POETRY and the ART of BUILDING Goethe's Morphology As Applied to Architecture
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An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson
An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson A Thesis submitted by: Andre Weiss B. A. 1998 Supervisor: Dr. Gavin Stamp Submitted in fulfilment of the requirements for the Master of Architecture Mackintosh School of Architecture, The University of Glasgow September 1999 ProQuest N um ber: 13833922 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13833922 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Contents List of Illustrations ...................................................................................................... 3 Introduction .................................................................................................................9 1. The Previous Claims of an InfluentialRelationship ............................................18 2. An Exploration of the Individual Backgrounds of Thomson and Schinkel .............................................................................................................38 -
Des Schicksals Fügung in Die Eignen Hände Nehmen Künstlerinnen, Schriftstellerinnen Und Musikerinnen Vom 17
Des Schicksals Fügung in die eignen Hände nehmen Künstlerinnen, Schriftstellerinnen und Musikerinnen vom 17. – 21. Jahrhundert Des Schicksals Fügung in die eignen Hände nehmen Künstlerinnen, Schriftstellerinnen und Musikerinnen vom 17. – 21. Jahrhundert Zum Titelbild: MILLY STEGER Mit ihrer Grenzüberschreitung in die Männerdomänen der Bildhaue- rei mit Hammer und Meißel, der Großplastik und der öffentlich finanzierten „Kunst am Bau“ hat die Bildhauerin Milly Steger wesentliche Meilensteine in der Professionalisierungsgeschichte von Künstlerinnen gesetzt. Um 1912 wurde sie zur offiziellen ‚Stadtbild- hauerin‘ von Hagen berufen, ab 1917 wirkte sie in Berlin. Im Jahr 1932 nennt Knaurs Konversationslexikon die Künstlerin exemplarisch für die Bildhauerei des 20. Jahrhunderts. Der Filmemacher Hans Cürlis widmete Milly Steger in seinem Film „Schaffende Hände – die Bildhauer“, den er 1927 drehte, eine aus- führliche Sequenz, welche die Bildhauerin beim Modellieren einer Figur zeigt. Die drei Standbilder auf dem Titel sind der gleichnami- gen Publikation zum Film entnommen. Redaktion: Ulrike Schultz Gestaltung: Markus Gutierrez, Gesche Joost, VINGS; Reinhard Rollbusch, ZFE Herausgeber: Der Rektor und Ulrike Schultz / Gleichstellungsstelle ISBN 3-934093-06-X © 2005 FernUniversität in Hagen CIP-Titelaufnahme der Deutschen Bibliothek Inhaltsverzeichnis 5 Inhaltsverzeichnis Seite Vorwort von Ulrike Schultz 7 Birgit Schulte: „Ach so, Sie malen wie Ihr Mann malt“. 13 Drei Künstlerinnen und ihre berühmten Männer Birgit Schulte: Die Grenzen des Frauseins aufheben. 43 Die Bildhauerin Milly Steger 1881 – 1948 Birgit Schulte: Künstlerin im Schatten. Gabriele Münters Werk 67 und Persönlichkeit (1877 – 1962) Doris Maurer: Annette von Droste-Hülshoff – Ein Leben 95 zwischen Auflehnung und Gehorsam Doris Maurer: Frauen und Salonkultur. Literarische Salons 125 vom 17. –20. Jahrhundert Elvira Willems: Auch Sie in Arkadien. -
The Restoration of Medieval Stained Glass*
The Restoration of Medieval Stained Glass* Gottfried Frenzel The victim ofits own composition and ofmodem air tiny particles. The particles fall out of each panel: thus pollution, Europe's most radiant art is now threat- the window disintegrates. ln England stained-glass windows are exposed to ened ~'ith destruction. The efforts at preservation heavy smog. Canterbury Cathedral displays the re- depend on knowledge of the glass. sults. The cathedral includes the Trinity chapel and its Light bas long served religion as a :symbol. It has ambulatory , or processional aisle, which incorporates signified creation (" Let there be lighlt" was the first the chapel called the Corona, constructed between 1174 and 1220. ln both chapels some of the stained command of the Creator) as weIl as salvation (John glasshas been attacked. Pits have formed, which have the Evangelist saw the Heavenly Jerusalem illumi- nated as if made " of jasper" and its walls " like