease (1 week), an increase in the number of coughing attacks. The difficulties of treating pertussis in young children are demonstrated by our observation of the course of the disease. There is no vaccination against pertussis in children in the family due to the refusal of parents and children with prolonged coughing were not examined at the outpatient stage. As a result, chemoprophylaxis was not performed on time and the newborn was discharged from the hospital to the center of pertussis infection. The solution to the problem of reducing the incidence in children in the first months of life should be vaccination of pregnant women in the last stages, and vaccination of the environment, including agerelated revaccinations.

Dans cet article, mon propos est de mettre en lumière les stratégies de composition des pseudoplatonica à partir de deux exemples spécifiques, à savoir le bref dialogue Sur la vertu – qui représente le « degré zéro » de l’élaboration parmi cet ensemble de textes – et l’Éryxias – l’un des plus soignés du point de vue littéraire – pour montrer qu’à l’origine de ces ouvrages il est possible d’identifier une pratique commune, qui consistait en une sélection d’extraits thématiques tirés des dialogues authentiques, puis une réélaboration visant à expliquer le traitement platonicien des problèmes posés à la lumière de l’agenda philosophique de l’auteur. Tout porte à croire que cette opération a été menée dans le contexte de l’Académie au cours des décennies ayant suivi la mort de Platon.

Reprise Editor’s Note for JTAS 4.1

Este artigo tem como objetivo observar as práticas de consumo de telenovela pela audiência em contexto de isolamento social provocado pela pandemia do novo coronavírus. Partimos das discussões inerentes ao papel da narrativa ficcional para a memória, buscando evidenciar como ela é atualizada na assistência de reprises. Identificamos as estratégias adotadas pelas principais emissoras brasileiras para se adaptar ao momento em questão. Após, divulgamos um questionário online com perguntas relacionadas à assistência de reprises, reunindo 265 respostas. Identificamos que no contexto de isolamento o consumo de telenovelas aumentou, sendo que a nostalgia foi o principal motivador desse retorno. Nesse movimento, novos sentidos foram inaugurados pela audiência, tecidos por mudanças de postura em relação a temas específicos abordados nas narrativas revisitadas.

In An Inquiry into the Modes of Existence, which addresses itself to the profound challenge of how to "compose" a common world in the Anthropocene, Bruno Latour proposes that the mode of religion [REL] offers a model for all the others-that of reprise. Emerging from the practice of biblical exegesis, reprise refers to an open-ended process of meaning making opposed to the rigid certainties of fundamentalism. [REL] also contributes a concept of radical transformation through love ("conversion"). For Latour, two events from the Virgin Mary's life-the Annunciation and the Assumption- illustrate reprise and conversion, both of which are necessary in coming to terms with monogeism, the knowledge that there is only one world. This essay examines Latour's proposed relationship between reprise and conversion through a consideration of late medieval Marian devotion. Focusing on vernacular accounts of Mary's Assumption, it argues that reprise leads to violent as well as loving conversions; indeed, violence can proceed in the name of love. The essay concludes that composition, reprise, and conversion come together in ways that trouble late medieval accounts of the Assumption, the mode of religion, and life in the Anthropocene. [ABSTRACT FROM AUTHOR]

إن مسعانا في هذا المقال بيان أرموزة التضحية وعلاقتها الغريبة بالمحبة والإيمان، منطلقًا من عرض بعض المقولات اللاهوتية العميقة التي تكتنف المسرح الثيولوجي الكيركغاردي مثل مقولة "الرجعى" و"المتوحد" و"الإيمان بالرب" المتعالق مع "المحبة الدنيانية للمعشوقة البشرية" التي جسرت له السبيل نحو التولّه القلبي بالرب في قيوميته، فكانت بمثابة القربان الإنسي المقدم، بغية الحصول على المطلقية، بحكم أن الفنائية تغالب الذات البشرية الطامحة إلى بلوغ المطلقية المفارقة والكامنة في العالم الملكوتي الآفاقي، واستشهدت في المقال ببعض الشخصيات كـ "النبي أيوب ومحنته" و"النبي إبراهيم الذي ينعته كيركغارد بفارس الإيمان"، هذين النبيين اللذين اقتدرا على إثبات محبتهما الربانية عن طريق التضحية فكانت الصحة والأصدقاء قربان النبي أيوب في إثبات محبوبيته للرب، وكان الابن إسحاق قربان النبي إبراهيم في سبيل البرهنة على إيمانه الصادق الذي يغيب عن الفهم البشري الفاني، وواشجت بين هذين النبيين وما حصل مع سورين كيركغارد في علاقته برجين أولسن.

