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Architekturzeichnungen der deutschen Renaissance: Funktion und Bildlichkeit zeichnerischer Produktion 1500–1650

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ISBN: 9783946198048 9783946198079 9783946198055 9783946198062 Year: Pages: 410 Language: German
Publisher: Modern Academic Publishing
Subject: Arts in general --- Architecture --- History of arts
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Architectural drawings of the ›German Renaissance‹ have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture.Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems.The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as ›significant objects‹ (»Bedeutungsträger«) of cultural practices, conveying historic concepts of space and built environments.In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel).The lack of contemporary art historical studies on ›German Renaissance‹ architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of ›drawing theories‹, as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings.In order to rethink the ›visual culture‹ of architectural drawings of the ›German Renaissance‹, this study relies on traditional art historical and historical methods (»Quellenkritik«) to evaluate the written and drawn sources, and on methods of media studies and visual studies (»Bildwissenschaft«) to disclose pictorial strategies of visualization and communication.This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact.Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other ›region‹ of that period.While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository – objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive.Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring).Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architekturzeichnungen sind nicht nur Medien zur Planung und Visualisierung von Architektur, sondern bedeutende Quellen historischer Entwurfstheorien, Entwurfspraktiken und Wissensproduktion. Während italienische Architekturzeichnungen etablierte Quellen der Renaissanceforschung sind, wird hier erstmals der Blick auf bislang vernachlässigte Zeichnungen der ›deutschen Renaissance‹ gelegt. Die vorliegende Studie untersucht sowohl die zeichnerischen Darstellungstechniken und Theorien als auch ihre allgemeine Bedeutung als Form- und Wissensspeicher. Der Autor analysiert dabei etwa die variable Verwendung der Zeichnungen vom Entwurfsmedium über das Rechtsdokument bis hin zur Prinzenerziehung und hebt den Stellenwert von Zeichnung und Zeichnungstheorie für verschiedene Professionen sowie das Selbstverständnis der Architekten hervor. Zudem werden erste Einblicke in die fürstliche und reichsstädtische Sammlungsgeschichte von Architekturzeichnungen in Kunstkammern, Bibliotheken und Kanzleien gegeben. Anhand von exemplarischen Fallstudien und neu erschlossenem Quellenmaterial werden so nicht nur neue Einsichten in die Funktionen und Semantiken zeichnerischer Produktion eröffnet, sondern auch übergreifende Fragen der historischen Wahrnehmung von Architektur in der Frühen Neuzeit verhandelt.Sebastian Fitzner wurde 2013 im Fach Kunstgeschichte an der Ludwig-Maximilians-Universität bei Prof. Dr. Stephan Hoppe promoviert und war wissenschaftlicher Assistent am Institut für Kunstgeschichte der LMU (2010–2014). Zuvor war er wissenschaftlicher Mitarbeiter an der Sächsischen Landesbibliothek ‒ Staats- und Universitätsbibliothek Dresden (SLUB) im Rahmen des DFG-Projekts »Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500‒1650« (2009–2010) und Mitglied des DFG-Forschungsnetzwerkes Schnittstelle Bild. Architekturgeschichte und Bildkritik im Dialog 1400–1800. Aktuell ist er Juniorprofessor für Architekturgeschichte und Architekturtheorie der Frühen Neuzeit in Europa und Amerika (1500–1800) am Kunsthistorischen Institut der Freien Universität Berlin.Beiträge zu seiner Forschung veröffentlicht er unter anderem in seinem Blog »ArchitecturalDrawings – Images and Representations of Architecture in the Early Modern Period«.Webseite: http://fu-berlin.academia.edu/SebastianFitzner