clear now perforated the panels, leaving them quite porous, so that acid raiD cao reach the ioDer surface of the glass") The earthly reflections of such visions, glass and eat into the paintwork there. achieved throughout the Middle Ages by means of France is the classic repository of stained glass. A light, were the period' s most brilliant works of art: the single cathedral, the one in Chartres, is decorated with stained glass windows of Romanesque and Gothic more than 2,000 square meters of stained glass from chapels, churches, minsters and cathedrals. For al- the 12th and 13th centuries, the period when the art most a millennium, in the caseof the earliest stained- reachedits peak in France. -
Early Medieval Europe
Early Medieval Europe 1 Early Medieval Sites in Europe 2 Figure 16-2 Pair of Merovingian looped fibulae, from Jouy-le-Comte, France, mid-sixth century. Silver gilt worked in filigree, with inlays of garnets and other stones, 4” high. Musée d’Archéologie nationale, Saint-Germain-en-Laye. 3 Heraldic Motifs Figure 16-3 Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and cloisonné garnets, 7 1/2” long. British Museum, London. 4 5 Figure 16-4 Animal-head post, from the Viking ship burial, Oseberg, Norway, ca. 825. Wood, head 5” high. University Museum of National Antiquities, Oslo. 6 Figure 16-5 Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070. 7 Figure 16-6 Man (symbol of Saint Matthew), folio 21 verso of the Book of Durrow, possibly from Iona, Scotland, ca. 660–680. Ink and tempera on parchment, 9 5/8” X 6 1/8”. Trinity College Library, Dublin. 8 Figure 16-1 Cross-inscribed carpet page, folio 26 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London. 9 Figure 16-7 Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London. 10 Figure 16-8 Chi-rho-iota (XPI) page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth century. Tempera on vellum, 1’ 1” X 9 1/2”. -
Goethe's Conception of the Character of Prometheus
GOETHE'S CONCEPTION OF THE CHARACTER OF PROMETHEUS BT VEDA. MAE VOSE A. B. Eureka College, 1917 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN GERMAN IN THE GRADUATE SCHOOL OP THE UNIVERSITY OF ILLINOIS 1910 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL - 1Q1 f I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY. ENTITLED. v^2C * BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF_ Charge of Thesis Head of Department Recommendation concurred in* Committee on Final Examination* *Required for doctor's degree but not for master's Digitized by the Internet Archive in 2013 http://archive.org/details/goethesconceptioOOvose Outline of Goethe's Conception of the Character of Prometheus. I. General Discussion of the Genieper iode and Goethe's connection with it. II. Prometheus, a fragment of 1773. III. Pandora's Return, a fragment of 1807. IV. Goethe's later acceptance of the harmony of humanity and the world. uiuc . GOETHE'S CONCEPTION OF THE CHARACTER OP PROMETHEUS The Genieperlode and Goethe. During the latter part of the 18th century, all Europe passed through a revolutionizing stage. In England, probably because of her isolation and because of the inherent sturdiness and love of freedom of her people, the movement had come earlier. In France, a political change took place and as a result of the Revolution, the people gained politically and socially. In Germany, because of the political disintegration, the movement was entirely an intellectual revolution, and its fruits are to be found in poetry and music. -
Italian Journey Treasures from the Archives
GRAND TOUR ITALIANO: CINEMA TREASURES FROM THE ARCHIVES (c. 1909–12, total screening time: 70 mins.) Curated by Andrea Meneghelli, Cineteca di Bologna This program is presented virtually on wexarts.org Feb 28–Mar 6, 2021, as part of Cinema Revival: A Festival of Film Restoration, organized by the Wexner Center for the Arts. At the beginning of the 20th century, cinema offered production houses in Italy—and elsewhere—the extraordinary possibility of depicting Italy to the world and to the new citizens of the unified state, permitting everyone to go on a low cost, virtual Grand Tour. The production of “real life” Italian cinema