Julius Meier-Graefe und die plurale Logik der Bilder

2016 ◽  
Vol 61 (1) ◽  
Author(s):  
Stephanie Marchal
Keyword(s):  
Art History ◽  
Reference System ◽  
Spoken Language ◽  
Body Language ◽  
The Other ◽  
Wird Eine ◽  
Other Hand ◽  
Works Of Art ◽  
Modern Experience ◽  
The One

Für den Kunstkritiker Julius Meier-Graefe (1867-1935) haben Bilder eine ganz eigene Logik, die sich nicht in Sprache übersetzen lässt. Ausgehend von dieser Prämisse denkt Meier-Graefe die Kunstgeschichte als interpiktoriales, sich selbst regulierendes Geflecht und bedient sich zur Vermittlung von Bildern selbst auf gleich zweifache Weise einer bemerkenswerten Bildlichkeit – sei es qua Plädoyer für oder Einsatz von Reproduktionen, sei es qua einer der ikonischen entsprechen- den somatischen Deixis: Indem er sich selbst in seiner physischen Reaktion auf ein Werk(erlebnis) Tableauartig in Szene setzt, kehrt er die Wirksamkeit von Bildgefügen hervor, macht sie visuell nachvollziehbar und aktualisiert deren Potential. Diesen Vorstellungen und Vorgehensweisen liegt, so die These des Beitrags, die Erfahrung musealer Präsentation und Rezeption zugrunde. Entwickelt wird eine »praktische Ästhetik«, die auch für aktuelle Interpiktorialitätsdebatten diskussionswürdige Ansätze bereithält. <br><br>In the opinion of the art critic Julius Meier-Graefe (1867-1935), pictures have a specific logic which is impossible to translate into spoken language. Given this premise, Meier-Graefe develops a specific theory of how art history constructs itself as an interpictorial, self-regulated reference system. Furthermore, in order to convey works of art, he operates with pictures and images in a remarkable way: on the one hand, he makes specific use of reproductions, on the other hand, he communicates via body language that parallels the iconic deixis: By describing and presenting himself in his texts in the physical act of perception and/or reception, he turns himself into a tableau and makes the effect as well as the potential of the artwork visible. The basis of these ideas and methods seems to be the modern experience of museum presentation and reception. Meier-Graefe develops a kind of “practical aesthetic” which can enrich the current debates on interpictoriality.

scholarly journals Hidden Ekphrasis in the Works of Miroslav Krleža

2017 ◽  
Vol 11 (1) ◽  
pp. 118-133
Author(s):  
Nataša Lah
Keyword(s):  
Social Context ◽  
Art History ◽  
The Other ◽  
Literary Texts ◽  
Other Hand ◽  
Mise En Scene ◽  
The Matrix ◽  
Miroslav Krleza ◽  
The Rich ◽  
The One

Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.

scholarly journals Creative derivatives the poetics of derivation and its formative assumptions

2021 ◽  
pp. 233-252
Author(s):  
Jagor Bučan
Keyword(s):  
The Other ◽  
Common Denominator ◽  
Creative Work ◽  
Work Of Art ◽  
Cognitive Insight ◽  
Other Hand ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The One ◽  
Existing Form

The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.

Składniowa „mówioność” w powieści Doroty Masłowskiej „Kochanie, zabiłam nasze koty”

2019 ◽  
Vol 10 ◽  
pp. 153-167
Author(s):  
Magdalena Nowakowska ◽  
Keyword(s):  
Spoken Language ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Literary Characters ◽  
The One ◽  
Colloquial Style

Syntactic treatments, which imitate spoken language, are crucial determinants of the colloquial style, alongside lexis. Responsible for the impression of interacting or communing with the spontaneously created text, which is a record of the living language of the narrator and characters, they are concerned with numerous simplifications and schemes. Among many diversified linguistic phenomena found in the novel by D. Masłowska, entitled “Kochanie, zabiłam nasze koty” (English title: “Honey, I killed our cats”, seemingly contradictory syntactic tendencies are used; the elliptical nature of syntax on the one hand, and, on the other hand, numerous repetitions both with regards to lexis and the construction of sentences. The segmentation or breaking up of utterances, as well as their excessive expansions, is similarly contradictory. Drawing from the spoken language aims to connect the at times unreal word depicted in the novel with the reality of the recipient, and to present the literary characters in a reliable way, more often than not associated with ordinariness.

