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Arbeitende Bilder« Die Skulptur Im Deutschen Kaiserreich Zwischen Künstlerischer Aneignung Und Sozialer Wirklichkeit
Aus: Sarah Czirr »Arbeitende Bilder« Die Skulptur im Deutschen Kaiserreich zwischen künstlerischer Aneignung und sozialer Wirklichkeit November 2018, 488 S., kart., zahlr. Abb. 49,99 € (DE), 978-3-8376-4373-2 E-Book: PDF: 49,99 € (DE), ISBN 978-3-8394-4373-6 Skulpturen im Deutschen Kaiserreich waren meist kostenintensive Auftrags- bzw. kleinformatige Reproduktionskunst mit einem hohen Grad an Öffentlichkeit. Dies scheint mit dem gerade im 19. Jahrhundert vertretenen Diktum der autonomen Kunst im Widerspruch zu stehen. Zudem war der Kunstdiskurs bestimmt von einer Kontro- verse um die Ikonografie der Moderne. Sarah Czirr untersucht in diesem Kontext das sich eröffnende Spannungsfeld von künstlerischer Aneignung und sozialer Wirklich- keit, in dem Skulpturen in Zeiten der Industrialisierung zu »arbeitenden Bildern«, zu produktiven Akteuren verschiedener Seiten werden, ohne dass die Gesetze der »Kunst- wirklichkeit« je außer Kraft treten. Sarah Czirr, geb. 1979, ist promovierte Kunsthistorikerin und wissenschaftliche Mit- arbeiterin des Instituts Moderne im Rheinland an der Heinrich-Heine-Universität Düs- seldorf. Von 2011 bis 2015 war sie wissenschaftliche Mitarbeiterin in der ZERO-Foun- dation Düsseldorf. Weiteren Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-4373-2 © 2018 transcript Verlag, Bielefeld Inhalt 1 Vorwort | 7 2 Einleitung | 9 2.1 Fragestellung | 19 2.2 Methodischer Zugriff | 22 3 Systeme und Diskurse | 35 3.1 Sozialgeschichte | 35 3.1.1 Wirtschaft | 37 3.1.2 Gesellschaft | 39 3.1.3 Politik | 46 3.2 -
11. Heine and Shakespeare
https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Berlin by Sustainable Transport
WWW.GERMAN-SUSTAINABLE-MOBILITY.DE Discover Berlin by Sustainable Transport THE SUSTAINABLE URBAN TRANSPORT GUIDE GERMANY The German Partnership for Sustainable Mobility (GPSM) The German Partnership for Sustainable Mobility (GPSM) serves as a guide for sustainable mobility and green logistics solutions from Germany. As a platform for exchanging knowledge, expertise and experiences, GPSM supports the transformation towards sustainability worldwide. It serves as a network of information from academia, businesses, civil society and associations. The GPSM supports the implementation of sustainable mobility and green logistics solutions in a comprehensive manner. In cooperation with various stakeholders from economic, scientific and societal backgrounds, the broad range of possible concepts, measures and technologies in the transport sector can be explored and prepared for implementation. The GPSM is a reliable and inspiring network that offers access to expert knowledge, as well as networking formats. The GPSM is comprised of more than 150 reputable stakeholders in Germany. The GPSM is part of Germany’s aspiration to be a trailblazer in progressive climate policy, and in follow-up to the Rio+20 process, to lead other international forums on sustainable development as well as in European integration. Integrity and respect are core principles of our partnership values and mission. The transferability of concepts and ideas hinges upon respecting local and regional diversity, skillsets and experien- ces, as well as acknowledging their unique constraints. www.german-sustainable-mobility.de Discover Berlin by Sustainable Transport This guide to Berlin’s intermodal transportation system leads you from the main train station to the transport hub of Alexanderplatz, to the redeveloped Potsdamer Platz with its high-qua- lity architecture before ending the tour in the trendy borough of Kreuzberg. -
Intimacy, Marriage, and Risk in Turn-Of-The-Century Berlin