Time pressure of parents has become an important policy agenda in many contemporary societies. This study aims to examine the association between parental childcare time and subjective time pressure (feeling rushed) by taking into account different types of diurnal activity patterns. From the background of time fragmentation as a structural source of time pressure we introduce two specific types of diurnal time use activities, namely activity resumption and activity switching. As activity resumption denotes that the same kind of activity is repeatedly shown over the day, activity switching indicates the diurnal substantive variety of activities. Our research question is aimed a examining if these activity patterns covariate with parental childcare time use and to what extent they add are connected with subjective time pressure. Analyzing the original timeline raw data of 6,812 diary entries from the 2014 Korean Time Use Study (KTUS) we focused on working parents with children aged 18 or younger. Overall, we found that activity resumption is positively related to subjective time pressure, while activity switching negatively correlates with subjective time pressure. While we did not find a significant effect of time spent for childcare on feeling rushed, we found that time use for childcare is negatively correlated with activity resumption, but positively with activity switching intensity. Having young children compared to having teenagers in the family significantly goes with more feeling rushed, while having young children means less activity switching and less activity resumption. Finally, our results point to a significant parents' gender differentiation of the covariation of subjective time pressure, diurnal activity change pattern and child care time use. [ABSTRACT FROM AUTHOR]

Reprendre une génioplastie précocement ou tardivement peut constituer un véritable défi pour le praticien. Nous passerons en revue les différents types de génioplastie, les difficultés rencontrées et les possibilités de réparation au moyen d'exemples concrets. Secondary genioplasty can be a real challenge for the practitioner. We will review the different types of genioplasty, the difficulties encountered and the possibilities of repair using concrete examples. [ABSTRACT FROM AUTHOR]

La reconstruction mammaire immédiate ou différée par lambeau libre perforant deep inferior epigastric perforant flap (DIEP) est une technique de reconstruction mammaire autologue fréquente et répandue qui présente un risque d'échec inhérent à son caractère microchirugical. L'objectif principal était d'évaluer l'intérêt de la reprise chirurgicale en cas d'échec de DIEP, l'objectif secondaire était d'évaluer les conséquences de la reprise chirurgicale sur la suite de la prise en charge. Il s'agit d'une étude analytique rétrospective monocentrique et mono-opérateur de 167 DIEP unilatéraux réalisés de 2008 à 2016. Deux groupes ont été comparés : succès de DIEP sans reprise versus DIEP ayant nécessité une reprise soldée par un succès ou par un échec. Après avoir analysé les taux d'échec et de reprise de DIEP, nous avons comparé le taux de transfusion, la durée opératoire totale, la durée d'hospitalisation, la reconstruction mammaire finale dans les deux groupes. Cent soixante-sept DIEP ont été réalisés de 2008 à 2016 chez 167 femmes, 18 reprises ont été reportées (10,7 %), 12 reprises l'ont été avec succès (7,2 %) 6 échecs ont été reportés après reprise (3,6 %). La reprise chirurgicale permet le sauvetage du lambeau dans 67 % des cas. La reprise multiplie par 12 le risque de transfusion sanguine (OR = 12,24 [IC95 % = 3,74–43,17] p < 0,05). La reprise ou l'échec double le temps opératoire total (281,8 min [170–570] vs 577,8 min [285–860] p < 0,05) et augmente la durée d'hospitalisation de 2,5 jours par rapport au succès d'emblée du DIEP (5,74 jours [4–9] vs 8,33 jours [5–17] p < 0,05). Cinquante pour cent des patientes choisissent un autre type de reconstruction mammaire après échec du DIEP. Le DIEP est une technique fiable de reconstruction mammaire microchirurgicale, les échecs peuvent être prévenus dans deux tiers des cas par la surveillance et une réintervention précoce. Immediate or delayed breast reconstruction by deep inferior epigastric perforant flap (DIEP) is a frequent and widespread autologous breast reconstruction technique that presents a risk of failure inherent in its microsurgical nature. The main objective was to evaluate the interest of surgical revision in case of DIEP failure, the secondary objective was to evaluate the consequences of surgical revision on the subsequent management. This is a retrospective monocentric and single-operator analytical study of 167 unilateral DIEPs carried out from 2008 to 2016. Two groups were compared: success of DIEP without revision versus DIEP requiring a revision that resulted in success or failure. After analyzing the failure and recovery rates of DIEP, we compared the transfusion rate, total operating time, hospitalization time, and final breast reconstruction in the two groups. One hundred and sixty-seven DIEPs were performed from 2008 to 2016 in 167 women, 18 revisions were reported (10.7%), 12 revisions were successfully reported (7.2%) 6 failures were reported after revision (3.6%). Surgical revision allows the flap to be rescued in 67% of cases. Revision increases the risk of blood transfusion by a factor of 12 (OR = 12.24 [95% CI = 3.74–43.17] P < 0.05). Revision or failure doubles the total operating time (281.8 min [170–570] vs. 577.8 min [285–860] P < 0.05) and increases hospitalization time by 2.5 days compared to DIEP's initial success (5.74 days [4–9] vs. 8.33 days [5–17] P < 0.05). Fifty percent of patients choose another type of breast reconstruction after DIEP failure. DIEP is a reliable microsurgical breast reconstruction technique, failure can be prevented in two thirds of cases by monitoring and early reoperation. [ABSTRACT FROM AUTHOR]

