208. Von Bild Zu Bild, In

Total Page:16

File Type:pdf, Size:1020Kb

208. Von Bild Zu Bild, In Vereinigung der Schweizerischen Hochschuldozierenden VSH AEU Association Suisse des Enseignant-e-s d’Université Bulletin Titel folgt noch Titel folgt noch Mit Beiträgen von Alfred Stückelberger Andreas Wagner Gottfried Boehm Christoph Sigrist Wolfgang Kienzler Philipp Stoellger 41. Jahrgang, Nr. 3 – August 2015 41ème année, no 3 – août 2015 ISSN 1663–9898 ii Stellenausschreibung - Poste à pourvoir Assistant Professor (Tenure Track) of Glaciology The Department of Civil, Environmental and Geomatic Engineering (www.baug.ethz.ch) at ETH Zurich and the Swiss Federal Institute for Forest, Snow and Landscape Research, WSL (www.wsl.ch) invite applications for the above-mentioned assistant professorship. The assistant professor will lead a research group to be shared between the Department of Civil, Environmental and Geomatic Engineering at ETH Zurich and the Swiss Federal Institute for Forest, Snow and Landscape Research, with a strong research focus on alpine glaciology. The new assistant professor will be expected to teach undergraduate and graduate level courses, to maintain an active research programme, and to contribute to the departmental service. The research group will be located at the Laboratory of Hydraulics, Hydrology and Glaciology at ETH campus Hönggerberg in Zurich as well as at the Swiss Federal Institute for Forest, Snow and Landscape Research in Birmensdorf. The successful candidate should hold a doctoral degree in civil or environmental engineering or a related discipline and should have expertise in physical glaciology. Relevant research areas include, but are not limited to, dynamic behavior of mountain glaciers, sub-glacial processes, fracture growth and mechanical failure in glacier ice, glacier hazards and climate-glacier interactions. We are particularly interested in individuals who combine acquisition and interpretation of data with theoretical work. The development and use of numerical models (e.g. ice flow, ice fracturing, glacier hydraulics) to combine research and engineering problems with observations is also a desired research direction. The selected candidate should establish an attractive teaching programme and must be committed to excellence in education, as well as promote, execute and apply modern teaching methods. The new assistant professor will be expected to teach undergraduate level courses (German or English) and graduate level courses (English). This assistant professorship has been established to promote the careers of younger scientists. The initial appointment is for four years with the possibility of renewal for an additional three-year period and promotion to a permanent position. Please apply online at www.facultyaffairs.ethz.ch Applications should include a curriculum vitae, a list of publications, and a statement of future research and teaching interests. The letter of application should be addressed to the President of ETH Zurich, Prof. Dr. Lino Guzzella. The closing date for applications is 30 September 2015. ETH Zurich is an equal opportunity and family friendly employer, and is further responsive to the needs of dual career couples. We specifically encourage women to apply. 1 VSH-Bulletin Nr. 3, August 2015 | AEU-Bulletin no 3, août 2015 Inhaltsverzeichnis – Table des matières ??? ??? Editorial 2 Wolfgang Lienemann Die Illustration als Verständnishilfe in antiken wissenschaftlichen Texten 4 Alfred Stückelberger Sagen und Zeigen: Elemente der Bildkritik 11 Gottfried Boehm Face-to-face mit dem Menschensohn – Eine Meditation 19 Christoph Sigrist Wittgenstein über Sätze und Bilder: Sagen und Zeigen 21 Wolfgang Kienzler Von Bild zu Bild Ein unmöglicher Überblick aus protestantischer Perspektive 28 Philipp Stoellger Stellenausschreibungen / Postes à pourvoir ii, 3, 45 