Jenseits der Repräsentation
Editor: Thierry Greub
Noch immer wird das Phänomen „Porträt“ im kunsthistorischen Diskurs zumeist unter Begrifflichkeiten wie Identität, Individualität, Repräsentation oder Ähnlichkeit diskutiert.
Zeitgenössische amimetische, konzeptuelle und performative Porträtformen werden mit solchen Konzepten jedoch nicht mehr vollständig eingeholt. Dieser Band befragt deshalb einerseits kritisch diese traditionellen, mimetischen Begriffe anhand von Fallstudien. Andererseits werden ihnen dynamische und offene Konzepte (teils aus Nachbardisziplinen) wie „masking“, Spur, „trait“, Berührung, Defazialisierung oder Dividualität an die Seite gestellt, um den kunsthistorischen Porträt-Begriff in einem fachübergreifenden Diskurs aufzufächern, der auch die Digitalisierung umfasst.
This volume presents fourteen papers originally delivered at the international conference Filippino Lippi: Beauty, Invention and Intelligence, at the Dutch University Institute (NIKI), Florence in 2017. Filippino (1457-1504), although one of the most original and gifted artists of the Florentine renaissance, has attracted less scholarly attention than his father Fra Filippo Lippi or his master Botticelli, and very little has been published on him in English. This book, authored by leading Renaissance art historians, covers diverse aspects of Filippino Lippi’s art: his role in Botticelli’s workshop; his Lucchese patrons; his responses to Netherlandish painting; portraits; space and temporality; the restoration of the Strozzi Chapel in Santa Maria Novella, Florence; his immediate artistic legacy and nineteenth-century critical reception.
This transdisciplinary project represents the most comprehensive study of imagination to date. The eclectic group of international scholars who comprise this volume propose bold and innovative theoretical frameworks for (re-) conceptualizing imagination in all of its divergent forms. Imagination and Art: Explorations in Contemporary Theory explores the complex nuances, paradoxes, and aporias related to the plethora of artistic mediums in which the human imagination manifests itself. As a fundamental attribute of our species, which other organisms also seem to possess with varying degrees of sophistication, imagination is the very fabric of what it means to be human into which everything is woven. This edited collection demonstrates that imagination is the resin that binds human civilization together for better or worse.
Visual Representation of Secrets in Early Modern Europe, 1500-1700
Quid est secretum? Visual Representation of Secrets in Early Modern Europe, 1500-1700 is the companion volume to Intersections 65.1, Quid est sacramentum? Visual Representation of Sacred Mysteries in Early Modern Europe, 1400-1700. Whereas the latter volume focused on sacramental mysteries, the current one examines a wider range of secret subjects. The book examines how secret knowledge was represented visually in ways that both revealed and concealed the true nature of that knowledge, giving and yet impeding access to it. In the early modern period, the discursive and symbolical sites for the representation of secrets were closely related to epistemic changes that transformed conceptions of the transmissibility of knowledge.
Fallbeispiele aus Theater, Tanz, Film und Video
Series: dynamis
Intermediale Dramaturgie, die heute ein medienübergreifendes Feld umfasst, wurde bislang in der Forschung vernachlässigt. Das mag auch daran liegen, dass es durch keine Einzelmedienstudie oder durch nur eine Disziplin erfasst werden könnte, sondern nach einer medienübergreifenden, interdisziplinären Betrachtung verlangt.
Die hier versammelten Fallstudien beziehen sich insofern auf Theater und Tanz, Radio, Film, Fernsehen und Video, die ihrerseits intermediale Wechselspiele mit Musik, Malerei, dem Comic oder auch mit dem Internet implizieren. Dabei wird keineswegs der Anspruch erhoben, den Begriff „intermediale Dramaturgie“ medienübergreifend erschöpfend zu bestimmen. Vielmehr gilt es hier, ein Feld in Fallbeispielen zu analysieren, das sich durch veränderte mediale Möglichkeiten in einem ständigen Wandel befindet und somit gar nicht auf einen Begriff bringen lässt.
Theorien der Situation und künstlerische Praxis
Series: dynamis
Dieses Buch geht der existentiellen und ästhetischen Bedeutung sowie dem erkenntnisgenerierenden Potential von Situationen nach.
Künstler arbeiten medienübergreifend mit Situationen, um Verkanntes oder Unerkanntes erfahrbar zu machen und derart „Wissen“ zu generieren. Sie entwickeln dabei medienspezifische Ästhetik-Konzepte, denen theoriegeleitet nachgegangen werden kann. Mit Rekurs auf interdisziplinäre Theorieansätze widmen sich die Beiträge künstlerischen Beispielen aus den Bereichen Musik, Theater über die bildende Kunst, Photographie, Film und Video bis zu einer veränderten Kommunikationssituation im Internet.
Social Dynamics of Turbulent Theatrical Events
Since the beginning of theatre history, scandals have taken place and the variety of causes, processes and types of interactions makes them an interesting object of study. Theatre scandals often indicate clashes with a dominant ideology or with the ideology of a particular group in society. Sometimes, following a scandal, the attacked ideology changes and incorporates the possibility of the aesthetics or themes that caused the clash. In this way, scandals can cause dynamic changes within cultural systems.
Next to theoretical considerations the contributors, all members of the IFTR Theatrical Event Working Group, present in their various case studies a wide cultural and chronological diversity of theatre scandals, all of which were experienced as very shocking moments in theatre history.
In Tracing the Visual Language of Raphael’s Circle to 1527, Alexis Culotta examines how the Renaissance master’s style – one infused with borrowed visual quotations from other artists both past and present – proved influential in his relationship with associate Baldassare Peruzzi and in the development of the artists within his thriving workshop.

Shedding new light on the important, yet often-overshadowed, figures within this network, this book calls upon key case studies to convincingly illustrate how this visual language and its recombination evolved during Raphael’s Roman career and subsequently served as a springboard for artistic innovation for these close associates as they collaborated in the years following Raphael’s death.
The Culture of Boredom is a collection of essays by well-known specialists reflecting from philosophical, literary, and artistic perspectives, in which the reader will learn how different disciplines can throw light on such an appealing, challenging, yet still not fully understood, phenomenon. The goal is to clarify the background of boredom, and to explore its representation through forgotten cross-cutting narratives beyond the typical approaches, i.e. those of psychology or psychiatry. For the first time this experienced group of scholars gathers to promote a cross-border dialogue from a multidisciplinary perspective.

Abstract

This chapter presents a philosophical view to the concept of boredom [Langeweile] from its forms (bored for …, bored in …, one gets bored) and structural modes (leaving voids and postponing), worked by Martin Heidegger in his classes at the University of Freiburg during the winter semesters of 1929 and 1930. It is intended to rescue a marginal philosophical stance to the traditional positions of Heideggerian thought, being able, in the proposed hermeneutic-phenomenological transit, to interweave their philosophical images with cinematographic narratives that enrich the real understanding of the modernity. We assume boredom and its essence, Langweiligkeit, as the fundamental mood [Grundstimmung] of our era, allowing other mobility of thought to study the phenomena of cultural entertainment as a symptom of the modern disease by distancing the Dasein of the meeting, interrogation, and self-care.

In: The Culture of Boredom