during the early 1910s gives us the picture of a modern, industrialized country, which, at the same time, boasts the age-old traditions of its history and the incomparable artistic and natural beauty of its territory. In the ports of Genoa and Naples, while groups of foreign tourists disembark from steamboats, the docks are crowded with millions of emigrants, ready to set sail for Argentina, Canada, the United States...Italy is no longer a country for them. Images were shot throughout Italy, from Sicily to Valle d’Aosta, from the Tyrrhenian Sea to the Adriatic. The films were made by both Italian and international production houses, because the Bel paese (beautiful country) at once became the destination of choice for cine-camera operators sent out to capture “the Beautiful.” The operators (and their production houses) followed the lessons of the Lumière brothers, framing Italy with wisdom, using a new language written for the moving image, and with true technical know-how: manually colored images, split-screen, fixed cameras, cameras in movement.. -
Leah Summers, Mezzo-Soprano and Marc Webster, Bass Leah Summers
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 3-5-2010 Faculty Recital: Leah Summers, mezzo-soprano and Marc Webster, bass Leah Summers Marc Webster Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Summers, Leah and Webster, Marc, "Faculty Recital: Leah Summers, mezzo-soprano and Marc Webster, bass" (2010). All Concert & Recital Programs. 4052. https://digitalcommons.ithaca.edu/music_programs/4052 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. 1 FACULTY RECITAL~ Leah Summers, mezzo-soprano Marc Webster, bass* Charis Dimaras, piano Hockett Family Recital Hall Friday, March 5, 2010 7:00 p.m. ITHACA PROGRAM 5 Goethe Lieder Franz Schubert (1797-1828) t'.£. ~'•0. Gretchen am Spinnrade, 0118 (1814) '£- Grenzen der Menschheit, 0716 (1821)* Heidenroslein, 0257 (1815) Prometheus, 0674 (1819)* Der Musensohn, 0764 (1822) PAUSE ~5') Piano Sonata in a minor, Wolfgang Amadeus Mozart KV 310 (1778) (1756-1791) Allegro maestoso Andante cantabile con espressione Presto PAUSE (5') 5 Goethe Lieder Franz Schubert Wanderers Nachtlied, 0768 (1823)* An Schwager Kronos, 0369 (1816)* Ganymed, 0544 (1817) Lied der Mignon, 0877 (1826) Erlkonig, 0328 (1815)* To receive occasional emails from the School of Music about upcoming concerts, send an email with your name and address to: [email protected] Photographic, video, and sound recording andor transmitting devices are not permitted in the Whalen Center concert halls. Please tum off all cell phone ringtones. -
Frankfurt A2 Arbeitsblatt
Deutsche Städte und Landschaften Didaktisierung zur Plakatausstellung FRANKFURT A2 Arbeitsblätter Seite 1 von 4 Frankfurt A2 1 Bulle und Bär 1a: Welche Eigenschaften verbindest du mit den beiden Tieren? Suche passende Adjektive aus dem Schüttelkasten und ordne sie zu. stark aggressiv langsam schnell traurig energisch pessimistisch optimistisch schwach klein groß intelligent dumm stolz selbstbewusst ängstlich vorsichtig ruhig laut kräftig schwach launisch sensibel verträumt verspielt ernst freundlich unfreundlich kämpferisch … groß 1b: Vergleiche die beiden Tiere. Die Redemittel helfen. Redemittel Stärken und Schwächen darstellen … ist ein Tier, das …./ Mit … verbinde ich folgende Eigenschaften: …. Die/Seine (größte) Stärke/Schwäche ist, dass …. Besonders positiv/stark/toll/interessant finde ich …. Aber es ist nicht so gut/weniger schön, dass …. 1c: Lies den Text und erkläre die Bedeutung von Bullen- und Bärenmarkt. Markiere im Schüttelkasten in 1a die passenden Adjektive. Die Börse unterscheidet zwischen Bären- und Bullenmarkt. Der Bär steht für Pessimismus. Ein Bärenmarkt geht bergab. Der Bär verdient Geld durch Skepsis und Unglauben. Der Bulle ist ein Optimist. Er kauft in der Hoffnung auf eine steigende Konjunktur. Bärenmarkt und Bullenmarkt sind also zwei Gegenpole. Sie zeigen, dass Aktienkurse fallen und steigen. ____________________________________________________________________________________________________________ Autorin: Britta Winzer-Kiontke Copyright © Goethe-Institut Alle Rechte vorbehalten -
Warum Wird Diese Ballade So Oft Parodiert?