Anzeige / Annonce 19 Das Titelbild zeigt eine Wolkenformation (Cumulonimbus calvus) über China, fotografiert von Axel Rouvin (http://commons.wikimedia.org/wiki/File:Clouds.JPG) © Creative commons 2 VSH-Bulletin Nr. 3, August 2015 | AEU-Bulletin no 3, août 2015 Editorial Wolfgang Lienemann Sehr geehrte Leserin, sehr geehrter Leser, 2000), Bilder des Trecento kann man als Traktate der politischen Philosophie lesen (Hofmann 1997, Bilder spielen in allen Wissenschaften eine wichtige Seidel 1999), selbst für Grundlagenfragen der Logik Rolle. Zwar werden viele Menschen beim Stichwort sind Symbole, Metaphern und Bilder zu wichtigen «Bilder» möglicherweise zuerst an die ungeheure Elementen avanciert (vgl. den Beitrag zu Wittgen- Bilderflut in der heutigen Gesellschaft denken. stein in diesem Heft). Museen melden immer neue Besucherrekorde. Die Menge der Medien, ihrer Bilderwelten und Bilder- In diesem Heft wird eine kleine, exemplarische Aus- verwendungen, die Filme und Videos, die Bilder wahl von Themen der Bildwissenschaften präsen- der Werbung und vor allem die Simultaneität aller tiert. Der Bogen spannt sich von Abbildungen in möglichen Bilder und Bildfolgen im Internet über- den Wissenschaften der Antike über Beispiele aus schwemmen uns. Manches in dieser schieren Fülle den heutigen Naturwissenschaften zu Ansätzen in von Bildobjekten hat indes auch enorme Vorteile: den neuen Bildwissenschaften bis hin zu philoso- Während man früher Bilder, die man genau anse- phischen und theologischen (Meta-)Reflexionen. hen und beschreiben wollte, unbedingt aufsu- Die Perspektiven sind höchst unterschiedlich. Ich chen musste (weil das Studium von Kunstbänden hätte mir gewünscht, die Autoren – leider fehlen nicht ausreichte) und oft erst an weit verstreuten in diesem Heft Autorinnen – zu einem streitbaren Orten fand, an denen sie zudem oft nur mühsam Kolloquium einladen zu können. zu betrachten waren, findet man heute im Inter- net nicht nur ganze Bildergalerien in Reprodukti- Dass Bilder nicht einfach etwas «abbilden», onen mit höchster Auflösung, sondern zugehörige sondern etwas – als etwas Bestimmtes oder zu Detailaufnahmen, die reichhaltiger und feiner sind Bestimmendes – «zeigen» und das «Sehen» und als unsere gewöhnlichen Wahrnehmungsmöglich- «Wahrnehmen» anleiten und steuern, bisweilen keiten. (Dass die rasant wachsenden digitalen Bild- dabei auch die Betrachtenden täuschen oder sogar welten die unmittelbare Betrachtung eines Bildes manipulieren, ist nicht nur ein Phänomen der nicht einfach ersetzen können, steht auf einem einstmals «schönen Künste» oder des Fernsehens anderen Blatt). Es ist unabsehbar, in welchem mit seiner Bildberichterstattung, aus Kriegsgebie- Umfang und auf welche Weisen die fortschreitende ten zumal, sondern gilt (vielleicht) auch für die Digitalisierung den Einsatz und die Wahrnehmung Naturwissenschaften. Wir alle kennen die farbigen, von Bildern in Wissenschaft, Technik und Kunst mit Computerhilfe erzeugten «figures», die Bilder weiter revolutionieren wird. der Magnetenzephalographie oder verschiedener Spektroskopien, die Erzeugnisse jener «bildge- An den neuen Bildwissenschaften sind nahezu benden Methoden», die «zu den schönen bunten alle wissenschaftlichen Fächer beteiligt – Natur- Bildern des Gehirns führen» (G. Roth, zitiert bei ebenso wie Geisteswissenschaften, Grundlagenfor- Gehring 2004, 293). Doch was genau zeigen die schung wie angewandte Disziplinen (Sachs-Hom- Bilder der Hirnforschung? Was ist ihre Funktion, bach 2005). Der viel berufene «iconic turn» hat die was ihr erkenntnistheoretischer Status? Worin traditionelle Kunstgeschichte kräftig aufgemischt unterscheiden sich die Bilder und bildgebenden (vgl. Belting 2001, Boehm 2001 und 2008) und zwar Verfahren in den Naturwissenschaften von jenen nicht eine neue Disziplin begründet, aber der neuen «souveränen» Objekten (oder «Subjekten»?) der «Bildwissenschaft» ein weites Feld interdisziplinä- Kunst, die «sich selbst ein Existenzrecht» verschaf- rer Forschungen erschlossen. In der Bilderanalyse fen (Luhmann 1995, 455)? Von den Problemen und -interpretation arbeiten ganz unterschiedli- der Bilder, der Bildherstellung und der Kommu- che Fachvertreterinnen zusammen, so dass den nikation mit und mittels Bildern her kommt man staunenden Betrachtern und Leserinnen immer anscheinend unweigerlich auch auf ontologische, wieder die Augen neu geöffnet werden: Man lernt, naturphilosophische und erkenntnistheoretische wie sich Philosophie in Bildern artikuliert (Brandt Grundlagenfragen (vgl. Scholz 1991), die in diesem 3 VSH-Bulletin Nr. 3, August 2015 | AEU-Bulletin no 3, août 2015 Heft allerdings außen vor bleiben mussten.1 Ein Heft über Bilder ruft geradezu nach qualitativ guten Abbildungen. Dazu sei erneut auf die elektro- nische Version des «Bulletin» verwiesen. Ich wünsche eine anregende, spannende und Neu- gier weckende Lektüre. Wolfgang Lienemann 1 Hier erwähnte Lit.: Hans Belting, Bild-Anthropologie. Entwürfe für eine Bildwissenschaft, München 2001; Gottfried Boehm, Was ist ein Bild? München (1994) 32001; Gottfried Boehm, Wie Bilder Sinn erzeugen, Berlin 2008; Reinhard Brandt, Philosophie in Bildern, Köln 2000; Petra Gehring, Es blinkt, es denkt. Die bildgebenden und die weltbildgebenden Verfahren der Neurowissenschaft, Philosophische Rundschau 51, 2004, 273 – 295; Hasso Hofmann, Bilder des Friedens oder Die vergessene Gerechtigkeit. Drei anschauliche Kapitel der Staatsphilosophie, München 1997; Niklas Luhmann, Die Kunst der Gesellschaft, Frankfurt a.M. 1995; Klaus Sachs-Hombach (Hg.), Bildwissenschaft. Disziplinen, Themen, Methoden, Frankfurt a.M. 2005; Oliver R. Scholz, Bild, Darstellung, Zeichen. Philosophische Theorien bildhafter Darstellung, Freiburg/München 1991; Max Seidel, Dolce Vita. Ambrogio Lorenzettis Porträt des Sieneser Staates,
Recommended publications
  • Krešimir Purgar Visual Studies and the Pictorial Turn: Twenty Years Later Abstract in This Paper I Will Try to Emphasize Some
    Krešimir Purgar Visual Studies and the Pictorial Turn: Twenty Years Later Abstract In this paper I will try to emphasize some key points in the discussion that have started two decades ago, after Thomas Mitchell and Gottfried Boehm had proclaimed the advent of the so called pictorial and/or iconic turn. At first sight, ever since this has been primarily a metatheoretical argument, that aimed at a disciplinary framing of the new intellectual endeavor. But over years it dissolved in a much more nuanced approaches to particular topics in art, film, and popular culture that found their natural “home” in the evolving area of visual studies. Nevertheless, the discussion still doesn't seem to be over and values and goals of visual studies still don't seem to be defined. Keywords visual studies, pictorial turn, W.J.T. Mitchell, image, Gottfried Boehm, visual essentialism, anthropology of images As Italian scholar Michele Cometa once commented, those who were looking for the truth in images have faced a resounding failure, either because of the prejudices of western philosophy or because of its fundamentalist statements. The other way round, those who were resistant to acknowledging to images any meaning and power have condemned their selves to a life in a kind of “absolute reality” (Cometa, 2008: 49). To put this blatant dichotomy of belief in and fear of images on the level of visual theory, retaining both sides of the opposition, I could also refer to Keith Moxey who claimed that there were moments when art history was about to drown in a swamp of “contextual detail” that surrounded discourses of art, and there were times when all that mattered was “an internal history of the object that insisted on its freedom from cultural entanglement” (Moxey, 2008: 167).