© 2014 Tyler Carrington LOVE IN THE BIG CITY: INTIMACY, MARRIAGE, AND RISK IN TURN-OF-THE-CENTURY BERLIN BY TYLER CARRINGTON DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Peter Fritzsche, Chair Professor Harry Liebersohn Professor Mark Micale Professor Mark Steinberg ABSTRACT This dissertation examines the surprising push and pull between tradition and modernity that occurred when men and women living in Europe’s fastest growing city fought off isolation and attempted to find love using self-consciously modern mindsets and technologies. Whether it was the decision to approach a stranger on the streetcar, go dancing with a co-worker, look for a mate in one of the city’s many gay bars, post a newspaper personal ad, or eschew the institution of marriage altogether and opt for a free love union, Berliners of all stripes left the shores of tradition and ventured into the choppy waters of a more individualized kind of love. And while there was much to be gained (as they describe in diaries, short stories, penny novels, and lively newspaper debates), the decision to break with the way “grandfather took grandmother” was risky, not least because these maverick Berliners were testing the boundaries of both middle- class respectability and hegemonic masculinity and femininity. In exploring Berliners’ narratives about their love lives, their metropolis, and their status as men and women, this dissertation argues that, even in a city whose most celebrated trait was its newness, traditional respectability proved remarkably robust. -
Berlin - Wikipedia
Berlin - Wikipedia https://en.wikipedia.org/wiki/Berlin Coordinates: 52°30′26″N 13°8′45″E Berlin From Wikipedia, the free encyclopedia Berlin (/bɜːrˈlɪn, ˌbɜːr-/, German: [bɛɐ̯ˈliːn]) is the capital and the largest city of Germany as well as one of its 16 Berlin constituent states, Berlin-Brandenburg. With a State of Germany population of approximately 3.7 million,[4] Berlin is the most populous city proper in the European Union and the sixth most populous urban area in the European Union.[5] Located in northeastern Germany on the banks of the rivers Spree and Havel, it is the centre of the Berlin- Brandenburg Metropolitan Region, which has roughly 6 million residents from more than 180 nations[6][7][8][9], making it the sixth most populous urban area in the European Union.[5] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one- third of the city's area is composed of forests, parks, gardens, rivers, canals and lakes.[10] First documented in the 13th century and situated at the crossing of two important historic trade routes,[11] Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[12] Berlin in the 1920s was the third largest municipality in the world.[13] After World War II and its subsequent occupation by the victorious countries, the city was divided; East Berlin was declared capital of East Germany, while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall [14] (1961–1989) and East German territory. -
Center 5 Research Reports and Record of Activities
National Gallery of Art Center 5 Research Reports and Record of Activities ~ .~ I1{, ~ -1~, dr \ --"-x r-i>- : ........ :i ' i 1 ~,1": "~ .-~ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 5 Research Reports and Record of Activities June 1984---May 1985 Washington, 1985 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without thc written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1985 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Gavarni, "Les Artistes," no. 2 (printed by Aubert et Cie.), published in Le Charivari, 24 May 1838. "Vois-tu camarade. Voil~ comme tu trouveras toujours les vrais Artistes... se partageant tout." CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1984-1985 (June 1984-May 1985) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 16 Meetings 21 Members' Research Reports Reports 32 i !~t IJ ii~ . ~ ~ ~ i.~,~ ~ - ~'~,i'~,~ ii~ ~,i~i!~-i~ ~'~'S~.~~. ,~," ~'~ i , \ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars. -
Zeitschrift Für Österreichische Volkskunde“ Mittheilen Zu Können, Wo Und Wann Das Liedchen: „Ich Hin Der Böttcher — “ in Die Oeffentlichkeit Gekommen Ist