An den Wurzeln der Tugend: Rheinischer Adel und Freimaurerei 1765–1815

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ISBN: 9783958960008 9783958960015 9783958960022 9783958960039 Year: Pages: 330 Language: German
Publisher: Modern Academic Publishing
Subject: History
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This study focuses on the relationship between nobility and freemasonry from 1750 to 1850. It examines the specific role of an esoteric discourse surrounding the roots of the human race, centring on legendary constructions of noble genealogies in eighteenth century Europe. The aristocratic idea of blood as a type of »liquid memory of virtue« was also found in the freemason lodges frequented by the European nobility of the eighteenth century. Both groups therefore believed in educational systems that used rites, pictures and symbols to imprint the virtues in ones blood and heart respectively. The foundation of this belief – strongly combined with an interest in occult sciences and the existence of an afterlife – can be seen in the antique »art of memory«.The example of an aristocratic lodge in Düsseldorf shows how these ›research interests‹ overlapped within masonic and non-masonic networks of European noblemen and citizens. In the perspective of Rhenish noblemen in the mid of the eighteenth century freemasonry took the role of an educational system that improved the qualities of the noble blood to secure the leading position of nobility in the God-given »Ständegesellschaft«. The aristocratic lodge La Parfaite Amitié therefore was not only dominated by Rhenish noblemen but also by cousinship. As a consequence, it struggled to become a »provincial lodge«, which had a stronger jurisdictional position in comparison with the civil-lodge of Düsseldorf.The second example is the masonic network of Joseph zu Salm-Reifferscheidt-Dyck (1773– 1861), from the Napoleonic period. Born in the Ancient Regime to an aristocratic familiy of the lower Rhineland, Joseph zu Salm-Reifferscheidt-Dyck faced the extensive changes for the nobility of the Rhineland, caused by the French Revolution and the French occupation of the area. Together with his second wife, the Parisian Salonier Constance de Salm, he became a prominent person in the Napoleonic era. He not only acted as an influential scientist of systematic botany, as a politician and states-man but also as a high-ranking freemason in several rites, especially in the Rit écossais philosophique.This masonic system can be seen as a ›scientific‹ one built upon the traditions of alchemistical and hermetical circles of the Ancient Regime. The Napoleonic period saw the occult sciences increasingly outdated and replaced by modern natural sciences. The methods considered as »exact« in the nineteenth century subsequently formed the perspective of civil dominated societies and its lodges on masonic rites and grades. In the masonic network of Joseph zu Salm-Reifferscheidt-Dyck, the Rit écossais philosophique was crossed with his network as a natural scientist, resulting in masonry being seen not only as an educational system but also as an exact way to uncover the »hidden roots« of the human soul and to assess the respective qualities of it. These tendencies were strongly influenced by the natural sciences outside the masonic sphere, which in parallel tried to uncover the »hidden roots« of the nations with the pseudo-scientific concepts of »race«.The civil lodges of the Napoleonic era and afterwards, with their strong emphasis on the nation, could no longer be seen as a retreat for noble man and their exclusive ideology ofnoble blood. The majority of the Rhenish nobility therefore turned away from the lodges in order to maintain a conservative view of itself in exclusively noble circles which still believed in the quality of the noble blood and its inherited race.

Welche Rolle spielte das »Esoterische« für die Selbstsicht der adlig-bürgerlichen Eliten beim Übergang zur Moderne? Dieser Frage geht die Studie Martin Otto Brauns mit dem Titel »An den Wurzeln der Tugend. Rheinischer Adel und Freimaurerei 1765–1815« nach. Auf der Grundlage der mythischen Geschichtskonstruktionen von Genealogien des rheinischen Adels sowie des Geheimbunds der Freimaurerei zeichnet der Autor die parallel zu den Entwicklungen der Naturwissenschaften verlaufende Transformation der Vorstellung vom tugendhaften »Adel des Blutes« hin zum bürgerlichen »Adel des Intellekts« nach. Die Studie kann dabei zeigen, wie der esoterische Gehalt des frühneuzeitlichen Bildes von Wachstum und Fortschritt des Familienstammbaums sich um 1800 mehr und mehr auf die Konzepte »Nation« und »Volk« im Gesamten ausweitete. Das esoterische Denken hielt sich auf dieser Grundlage bis in die Moderne und sollte vorhandene rassische Vorstellungen adlig-bürgerlicher Eliten der »Sattelzeit« nachhaltig prägen.Martin Otto Braun promovierte im Fach Neuere und Mittelalterliche Geschichte an der Universität zu Köln und war Doktorand in der Forschergruppe »Aufbruch in die Moderne. Der Rheinische Adel in westeuropäischer Perspektive 1750–1850« des Deutschen Historischen Instituts Paris unter Leitung von Prof. Dr. Gudrun Gersmann. Er ist Autor und Mitherausgeber der durch die Fritz Thyssen Stiftung geförderten »Netzbiografie: Joseph zu Salm-Reifferscheidt-Dyck (1773–1861)«.Er veröffentlicht Beiträge zu seiner Forschung in den Blogs »EsoHist. A blogged history of esotericism and secret societies« (Facebook: EsoHist), »Rheinischer Adel« und »Napoleon auf der Spur«.Webseite: http://uni-koeln.academia.edu/MBraun