    [Show full text]
  • The Idea of a Universal Bildwissenschaft
    Zlom2_2014_Sestava 1 29.10.14 10:10 Stránka 208 The Idea of a Universal Bildwissenschaft THE IDEA OF A UNIVERSAL BILDWISSENSCHAFT JASON GAIGER The emergence of Bildwissenschaft (image science) as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft and the features that distinguish it not only from other related disciplines such as art history and visual studies, but also from recent work in the philosophy of the image. I When Raymond Geuss wrote his short book, The Idea of a Critical Theory , he set himself ‘the modest task of explaining clearly what a critical theory is meant to be’. 1 His aim was not to provide a full account of the views of the various authors he discusses but rather to assess the claim that ‘critical theories have special standing as guides for human action’ by analysing the grounds for drawing a principled distinction between a descriptive and a critical theory. 2 The allusion to Geuss’s book in the title of this article is intended to indicate a similar restriction in scope. The emergence of Bildwissenschaft as a new disciplinary – or, rather, interdisciplinary – formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld.
    [Show full text]
  • 'Cause We Are Living in a Material World: on Iconic Turn in Cultural
    ‘Cause we are living in a material world: on iconic turn in cultural sociology A Master’s Thesis written by Bc. Jitka Sklenářová MASARYK UNIVERSITY • FACULTY OF SOCIAL STUDIES • DEPARTMENT OF SOCIOLOGY Supervisor: doc. PhDr. Csaba Szaló, Ph.D. Brno, 2014 2 Declaration I hereby declare that this thesis I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my work. 11th May 2014 Signature 3 4 Acknowledgements “We are not at an airport; we are at a university.” I would like to thank Csaba Szaló for these words, for his inexhaustible support and trust, and for influencing my life in many positive ways. I am also grateful for the international and friendly environment he managed to create at the Department of Sociology. • Special thanks go to Werner Binder who spent many hours answering my questions. His enthusiasm and inspirational comments were of great importance for my work. • I also appreciate attention, support, and suggestions received from Nadya Jaworsky and Dominik Bartmański. 5 Table of Contents Abstract 8 Abstract (in Czech) 9 Introduction: Call for a new sociology 11 1. Human and social sciences & the visual: History of a complicated relationship 17 1.1. Semiotics and the notion of a discursive world 18 1.1.1. Peirce’s triad 19 1.2. Panofsky’s image interpretation 20 1.2.1. Iconology 21 1.2.2. Critique of Panofsky’s method 25 1.3. “Rhetorique of the Image” 27 1.4.
    [Show full text]
  • 2 Part 1 Copy
    THE STONE ART THEORY INSTITUTES Edited by James Elkins vol. 1 ART AND GLOBALIZATION vol. 2 WHAT IS AN IMAGE? The Stone Art Theory This series is dedicated to Institutes is a series of Howard and Donna Stone, books on five of the long-time friends of the principal unresolved School of the Art Institute problems in contemporary of Chicago. art theory. The series attempts to be as international, inclusive, and conversational as possible, in order to give a comprehensive sense of the state of thinking on each issue. All together, the series involves over three hundred scholars from over sixty countries. THE STONE ART THEORY INSTITUTES VOLUME ! WHAT IS AN IMAGE? EDITED BY JAMES ELKINS AND MAJA NAEF the pennsylvania state university press, university park, pennsylvania Library of Congress Cataloging-in- It is the policy of The Pennsylva- Publication Data nia State University Press to use acid-free paper. Publications on TK uncoated stock satisfy the mini- mum requirements of American Copyright © 2011 The Pennsylva- National Standard for Information nia State University Sciences—Permanence of Paper All rights reserved for Printed Library Material, Printed in the United States of ansi Z39.48–1992. America Published by The Pennsylvania State University Press, University Park, PA 16802-1003 The Pennsylvania State Univer- sity Press is a member of the Association of American University Presses. CONTENTS Series Preface assessments Ruth Sonderegger 000 ooo preface introduction James Elkins Thomas Macho James Elkins 000 and Jasmin Mersmann 000 1 Frederick M. Asher 000 Ciarán Benson 000 Michael Ann Holly 000 Christoph Lüthy 000 the seminars Adrian Rifkin 000 Sebastian Egenhofer 1.