Renaissance Dreams

1987 ◽  
Vol 40 (4) ◽  
pp. 682-706 ◽  
Author(s):  
Rona Goffen
Keyword(s):  
Art History ◽  
The Other ◽  
Other Hand ◽  
Works Of Art ◽  
Art Historians ◽  
Family And Marriage ◽  
Psychological Truth

Family, marriage, and sex—although it seems to me that the sequence is uncertain—are naturally interrelated in life but not always so in art or, for that matter, in art history. While family and marriage have been much discussed in recent years by historians, they have received very little attention indeed from art historians. Sex, on the other hand, we have always had with us. And while all of one's work is self-referential to some extent, whether one is an artist or an historian of art, it may be that this psychological truth carries a particular danger when one is dealing with matters that are so intimate as family, marriage, and sex. Moreover, there is another issue involved when one is concerned with works of art, at least in the Renaissance or in any period when art was made for patrons, and that is precisely the presence of another psyche in the mixture, in addition to that of the artist himself and that of the historian-observer.

“For the Greater Glory of Indian Art”: The Life of an Endangered Art Treasure in Modern India

2002 ◽  
Vol 11 (1) ◽  
pp. 1-27
Author(s):  
Tapati Guha–Thakurta
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
The Other ◽  
Recent History ◽  
Art Object ◽  
Other Hand ◽  
Art And Culture ◽  
The One ◽  
Indian Art

The essay narrates the biography of a single art object—acclaimed in recent history as a “masterpiece” of ancient Indian sculpture—to invoke the larger spectrum of practices and discourses that came to constitute the field of art history in modern India. It explores the shifting locations and aesthetic trajectories that marked the transformation of this artifact from a curious archaeological “antiquity” into a national “art-treasure” and icon of Indian femininity, and later even into “a travelling emissary of ancient Indian art and culture.” On the one hand, the spectrum of travels of this object provides an ideal instance for mapping over the twentieth century the changing colonial, national and international stature of Indian art. On the other hand, its career also pointedly reveals the clash of contending claims and the politics of “return” and “restitution” that have attended the nationalization and artistic consecration of many such objects.

scholarly journals Donner à voir : explorer et exploiter les images en histoire de ľinterprétation

Translationes ◽  
2019 ◽  
Vol 11 (1) ◽  
pp. 92-107
Author(s):  
Alina Pelea
Keyword(s):  
New Technologies ◽  
Visual Representations ◽  
The Other ◽  
The Sublime ◽  
Other Hand ◽  
Works Of Art ◽  
The Status ◽  
History Of ◽  
History Of Translation ◽  
The One

Abstract It may be too much to say that a picture is worth a thousand words, but no one can deny the informative potential of visual representations. Considering that the history of translation would also benefit from their use, we propose an intervention that will try to look at these resources in order to shed additional light on the status of the interpreter and its evolution. We analyze visual resources dating back to the 17th and 18th centuries (works of art) and others from 2018 (potentially more objective) to see how they reflect, on the one hand, the status of the dragomans of the Sublime Porte and, on the other hand, that of today’s interpreters. In conducting this research, we also look at how new technologies can contribute to the study of different media.

scholarly journals Hidden Ekphrasis in the Works of Miroslav Krleža

2017 ◽  
Vol 11 (1) ◽  
pp. 118-133
Author(s):  
Nataša Lah
Keyword(s):  
Social Context ◽  
Art History ◽  
The Other ◽  
Literary Texts ◽  
Other Hand ◽  
Mise En Scene ◽  
The Matrix ◽  
Miroslav Krleza ◽  
The Rich ◽  
The One

Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.

scholarly journals Intorno al brutto. Una categoria controversa

2022 ◽  
Author(s):  
Maddalena Mazzocut-Mis
Keyword(s):  
The Other ◽  
Paul Valery ◽  
Negative Judgment ◽  
Other Hand ◽  
Works Of Art ◽  
Paul Valéry ◽  
The One

Paul Valéry, in his “Discourse on Aesthetics”, which he pronounced in 1936 in front of an audience of philosophers, reproached them, accusing aesthetics in particular of having pursued the abstract idea of beauty for too long, losing itself in the shadows of specialized terminology or in verbal games and thus forgetting the varied reality of works of art. Following an abstract idea of beauty means losing sight of the artistic object. It also means deluding oneself that the ugly is merely a counterbalance to a dominant category. But what does ugly mean? Its ambivalence lies precisely in a continuous oscillation between an evaluative and a descriptive use. There is a duplicity, so that on the one hand it expresses a negative judgment, and on the other hand - suspending its normal semantic destiny - it reclaims for itself some positivity. It is precisely from this positivity that the ugly begins its journey in the field of aesthetics.