Fortschritt und Verfall: Zur Diskussion von Religion und Moderne im Ausgang von Joachim Ritter

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ISBN: 9783946198123 9783946198154 9783946198130 9783946198147 Year: Pages: 468 Language: German
Publisher: Modern Academic Publishing
Subject: Social Sciences --- Philosophy --- Religion
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"In recent years, a growing interest has emerged in the history of ideas and intellectual discourses of post-war Germany. One of the scholars getting increased attention is the philosopher Joachim Ritter (1903–1974), who taught at the University of Münster from 1946 to 1968. This book examines several aspects of the developments in his philosophic thought and its relation to the theories of some of his students. The notable fact that a number of students that attended Ritter’s Collegium Philosophicum became prominent in philosophy, law and politics themselves facilitated debates concerning the importance of this so-called Ritter school (›Ritter-Schule‹). But indeed significant philosophical differences appear, not only when comparing the thought of the different participants of Ritter’s Collegium Philosophicum but also in Ritter’s own philosophical considerations from the nineteen-forties to the nineteen-fifties, which may have influenced his students of that time.Considering these developments and Ritter’s former students’ different approaches to adopting his thought, this book focuses on two main aspects. On the one hand it analyzes considerations concerning the relation of religion and modern society on the part of the respective scholars, and on the other hand it puts emphasis on authors like Ernst-Wolfgang Böckenförde, Hermann Lübbe, Odo Marquard, and Robert Spaemann. They were, among others, participants of Ritter’s Collegium Philosophicum and involved in public debates on politics and religion, to some extent up to the present time. The differences among their philosophical positions question the supposed homogeneity of the so-called Ritter school and its common ground. Thus these differences reveal ambivalent modes of reception of Ritter’s philosophy, while at the same time indicating ambivalences inherent in Ritter’s own philosophy.Following the introduction and a section that presents the history of Ritter’s Collegium Philosophicum at Münster and the discussion concerning the so-called Ritter school in general, chapters 3 and 4 attend to the main issues of this study. At the beginning of Ritter’s philosophic involvement with modern society, in the late forties, there is a questioning perspective towards his time, a critique of modernity reflecting the disastrous consequences of the war and the Nazi regime as well as the precarious prospects of the beginning cold war. Section 3.1 takes a closer look at how it was possible for Ritter to come up with an affirmative approach towards the modern world. Mainly in accordance with Hegel’s ideas, Ritter reaches a theory of diremption (Entzweiung) that marks the mature form of his philosophy. There is a moment of ambivalence inherent in this theory that not only regards its evolvement but contends within the concept itself. Section 3.2 examines Ritter’s philosophy with special attention to his philosophy of religion. According to his general philosophical development, Ritter’s critical stance towards modern society – e.g. following T.S. Eliot’s reasoning concerning a ›Christian Society‹ – takes a characteristic turn coinciding with his stay in Turkey from 1953 to 1955.Chapter 4 deals with the contribution of this philosophical ambivalence, in particular with regard to religion, to the different ways his students like Böckenförde, Lübbe, Marquard, and Spaemann follow his thought. Section 4.1 traces Ritter’s historico-philosophical thought concerning religion and modernity up to his critique of the contemporary use of the concept of secularization