    [Show full text]
  • Bildwissenschaften” Want? in the Vicious Circle of Iconic and Pictorial Turns
    What do “Bildwissenschaften” want? In the Vicious Circle of Iconic and Pictorial Turns SIGRID SCHADE Gender studies’ aims, perspectives and theoretical debates have con- tributed extensively to the change in the world of academic disci- plines during at least the last twenty five years. Strategically situated both outside and inside the institutions they criticise, gender studies’ representatives have to reconsider once in a while the effects the in- clusion of their approaches and questions have had in the fields in which they had a chance to be acknowledged, and whether, and how, these fields have reacted, to the effect that the responses have to be re- examined. At least in the German academic writing community, art history has overall been one of the most resistant disciplines towards chal- lenges raised by gender studies and other cultural studies. Yet some of the questions concerning the basics of structural analysis of possible elements of visual culture(s) – “artwork” just being one of these – are now also being questioned in art history and other disciplinary as well as interdisciplinary discourses that deal with the cultural mean- ing and power of images/pictures in the age of globalisation and dig- ital image circulation, such as visual studies, film studies, media studies, image or imaging sciences. Within, and extending, art history a discourse has been developed over the last five to ten years which in German academia today usu- ally runs under the term “Bildwissenschaft” or in the plural form “Bildwissenschaften”, but which
    [Show full text]
  • Sigrid Schade
    Published in: The Institutes of the Zurich University of the Art, ed. b. Hans Peter Schwarz, Zürich ZHdK 2008, p. 162-171 Sigrid Schade «Bildwissenschaft» – a new «discipline» and the absence of women 1 The aims and perspectives of gender studies and its theoretical debates have contributed extensively to a shift in academic disciplines for at least the last twenty five years. In the German-speaking academic community, art history has been one of the most resistant disciplines towards challenges raised by gender studies and other cultural studies.2 Some of the questions raised by gender studies concerning visual culture(s) – «artwork» just being one of these – are now also being raised in art history and other disciplinary as well as interdisciplinary discourses that deal with the cultural meaning and power of images in the age of globalisation and digital image circulation, such as visual studies, film studies, media studies, image or imaging sciences. Within, and extending, art history a discourse has emerged over the last five to ten years that German academia usually refers to as «Bildwissenschaft». While no comparable term yet exists in English, the representatives of «picture or image theory» are sometimes also subsumed under «Bildwissenschaft» by German colleagues, whereas in the Anglo-American academic community they might come under the notion of visual culture studies or visual studies if they claim to transgress traditional art history and deal not only with art but also with popular and mass media.3 «Bildwissenschaft» raises interesting questions. These deal with the relation between word and image, image and gaze, and the interrelations of image(s), bodies, subjectivities and culture(s), and, last but not least, with the methodological relations 1 This article is a slightly altered version of a section in my article «What do ‘Bildwissenschaften’ Want? In the Vicious Circle of Iconic and Pictorial Turns» in: Inscriptions/ Transgressions.
    [Show full text]
  • 51 . 3 + 52 . 1 Issn 0022-2224
    51 . 3 + 52 . 1 Visible Language the journal of visual communication research ISSN 0022-2224 december 2017 april 2018 Published continuously since 1967. 51 . 3 – 52 . 1 Visible Language the journal of visual communication research special issue: Practice-led Iconic Research December 2 0 1 7 – April 2 0 1 8 51 . 3 – 52 . 1 Visible Language Special Issue: Practice-led Iconic Contents Research framing texts Practice-led Iconic Research: Towards a Research Methodology for Visual Communication Visible Language Visible Michael Renner 8 – 33 51.3 – 52.1 The Practice of Practice-led Iconic Research Arno Schubbach Advisory Board 34 – 55 Naomi Baron – The American University, Washington, D.C. Michael Bierut – Pentagram, New York, NY research into the design process Charles Bigelow – Type designer The Dynamism of the Vertical Strokes of Hangeul and the Flow of Its Lines of Writing Matthew Carter – Carter & Cone Type, Cambridge, MA Keith Crutcher – Cincinnati, OH Jinsu Ahn Mary Dyson – University of Reading, UK 56 – 73 Jorge Frascara – University of Alberta, Canada Ken Friedman – Swinburne University of Technology, Melbourne, Australia Michael Golec – School of the Art Institute of Chicago, Chicago, IL Identifying Design Processes in Photography by Analyzing Photographic Strategies Judith Gregory – University of California-Irvine, Irvine, CA Kevin Larson – Microsoft Advanced Reading Technologies in the Documentation of Public Places: "It's hard to be down when you're up." Aaron Marcus – Aaron Marcus & Associates, Berkeley, CA Helga Aichmaier Per