Zeitschrift für österreichische Volkskunde. Organ des Vereines für österreichische Volkskunde in Wien. Redigiert von Dr. Michael Haberlandt. VI. Jahrgang 1900. Mit 19 Textabbildungen. ------------- <5-e>------------- WIEN. Verlag des Vereines für österreichische Volkskunde. Commissionsverlag: Gerold & Co., Wien, I. Stefansplatz Nr. 8. Buchdruckerei Helios, Wien. Inhaltsüerzeiehniss des ¥1. Jahrganges. Seite Inbaltsverzeichniss........................................................................................................................................III Verzeichniss der Abbildungen ................................................................................................................... V I. Abhandlungen. Severin Udziela: Die Krakauer Gürtel (mit 12 Abbildungen)................................ 1 D r. Oscar Hovorka Edler v. Zderas: Die Poganica und ihre Varianten . 4 Prof. Emilian Lilek: Familien- und Volksleben in Bosnien und in der Herzegowina ......................................................................................................... 23. 53, 164, 202 G. A. Romstorfe r: Holzarbeiten der Bukowiner Zigeuner (mit 15 Abbildungen) . 49 F r. Höft: Zur Geschichte des Museums für deutsche Volkstrachten und Erzeugnisse des Hausgewerbes in B erlin ........................................................................................................ 97 Josef Z a k: Die Bauernfiedeln der Iglauer Sprachinsel.........................................................105 Alois John: Beiträge zum Volksaberglauben im E -
Heinrich Zille's Berlin Selected Themes from 1900
"/v9 6a~ts1 HEINRICH ZILLE'S BERLIN SELECTED THEMES FROM 1900 TO 1914: THE TRIUMPH OF 'ART FROM THE GUTTER' THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Catherine Simke Nordstrom Denton, Texas May, 1985 Copyright by Catherine Simke Nordstrom 1985 Nordstrom, Catherine Simke, Heinrich Zille's Berlin Selected Themes from 1900 to 1914: The Trium of 'Art from the Gutter.' Master of Arts (Art History), May, 1985, 139 pp., 71 illustrations, bibliography, 64 titles. Heinrich Zille (1858-1929), an artist whose creative vision was concentrated on Berlin's working class, portrayed urban life with devastating accuracy and earthy humor. His direct and often crude rendering linked his drawings and prints with other artists who avoided sentimentality and idealization in their works. In fact, Zille first exhibited with the Berlin Secession in 1901, only months after Kaiser Wilhelm II denounced such art as Rinnsteinkunst, or 'art from the gutter.' Zille chose such themes as the resultant effects of over-crowded, unhealthy living conditions, the dissolution of the family, loss of personal dignity and economic exploi tation endured by the working class. But Zille also showed their entertainments, their diversions, their excesses. In so doing, Zille laid bare the grim and the droll realities of urban life, perceived with a steady, unflinching gaze. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . S S S . vi CHRONOLOGY . xi Chapter I. INTRODUCTION . 5 . 1 II. AN OVERVIEW: BERLIN, ART AND ZILLE . 8 III. "ART FROM THE GUTTER:" ZILLE'S THEMATIC CHOICES . -
Das Berliner Denkmal Für Die Im Nationalsozialismus Verfolgten Homosexuellen Entstehung, Verortung, Wirkung
2017-08-29 12-14-30 --- Projekt: transcript.anzeigen / Dokument: FAX ID 0270470364476556|(S. 1- 2) VOR3953.p 470364476564 Aus: Anika Oettler (Hg.) Das Berliner Denkmal für die im Nationalsozialismus verfolgten Homosexuellen Entstehung, Verortung, Wirkung September 2017, 182 Seiten, kart., 29,99 €, ISBN 978-3-8376-3953-7 Weltweit wächst die Zahl von Gedenkstätten und Denkmälern stetig. An ihre Errich- tung sind eine Vielzahl von Erwartungen geknüpft: Sie sollen öffentliche Räume für Trauernde schaffen, die Würde von Opfern wiederherstellen und zugleich Orte der gesellschaftlichen Begegnung und historischen Aufklärung sein. Die Beiträge des Bandes stellen das 2008 in Berlin eingeweihte Denkmal für die im Nationalsozialismus verfolgten Homosexuellen in den Mittelpunkt: Von wem wird es wie wahrgenommen? Für wen ist es ein Ort der Selbstvergewisserung, für wen ein Stein des Anstoßes? Wie wirkt es in das urbane Umfeld hinein? Die Beiträger_innen verfolgen diese Fragen und geben erstmals empirische Antworten. Anika Oettler (Prof. Dr.), geb. 1971, ist Professorin für Gesellschaftliche Entwicklung und vergleichende Sozialstrukturanalyse an der Philipps-Universität Marburg. Ihre Forschungsschwerpunkte umfassen Transitional Justice und kollektive Erinnerung. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-3953-7 © 2017 transcript Verlag, Bielefeld 2017-08-29 12-14-30 --- Projekt: transcript.anzeigen / Dokument: FAX ID 0270470364476556|(S. 1- 2) VOR3953.p 470364476564 Inhalt Einleitung Anika Oettler Ein Denkmal in Berlin | 9 Das Denkmal und die (bundes-)deutsche Geschichte der Aufarbeitung des Nationalsozialismus | 14 Was nützt ein Denkmal? | 17 Eine methodische Annäherung | 20 Wer erinnert für wen? | 26 Zum Aufbau des Bandes | 27 Der rekonstruktive Charakter von kollektiver Erinnerung | 29 Literatur | 30 Die Konflikte. -