as supported by, for example, Karl Löwith and Friedrich Gogarten. On the grounds of this critique Hermann Lübbe and Hans Blumenberg assessed the concept of secularization differently in the sixties, and Odo Marquard’s then firmly anti-historico-philosophical approach represents the first distinctive differentiation and variation of Ritter’s thought and must thus be examined in this study. Subsequently, section 4.2 analyzes Ritter’s involvement in debates concerning the concept of value as contested in particular by Carl Schmitt. Ritter supports the critique of the value concept philosophically but does not follow the political and politico-theological implications of Schmitt. Accordingly, authors like Lübbe and Böckenförde refer to the thought of Carl Schmitt in an explicitly liberalizing way. Aside from the discussion of the philosophy of value, this requires a closer look at the concept of Political Theology as it is subject of the debate of Schmitt and Hans Blumenberg. Section 4.3 eventually concentrates on the controversies concerning the concept of religion and its philosophical importance. Functionalism and substantialism are keywords in this discussion that within the group of Ritter’s former students is particularly associated with Robert Spaemann. His reasoning concerning Lübbe’s concept of religion indicates a farther-reaching critique of Ritter’s approach and modernity in general.All these aspects show that there are different ways of answering the tasks and questions Ritter formulated concerning philosophy, either positively in adoption of or negatively in distinction to his own approach. His theoretical ambivalences led the former students of his Collegium Philosophicum to develop various methods of differentiating his positions. Section 4.4 finally resumes aforementioned aspects in reference to post-war German debates on the question of religious presuppositions of liberal-democratic politics, particularly concerning Böckenförde’s notable insight that the liberal and secular state for its own sake relies on presuppositions it cannot guarantee.***Mit dem gewachsenen Interesse für die Geistesgeschichte Nachkriegsdeutschlands und der Bundesrepublik hat auch der Name Joachim Ritter in den letzten Jahren verstärkt Beachtung gefunden. Zwischen 1946 und 1968 lehrte er Philosophie an der Universität Münster und beeinflusste als akademischer Lehrer durch sein Collegium Philosophicum eine ganze Reihe von namhaften Hochschullehrern und Intellektuellen. Diese Studie rekonstruiert zum einen die Entwicklung dieses Kreises. Insbesondere untersucht sie, wie Joachim Ritters Philosophie, sein Verständnis der modernen Welt und seine eigene intellektuelle Entwicklung in den Nachkriegsjahren bei seinen akademischen Schülern wirksam wurden, namentlich bei Hermann Lübbe und Odo Marquard, Robert Spaemann und Ernst-Wolfgang Böckenförde. Besonderes Augenmerk gilt zum anderen den religionstheoretischen und -politischen Überlegungen dieser Autoren, die sich, obwohl jeweils entscheidend von Ritter beeinflusst, doch deutlich voneinander abheben. Zur Erschließung dieser unterschiedlichen Perspektiven auf Moderne und Religion im Kontext der jungen Bundesrepublik – zwischen Fortschritt und Verfall – werden Bezüge zu Autoren wie Carl Schmitt und Hans Blumenberg aufgegriffen und nachgelassene Aufzeichnungen Joachim Ritters ausgewertet. Durch ihre offenen Anschlusspunkte ebenso wie durch ihre inhaltlichen Ambivalenzen, die zudem im zeitlichen Verlauf nicht unverändert blieben, erweist sich rückblickend die Fruchtbarkeit, mit der Ritters Philosophie die Auseinandersetzung mit der eigenen Gegenwart anzuregen vermochte, als sein maßgebliches Erbe.Martin Ingenfeld ist Politikwissenschaftler. Der Schwerpunkt seines Forschungsinteresses liegt im Bereich der politischen Theorie und Philosophie. Mit vorliegender Arbeit wurde er im Jahr 2015 an der Ludwig-Maximilians-Universität München promoviert."