Pferde als Partner für Managementtrainings

2018 ◽  
Vol 59 (3) ◽  
pp. 28-31
Author(s):  
Silke Rautenbach ◽  
Steffen Hillebrecht
Keyword(s):  
Working Conditions ◽  
Body Language ◽  
The Other ◽  
Other Hand ◽  
Coaching Process ◽  
The One ◽  
Special Atmosphere

Abstract Führungskräftetrainings basieren im Wesentlichen darauf, dass Führungskräfte bzw. Führungsnachwuchskräfte sich mit ihrer eigenen Rolle und den damit verbundenen Handlungen und Vorgehensweisen beschäftigen. Hierzu gibt es eine Vielzahl an Trainingsmaßnahmen. Erlebnis- und aktivitätsorientierte Maßnahmen aller Art, v.a. sportliche Aktivitäten wie Rafting oder Klettern, entfalten eine besondere Wirksamkeit. Sie vermitteln die relevanten Inhalte, wie Teamarbeit und Führungsverhalten unter Stress, spielerisch und erlauben Variationen bezüglich der Reflektion den Optimierungsmöglichkeiten. In diesem Zusammenhang fallen Führungskräftetrainings mit Hilfe von Pferden auf und tauchen inzwischen auch in den Fortbildungsangeboten von Kammern auf, wie z.B. der IHK Sauerland (vgl. IHK Sauerland, o.J.). Der Beitrag beschäftigt sich mit den Möglichkeiten und Perspektiven der Personalentwicklung, die sich aus dem Training mit Pferden ergeben. Coaching processes use to take a sophisticated time, of 8 to 10 appointments. While using the help of animals and especially horses complex coaching processes may be shortened down to 3 up to 5 appointments. On the one hand, horses are always a member of the herd and therefor are used to recognize and respond on body language. On the other hand, due to the special atmosphere between man and animal the coachee will be able to open himself to the coaching process immediately. All in all the involved parties will benefit from straight and transparent working conditions. Keywords: instrument coaching, führungskräftetraining, führungskräfteentwicklung

scholarly journals Corazón como símbolo de vulva

2018 ◽  
pp. 313-327
Keyword(s):  
The Other ◽  
Sexual Stereotypes ◽  
Other Hand ◽  
Works Of Art ◽  
Same Gender ◽  
Total Freedom ◽  
The One

Resumen.- Diferentes «símbolos de amor practicado por féminas»: amor propio (a sí misma: realiza sexo a solas); amor a otra persona en pareja: del mismo género (amor lésbico) o diferente (amor heterosexual); amor promiscuo [realiza sexo con varias personas, con total libertad y sin estereotipos sexuales: con práctica homosexual, heterosexual, bisexual, bien de forma simultánea (en trío, en grupo...), o diacrónica: una pareja tras otra; amor zoófilo... diseñados por La Autora. Por un lado, como imitación de algunos ideomorfos de obras de arte de culturas prehistóricas y primitivas, tras decodificar su simbología metafórica –que los prehistoriadores académicos, interesados en descubrir el sentido oculto de obras de arte complejas, han considerado indescifrables en los cien años de Arqueología científica–; por otro lado, desafiando las interpretaciones androcéntricas de algunas figuras humanas y quiméricas. Heart as a symbol of vulva Abstract.-Different «symbols of love practiced by females»: self-love (to herself: she does sex alone); love to another person as a couple: of the same gender (lesbian love) or different (heterosexual love); promiscuous love [performs sex with several people, with total freedom and without sexual stereotypes: with homosexual, heterosexual, bisexual practice, either simultaneously (in trio, in group ...), or diachronic: one partner after another; love zoophile ... designed by the Author.On the one hand, as an imitation of some ideomorphs of works of art from prehistoric and primitive cultures, after decoding their metaphorical symbolism -that academic prehistorians, interested in discovering the hidden meaning of complex works of art, have considered them indecipherable in the hundred years of Scientific archeology-; on the other hand, challenging the androcentric interpretations of some human and chimerical figures.

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