    [Show full text]
  • Culture, Theory and Critique Pictorial Versus Iconic Turn
    This article was downloaded by: [University of Sydney] On: 09 February 2015, At: 03:13 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Culture, Theory and Critique Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rctc20 Pictorial versus Iconic Turn: Two Letters Gottfried Boehm & W. J. T. Mitchell Published online: 21 Dec 2009. To cite this article: Gottfried Boehm & W. J. T. Mitchell (2009) Pictorial versus Iconic Turn: Two Letters, Culture, Theory and Critique, 50:2-3, 103-121, DOI: 10.1080/14735780903240075 To link to this article: http://dx.doi.org/10.1080/14735780903240075 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • Review of Wolfram Pichler Und Ralph
    Wolfram Pichler und Ralph Ubl, Bildtheorie Two major ones, then, will articulate the two zur Einführung, Hamburg: Junius Verlag, 2014, parts of the book, given in an economic way by the 237 pages, € 15.90, ISBN 978-3-88506-074-1 short titles, which serve not only as titles but, even more, as directions: “Vom Wiedererkennen in Bil- dern” and “Über Bildformatierungen.” The two notions are new, at least in the way they are used. Wolfram Pichler and Ralph Ubl’s book belongs to Wiedererkennen is here the fundamental feature the Zur Einführung series, created in 1977 to guide according to which, as children would have told readers through fields with which they are not yet the authors, an image is something in which some- familiar – in this case, “Bildtheorie,” a term coined thing else is to be seen; Gottfried Boehm gives in the mid-1990s, notably after Gottfried Boehm’s this notion theoretical legitimacy when speaking proclamation of an iconic turn, in dialogue with about “anders sehen” (seeing another way). Hence William J. T. Mitchell, Hans Belting, and Horst the placing of the notion of recognition at the very Bredekamp, and now established enough to define core of the definition of the image. But the ques- academic programs in various universities. But tion of ontology becomes very quickly a question what is particular in Pichler and Ubl’s book is the of process: how this recognition happens. Hence way they respect a principle of the Zur Einführung the reference to a couple of notions that are fun- series: they have a Standpunkt, a point of view, ac- damental here: Bildvehikel (henceforth, BV) and cording to which they organize the discourse.
    [Show full text]
  • Bildwissenschaft Und Visual Culture
    Basis-Scripte. Reader Kulturwissenschaften 4 Bildwissenschaft und Visual Culture Bearbeitet von Marius Rimmele, Klaus Sachs-Hombach, Bernd Stiegler 1. Auflage 2014. Taschenbuch. 352 S. Paperback ISBN 978 3 8376 2274 4 Format (B x L): 14,8 x 22,5 cm Gewicht: 543 g Weitere Fachgebiete > Kunst, Architektur, Design > Kunstwissenschaft Allgemein schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Aus: Marius Rimmele, Klaus Sachs-Hombach, Bernd Stiegler (Hg.) Bildwissenschaft und Visual Culture November 2014, 352 Seiten, kart., 24,99 €, ISBN 978-3-8376-2274-4 In den letzten Jahren wurde nicht nur ein »iconic« oder »visual turn« diagnostiziert, sondern es entstanden mit der Bildwissenschaft und den Visual Culture Studies gleich zwei neue interdisziplinäre Forschungsbereiche. Dieser Band unternimmt erstmals eine repräsentative und kommentierte Zusammen- stellung zentraler Texte dieser innovativen Theoriefelder, die sich vor allem auch an den Bedürfnissen von Studium und Lehre orientiert. Das Buch ist in fünf Kapitel gegliedert: 1. Iconic und Pictorial Turn (u.a. W.J.T. Mitchell, Gottfried Boehm) 2. Bildtheorien (u.a. Bernhard Waldenfels, Nelson Goodman) 3. Visual Culture (u.a. Irit Rogoff, Nicholas Mirzoeff) 4. Zwischen Kunstgeschichte und Bildwissenschaft (u.a. Aby Warburg, Horst Bredekamp) 5. Bilder zwischen Wahrnehmungs- und Wissenschaftsgeschichte (u.a. Jonathan Crary, Lorraine Daston/Peter Galison). Marius Rimmele (Dr.) ist Senior Researcher im Nationalen Forschungsschwerpunkt Mediality an der Universität Zürich.
    [Show full text]