Hunger and Modern Writing: Melville, Kafka, Hamsun, and Wright

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ISBN: 9783946198161 9783946198192 9783946198178 9783946198185 Year: Pages: 160 Language: English
Publisher: Modern Academic Publishing
Subject: Philosophy --- Languages and Literatures
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"Hunger is a contentious theme in modernist literature, and this study addresses its relevance in the works of four major American and European writers. Taking an in-depth look at works by Melville,Kafka,Hamsun, and Wright, it argues that hunger is deeply involved with concepts of modernity and modern literature. Exploring how it is bound up with the writer’s role in modern society this study draws on two conflicting and complex views of hunger: the first is material, relating to the body as a physical entity that has a material existence in reality. Hunger, in this sense, is a physiological process that affects the body as a result of the need for food, the lack of which can lead to discomfort, listlessness, and eventually death. The second view is that of hunger as an appetite of the mind, the kind of hunger for immaterial things that is associated with an individual’s desire for a new form of knowledge, sentiment, or a different way of perceiving the reality of the world. By discussing the selected authors’ conceptualization of hunger as both desire and absence of desire, or as both a creative and a destructive force, it examines how it has influenced literary representations of modern life. This study then offers a focused approach to a broad field of inquiry and presents analyses that address a variety of critical perspectives on hunger and modern literature.Daniel Rees completed his PhD in American and Comparative Literature at the Ludwig Maximilian University of Munich. His research interests include Anglo-American and European literature of the modern period. He has worked as a freelance editor and translator since 2004 and contributed publications in the e-journal Current Objectives of Postgraduate American Studies and to Orchid Press."

Mehrsprachigkeit im Spiegel des Buchdrucks: Das spanische Italien im 16. und 17. Jahrhundert

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ISBN: 9783946198086 9783946198116 9783946198093 9783946198109 Year: Pages: 436 Language: German
Publisher: Modern Academic Publishing
Subject: History --- Linguistics
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During the sixteenth and seventeenth century large parts of Italy were under Spanish dominion, the consequence of which was a linguistic contact that lasted over 200 years. However, due to the traditionally tight link between Italian language historiography and national historiography, the multilingual communicative space of Spanish Italy has only recently become an object of research. By focusing on four Spanish-dominated areas – the two metropolises of Naples (Regno di Napoli) and Milan (Milanesado), as well as the two islands of Sicily (Regno di Sicilia) and Sardinia (Regno di Sardegna) – the present work therefore presents a fundamental, extensive, and comparative case study of the history of plurilingualism and of letterpress printing in Italia spagnola. For the first time, even methodologically, letterpress printing will be considered as an indicator of plurilingualism, and not simply as a gauge for Tuscanisation, as scholars have previously concluded.The corpus, which has been elaborated on the basis of a specifically developed online title-database consisting of over 3.000 Spanish, bi- and multilingual printed works, is analyzed by combining quantification and qualification methods. The statistical evaluation of book production and distribution of languages and domains associated therewith have been integrated, or rather validated, by qualitative comments on exemplary single works. Herein, the following questions have been examined: How is multilingualism generally, and with regard to the Spanish language in particular, reflected in book production? How often and in which domains of discourse is Spanish used? Which profiles of competence of the producers (authors and printers) and the recipients can be qualitatively traced through single printed works? What evidence of the conventionalization of multilingualism in the form of linguistic teaching material can be provided? Which plurilinguistic practices can be reconstructed on the basis of the prints? Is bilingualism or multilingualism reflected on (and eventually how), and, if so, how is it discussed and assessed? How does the respective communicative space, characterized by the constant presence of the Spanish language, configure itself in the consciousness of the communicants within the field of perceptive linguistics? Thus, the aim was to investigate the degree of Hispanicization of Spanish Italy on the basis of the quantified printed language, and to discuss the practices of multilingualism, the attitudes towards the Spanish language, and how plurilingualism was reflected in selected printed works and their paratexts.The overall segment of the Spanish book production can be defined as a marginal phenomenon with a limited target group, and therefore multilingualism in Spanish Italy, when considered through letterpress printing, assumes an elitist status. However, the respective empirical results of the four partial corpora offer prominent regional differences, with each of the four communicative spaces presenting with their own, specific profile of multilingualism. The contrast of the single cases thus leads to a typology between Spanish Sardinia and the other three areas. The case reconstructions furnish the evidence that Spanish Sardinia, for reasons beyond existing language politics, represents the exception, or rather, the extreme case of problem-focused plurilingualism and Hispanicization. The remaining three areas (Naples, Milan and Sicily) bundle to form a second type – on account of their indifference towards language diversity as well as their pragmatic, mostly implicit, conventionalized handling of multilingualism, they can be classified as normal cases of language contact.