The article is devoted to the recurrence of the same motifs in the creative oeuvre of Michel de Ghelderode over the whole period of his literary career. The analysis focuses on the recurrence and evolution of two characters in the dramatic works of the Belgian playwright. The first part of the article charts the evolution of the motif of the resurrection of a dead girl: the writer recollects a story, told by his mother in his childhood, to recreate his own stage version of the Biblical resurrection of Jair's daughter. The second part deals with the motif of the battleaxe and her literary path in Ghelderode's dramatic works, from a duplicitous gossip through a lecherous plain girl to a shrew, whose story is riddled with elements of the Belgian founding myth. [ABSTRACT FROM AUTHOR]

The appearance and agency of the most prominent female characters in Joachim Trier's films are analysed with reference to a study of gender relations in early New Wave cinema. Trier's female characters emerge as strong and independent; at the same time their mild, non-threatening demeanour and appearance effectively disguise their agency. While the first three films sympathize with their female characters, Thelma is deeply ambivalent, either revealing or sustaining misogyny. [ABSTRACT FROM AUTHOR]

The article discusses Joachim Trier's use of close-ups, highlighting two examples: a lengthy close-up of Isabelle Huppert's face in Louder Than Bombs (2015) and close-ups of the two protagonists in Reprise (2005). Taking its point of departure in film theoretical discussions of the close-up, the article argues that Trier in different ways creates autonomous moments through close focus on his protagonists' faces. In Louder Than Bombs, the prolonged, almost static close-up of the face of the older female actress blurs boundaries between character and actress. In Reprise, delicate images of the two fragile young people seem to be protectively enveloped by the film's close-ups. In both instances these autonomous moments create their own temporal and spatial unity and distribute moments of intensity and affect across the image surface. [ABSTRACT FROM AUTHOR]

The article discusses how Joachim Trier is often referred to as Norway's leading director. It mentions that Trier co-directed a documentary about Edvard Munch with his brother Emil Trier and author Karl Ove Knausgård. It reveals short analyses of specific aspects of Trier's films with the aim of pointing out some central tendencies in his filmography.

In Joachim Trier's debut film, Reprise (2006), the concept of time is a key feature. Time is embedded as self-reflexive by way of several narrative devices, including the reordering of chronology and projections of imaginable events. Time is also central to depictions of the characters' experiences and states of mind. This article attempts to untangle the modes of temporality at play in the film and offers some interpretative pathways by which they can be understood. [ABSTRACT FROM AUTHOR]

Le recours aux prothèses articulaires est de plus en plus fréquent dans notre pratique courante. Une des complications les plus redoutées est l'infection, le plus souvent due à des germes de la flore cutanée. Listeria monocytogenes étant rarement à l'origine d'une telle infection, nous rapportons le cas d'un patient porteur d'une prothèse de hanche infectée par ce germe: l'évolution a été favorable après antibiothérapie et changement de prothèse en un seul temps.

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Joint prostheses are increasingly used in our current practice. Infection is one of the most dreaded complications; it is most often due to germs of the skin flora. Listeria monocytogenes rarely causes this infection. We here report the case of a patient with hip prosthesis infected by this germ. Favorable outcome was obtained by antibiotic therapy and single-stage prosthesis replacement. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Environmental Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La reprise apparaît chez Robbe-Grillet, d’abord, comme une stratégie textuelle et intertextuelle, qui comporte en elle-même répétition et différence. Plus profondément, la reprise est, pour l’écrivain, une façon d’exister, d’être à la recherche de son identité, de se retrouver lui-même dans les figures différentes et même contradictoires, d’affirmer la continuation de l’existence, de démontrer que le monde est devenir, que le monde est mouvement en avant et, en même temps, conservation de tous ses éléments anciens. Son œuvre s’organise donc en une entité à la fois ancienne et nouvelle, semblable et différente, à la fois la même et l’autre, selon un principe paradoxal à la robbegrilletienne. Robbe-Grillet a en effet rendu interprétative la reprise, et en même temps il l’utilise pour effacer des efforts d’interprétation. Ce qui veut dire que la reprise devient une structure à la fois interprétative et désinterprétative. La structure désinterprétative de la reprise se lie aussi au phénomène de la désidentité dans l’art moderne.

Obwohl unstrittig ist, dass der mediantische Reprisenübergang (V/vi - I) in der zweiten Hälfte des 18. Jahrhunderts eine gegenüber der üblichen dominantischen Vorbereitung nachrangige Option darstellt, wird in der einschlägigen Literatur kontrovers diskutiert, ob dieses statistische Faktum als Konvention oder Normabweichung zu deuten ist. Im ersten Teil des Beitrags wird zunächst aufgezeigt, dass der mediantische Reprisenübergang durchaus als konventionelle Strategie begriffen werden kann, wenngleich sich die Auffassung, die Mediante III# fungiere als ›alternative Dominante‹ (Webster), auf der Basis traditioneller Begründungsmuster als problematisch erweist. Der zweite Teil befasst sich mit den spezifischen Funktionen, die dem mediantischen Reprisenübergang im Satzganzen zukommen. Es zeigt sich, dass der mediantische Reprisenübergang zum einen durch die prominente Rolle des dritten Skalentons im Hauptthema motiviert ist, zum anderen durch das Bestreben, das Gewicht der V. Stufe vom Ende der Durchführung in das Repriseninnere zu verlagern.