Dora Lenart Johann Wolfgang von Goethe: ''Erlkönig'' Warum wird diese Ballade so oft parodiert? ©Taryn R. Gerstenberger Gimnazija Ptuj 2007/08 Inhaltsverzeichnis 1. Einleitung ____________________________________________________________________ 4 2. Über den Autor_______________________________________________________________ 5 3. Johann Wolfgang von Goethe:''Erlkönig'' ______________________________________ 7 4. Über das Gedicht ____________________________________________________________ 8 4.1 Herkunft __________________________________________________________________ 8 4.1.2 Goethes Inspiration war auch eine Legende ______________________________ 8 4.3 Hinter den Zeilen...________________________________________________________ 12 4.4 Interpretation ____________________________________________________________ 13 4.5 Reim- und Metrikschema _________________________________________________ 13 5. Parodien ___________________________________________________________________ 14 5.1 Was ist eine Parodie? _____________________________________________________ 14 5.2 Voraussetzungen _______________________________________________________ 14 5.3 Wo findet man Parodien zum Erlkönig? ___________________________________ 18 5.3.1 Stephans Homepage - Lyrik und Prosa - Parodien auf Erlkönig ___________ 15 5.3.2 Goethe: Der Erlkönig _________________________________________________ 20 5.3.3 Forum _______________________________________________________________ 20 5.4 AusgewählteParodien__________________________________________________________17 5.4.1 -
On the Ruins of Babel: Architectural Metaphor in German Thought
On the Ruins of Babel Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broad- est terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. On the Ruins of Babel Architectural Metaphor in German Thought Daniel L. Purdy A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Purdy, Daniel L. On the ruins of Babel : architectural metaphor in German thought / Daniel L. Purdy. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-7676-1 (pbk. : alk. paper) 1. -
Die Goldene Bulle Politik - Wahrnehmung - Rezeption
Die Goldene Bulle Politik - Wahrnehmung - Rezeption Band II Herausgegeben von Ulrike Hohensee, Mathias Lawo, Michael Lindner, Michael Mcnzel und Olaf B. Rader Akademie Verlag MICHAEL NIEDERMEIER Goethe und die Goldene Bulle' Als mich Michael Lindner von der Arbeitsstelle der Monumenta Germaniae Histo- rica bat, aus Sicht des Goethe-Forschers einen Beitrag zu Johann Wolfgang von Goethe und seinem Verhältnis zur Goldenen Bulle beizusteuern, war ich zunächst zögerlich. Sicher, so meinte ich mich zu erinnern, hat Goethe in seinen Lebenser- innerungen auch - unter anderem - etwas zur Goldenen Bulle geschrieben. Nach einiger Zeit wurde mir allerdings klar, dass den Historikern der MGH als den Ken- nern der Goldenen Bulle Goethe in diesem Zusammenhang weit öfter begegnet war als mir, ja so muss man eingestehen, der Goethe-Forschung insgesamt. Freilich gibt es im Goethe-Wörterbuch einen Verweis über "Bulle, siehe Goldene Bulle", um dann im Wortartikel "golden" einen eigenen - freilich nur knappen - Eintrag zu erhalten.' Erstaunlich ist jedoch, dass mir in der fast unübersehbaren Goethe- Literatur kein einziger eigenständiger Aufsatz zum Thema begegnete und selbst in den diversen Goethe-Handbüchern nicht einmal ein eigener spezieller Artikel. Im Vorwort der von Wolfgang D. Fritz besorgten Monumenta-Ausgabe.' wird hingegen ausdrücklich Goethes Schilderung der Frankfurter Königswahl Josephs ]1. 1764 in ,Dichtung und Wahrheit' angeführt als Beleg für die Tatsache, dass der Geltungs- bereich der Goldenen Bulle zumindest für das Zeremoniell der Königswahl und das Kurfürstenkolleg noch bis 1806 Geltung besaß. Es zeigte sich, dass Historiker Goethe als eine verlässliche Quelle gebrauchten, während die spezielle germanisti- sche Goethe-Forschung auf den ersten Blick eher wenig beizutragen hat.4 Die leicht überarbeitete Schriftfassung des Vortrages behält den Vortragsgestus bei. -
Beyond Autonomy in Eighteenth-Century and German Aesthetics
10 Goethe’s Exploratory Idealism Mattias Pirholt “One has to always experiment with ideas.” Georg Christoph Lichtenberg “Everything that exists is an analogue to all existing things.” Johann Wolfgang Goethe Johann Wolfgang Goethe made his famous Italian journey in the late 1780s, approaching his forties, and it was nothing short of life-c hanging. Soon after his arrival in Rome on November 1, 1786, he writes to his mother that he would return “as a new man”1; in the retroactive account of the journey in Italienische Reise, he famously describes his entrance into Rome “as my second natal day, a true rebirth.”2 Latter- day crit- ics essentially confirm Goethe’s reflections, describing the journey and its outcome as “Goethe’s aesthetic catharsis” (Dieter Borchmeyer), “the artist’s self-d iscovery” (Theo Buck), and a “Renaissance of Goethe’s po- etic genius” (Jane Brown).3 Following a decade of frustrating unproduc- tivity, the Italian sojourn unleashed previously unseen creative powers which would deeply affect Goethe’s life and work over the decades to come. Borchmeyer argues that Goethe’s “new existence in Weimar bore an essentially different signature than his pre- Italian one.”4 With this, Borchmeyer refers to a particular brand of neoclassicism known as Wei- mar classicism, Weimarer Klassik, which is less an epochal term, seeing as it covers only a little more than a decade, than a reference to what Gerhard Schulz and Sabine Doering matter-o f- factly call “an episode in the creative history of a group of German writers around 1800.”5 Equally important as the aesthetic reorientation, however, was Goethe’s new- found interest in science, which was also a direct conse- quence of his encounter with the Italian nature.