Presseinformation Skulpturen Im Kolonnadenhof Der Museumsinsel
Presseinformation 4. Juni 2010 Skulpturen im Kolonnadenhof der Museumsinsel Berlin Louis Tuaillon: Amazone zu Pferde, um 1890/1895 (Guss 1895) B I 115; Bronze, Muschelkalksockel Die „Amazone“, die oft nur unter diesem Kurztitel geführt wird, gilt als eines der Hauptwerke Tuaillons, ja der deutschen Bildhauerkunst um 1900 überhaupt. In ihrer formalen Klarheit und selbstbeherrschten Strenge wurde sie von Anbeginn als ein Antipode des opulenten Neobarock mit seiner formalen Fülle und seiner demonstrativen Vitalität des Menschenbildes verstanden. Die Amazone ist Vertreterin eines Volkes von kämpferischen Frauen, die in ihrem Lande keine Männer zulassen. Während das Werk gleichen Titels von August Kiß am Alten Museum, also in räumlicher Nähe zur Nationalgalerie, diese kriegerische Seite herauskehrt, reduziert Tuaillon das Menschenbild auf Selbstbeherrschung, Strenge, Konzentration. Er kehrt also die Gefahr in Tugend um. Dementspre- chend ist auch das einzige Attribut, die Streitaxt, von untergeordneter Bedeu- tung, während die aufrechte Haltung und der offene Fernblick zum eigentlichen Sujet werden. Das Werk markiert Tuaillons künstlerischen Durchbruch; es wurde bereits 1896 durch die Nationalgalerie erworben und 1897 im Freiraum zwischen der Galerie und dem Neuen Museum aufgestellt sowie auf die Blickachse der Kutschen- durchfahrt unter der Freitreppe ausgerichtet. Tschudi hatte von Anfang an einen solchen Aufstellungsort geplant und holte hierfür die Zustimmung von Mitglie- dern der Landeskunstkommission sowie des Kaisers ein. Er plädierte für einen möglichst schlichten und niedrigen Sockel und erbat von Tuaillon eine entspre- chende Skizze. Dieser schlug als Material Travertin – falls hinreichend wetterbe- ständig – oder unpolierten Granit vor. Reinhold Begas: Centaur und Nymphe, 1881-1886 SKG 13/86; Bronze Die junge, kräftig gebaute Frau versucht, auf dem breiten Rücken des Centau- ren aufzusitzen. -
Behind the Scenes
©Lonely Planet Publications Pty Ltd 305 Behind the Scenes SEND US YOUR FEEDBACK We love to hear from travellers – your comments keep us on our toes and help make our books better. Our well-travelled team reads every word on what you loved or loathed about this book. Although we cannot reply individually to postal submissions, we always guarantee that your feedback goes straight to the appropriate authors, in time for the next edition. Each person who sends us information is thanked in the next edition – and the most useful submissions are rewarded with a selection of digital PDF chapters. Visit lonelyplanet.com/contact to submit your updates and suggestions or to ask for help. Our award-winning website also features inspirational travel stories, news and discussions. Note: We may edit, reproduce and incorporate your comments in Lonely Planet products such as guidebooks, websites and digital products, so let us know if you don’t want your comments reproduced or your name acknowledged. For a copy of our privacy policy visit lonelyplanet.com/privacy. Paterson, Miriam Bers, Claudia Scheffler, OUR READERS Regine Schneider, Ubin Eoh, Frank Engster, Many thanks to the travellers who used Heiner and Claudia Schuster, Renate Freiling, the last edition and wrote to us with Silke Neumann, Kirsten Schmidt, Christian helpful hints, useful advice and inter- Tänzler, Julia Ana Herchenbach, Johann esting anecdotes: Annette Castro, Tom Drinkwater, Patrick Frew, Moran Gur, John Scharfe, Shachar and Doreen Elkanati, Ariela Ingman, Anders Jeppsson, Olli Löfberg, Abramovici-Dähne, Craig Robinson, Mike Torben Retboll, Lis Robinson, Sylvia Suvaal, Meinke, Virginia Shmuel, Jan Czyszke and, of Ann Wallace course, David Peevers.