Wie schlägt Mehrsprachigkeit in der Frühen Neuzeit buchstäblich zu Buche? Am Beispiel des spanischen Italien untersucht die Studie im Buchdruck gespiegelte Sprachverhältnisse sowie Formen und Praktiken der Mehrsprachigkeit im 16. und 17. Jahrhundert. Vier mehrsprachige Kommunikationsräume – die zwei Metropolen Neapel und Mailand sowie die zwei Inseln Sizilien und Sardinien – werden in ihrer Dynamik analysiert, kontrastiert und typologisiert. Die vier Mehrsprachigkeitsprofile werden mittels einer quantifizierenden und qualitativen Methodenkombination rekonstruiert. Dabei ermittelt die Autorin, in welchen Diskursdomänen der gedruckten Schriftlichkeit Spanisch wie häufig verwendet wurde. Welche individuellen sprachlichen Kompetenzen der Produzenten sowie der Rezipienten lassen sich von mehrsprachigen Druckwerken ableiten? Welche zielgerichtete Mehrsprachigkeit in Form von Sprachlehrwerken ist nachzuweisen? (Wie) wird gesellschaftliche Mehrsprachigkeit thematisiert, diskutiert und bewertet? Anhand der Auswertung von 3.000 spanischen, zwei- und mehrsprachigen Druckwerken werden sowohl Erkenntnisse zur Buchproduktion als auch zu wichtigen Einzelwerken und Paratexten gewonnen. Die Analyse der Teilkorpora bringt markante regionale Unterschiede zum Vorschein und zeigt, dass sich das spanische Sardinien als ein Extremfall von Sprachenpluralität darstellt, die anderen drei Territorien (Regno di Napoli, Regno di Sicilia, Milanesado) jedoch aufgrund der Entdramatisierung von Mehrsprachigkeit als faktische Normalfälle von Sprachkontakt zu interpretieren sind. Die Autorin legt damit erstmals eine umfassende Fall- und Vergleichsstudie zur Geschichte der Mehrsprachigkeit und des Buchdrucks der Italia spagnola vor.Tina Ambrosch-Baroua hat als wissenschaftliche Mitarbeiterin für Sprachwissenschaft am Institut für Italienische Philologie der Ludwig-Maximilians-Universität München promoviert. Ihre Forschungsinteressen betreffen die italienische Sprachgeschichte, die Grammatikographie sowie die historische und aktuelle Mehrsprachigkeitsforschung.Webseite: http://uni-muenchen.academia.edu/TinaAmbroschBaroua"

Traumdramaturgie und Selbstreflexion: Bildstrategien romantischer Traumdarstellungen im Spannungsfeld zeitgenössischer Traumtheorie und Ästhetik

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ISBN: 9783946198000 9783946198031 9783946198017 9783946198024 Year: Pages: 326 Language: German
Publisher: Modern Academic Publishing
Subject: Arts in general --- Philosophy --- Social Sciences --- History of arts
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Abstract

The dissertation analyses dream images in romanticist art, with regards to inherent dreamanalogue strategies in consideration of contemporary dream theory and aesthetics, with a focus on the period between 1820 and 1840. The study does not provide a typological, iconographical or motif-historical collection of samples, but analyses different aspects of selected artworks which represent a wide range in terms of their contextual, formal and topographical heterogeneity, and overcomes the existing stereotypical classification in the context of romanticist art reflection.The study identifies that, beyond the contextual-iconographical dimension, the dream serves as an aesthetical category because it is reflected not only as a motif but also in relation to its dramaturgy. In the romantic awareness of the difficulty of an adequate representation of invisible images, the nonlinear, associative, ciphered, space- and time-simultaneous structure of the dream is adapted as a method, and is staged by varied and differentiated configurations. This is mirrored by comprehensive or formal concepts (genre, technique, media and interdisciplinary), as well as in fragmentary structures (sketches and drawings), in materiality (transparency and colour) or arabesque and combinatory production principles.The study contains three chapters: after a general introduction to the subject, the analysis of the current state of research and the demonstration of the methodology in the first chapter, the second chapter focuses on contemporary dream discourses (especially the theories of Gotthilf Heinrich Schubert and Carl Gustav Carus) and the constitutive role of the philosophy of Friedrich Wilhelm Joseph Schelling. By also involving the literary concepts of dreams the romantic awareness of the deficiency of the visible image compared to the invisible, which forces an avoidance of a mimetic art perception, becomes obvious. The third chapter forms the main body of the study. On the basis of selected dream images it analyses the different artistic strategies and conditions of reception.The first section of the third chapter focuses on artist dream imagery, namely the Musician’s Dream by Caspar David Friedrich, Raphael’s Dream by Franz and Johannes Riepenhausen and the Dream of Erwin von Steinbach by Moritz von Schwind. The analysis indicates that the dreaming artist serves as mise-en-abyme of the dream-analogue productive and reflexive process, and the artwork itself.The second section of chapter three makes landscape spaces accessible as imaginative concepts and projections of emotional states, according to current literature studies. Landscape spaces serve as patterns for reflection processes, which is explored on the basis of The Dreamer by Caspar David Friedrich.The third section of the third chapter focuses on a combinatory and arabesque concept as a dream-analogue and self-reflexive strategy – the collage-like compilation, association and transformation of heterogeneous elements which are analysed on the basis of the artworks Dream of Adam by Moritz von Schwind and The Evening by Clemens Brentano.

Die Arbeit untersucht Bildstrategien von Traumdarstellungen der deutschen Romantik unter Berücksichtigung der zeitgenössischen Traumtheorie und Ästhetik mit einer Fokussierung auf den Zeitraum zwischen 1820 und 1840. Die Studie geht der Frage nach, ob die Traumdarstellung jenseits ihrer ikonographischen Dimension auch als ästhetisches Konzept fungiert, indem die Dramaturgie des Traumes als Methode eingesetzt wird. Die romantische Präferenz für das Unbewusste – gerade auch hinsichtlich der Kunstproduktion – zeigt sich in der Auseinandersetzung mit der philosophisch-literarischen Frühromantik und kulminiert in einer Ästhetik der inneren Bilder. Diese reflektiert die Darstellbarkeit unsichtbarer Bilder und findet in der alinearen, assoziativen, chiffrierten, raum- und zeitsimultanen Dramaturgie des Traums ihre adäquate Struktur, auch weil sie sich einer homogenen Werkgenese zu widersetzen vermag. Unter Berücksichtigung unterschiedlicher Aspekte analysiert die Arbeit ausgewählte und heterogene Beispiele von Traumdarstellungen, die als Ausdruck dieser (Selbst)reflexion gelesen werden können.Lesen Sie hier die detaillierte English Summary: http://bit.ly/1yxFcViLisa Dieckmann promovierte 2013 im Fach Kunstgeschichte an der Universität zu Köln bei Prof. Dr. Susanne Wittekind, ist seit 2005 wissenschaftliche Mitarbeiterin und seit 2008 Geschäftsführerin von prometheus – das verteilte digitale Bildarchiv für Forschung & Lehre am Kunsthistorischen Institut der Universität zu Köln. Sie ist verantwortlich für das DFG-Projekt »Meta-Image – virtuelle Forschungsumgebung für den Bilddiskurs in den Kunst- und Bildwissenschaften«, außerdem Gründungsmitglied des Cologne Center for eHumanties und Sprecherin des Arbeitskreises Digitale Kunstgeschichte.

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