scholarly journals Architectural Symbolism: Body and Space in Heinrich Wölfflin and Wilhelm Worringer

2016 ◽  
Vol 4 (1) ◽  
Author(s):  
Vlad Ionescu
Keyword(s):  
Architectural Symbolism ◽  
Wilhelm Worringer

Hat man mich verstanden? - Denkästhetische Untersuchungen zu Nietzsches (Selbst-)Wahrnehmungen

2017 ◽  
Author(s):  
Rüger Görner
Keyword(s):  
Wilhelm Worringer

Nach&nbsp;seinen&nbsp;grundlegenden&nbsp;Studien&nbsp;<EM>Nietzsches Kunst</EM> (2000) und <EM>Wenn Götzen dämmern</EM> (2008) legt Rüdiger Görner mit die&shy;sen «denkästhetischen Untersuchungen» von Nietzsches (Selbst&shy;)Wahrnehmungen&nbsp; sorgfältig aufeinander abgestimmte Studien vor, die seine früheren Ansätze entscheidend wei&shy;ter entwickeln und abrunden. <BR>‘Abgestimmt’ ist dabei durchaus wörtlich zu verstehen, denn die Struktur dieses Buches orientiert sich an musikalischen Formprinzi&shy;pien. Görner zieht damit eine Folgerung aus seinen bisherigen Arbeiten zu Nietzsche: Es gilt, die musikalische Grundierung dieses Denkens transparent, das heißt hörbar und sichtbar zu machen. <BR>Der Versuch, Nietzsche zu entsprechen, er&shy;fordert den Gebrauch von quasi musikalisch&shy;-stilistischen Relationen. Daraus ergibt sich im vorliegenden Fall eine analytische Gesamt&shy;komposition, die von der «Denksinnlichkeit» (Wilhelm Worringer) ausgeht und über den für Nietzsche so wesentlichen «halkyoni&shy;schen Ton» bis zu den von Nietzsche erprobten Formen einer Denkpoetik reicht. Untersucht wird das Verhältnis von denk&shy;poetischer Selbstprojektion Nietzsches und seinen Konzeptionen von Identität, das Phä&shy;nomen der Selbstverstellung als Aspekt sei&shy;ner Subjektkritik sowie die identitätsphiloso&shy;phische Seite des ‘Projekts Umwertung’.

Cheshire Cat and Mickey Mouse: analysis, interpretation and the art of the La Tène Iron Age

1970 ◽  
Vol 36 ◽  
pp. 261-279 ◽  
Author(s):  
J. V. S. Megaw
Keyword(s):  
Iron Age ◽  
Art History ◽  
Mickey Mouse ◽  
Classical Archaeology ◽  
Italian Physician ◽  
History Of Art ◽  
Prehistoric Art ◽  
History Of ◽  
Definition Of ◽  
Wilhelm Worringer

Nearly seventy years ago Wilhelm Worringer first wrote that ‘ultimately all our definitions of art are definitions of classical art’ (Worringer, 1953, 132). Today, the study of Western European art history, old or modern, the products of peasant craft-centres or urban ‘schools’, has in the course of time developed its own methodology and, almost, mystique. In contrast, the study of many branches of prehistoric art in Europe and elsewhere is all too often seen as a mere extension of the skilled but subjective approaches of classical archaeology without considering the suitability of the latter's application. The use of the classical art-historian's intuitive methods built up not just from visual exprience but a detailed background of literary, historical and philosophical studies must in fact be almost entirely denied the student of prehistoric or primitive art. It is perhaps only natural that principles of classical art history should be applied to later European prehistory, though it is often difficult to arrive at a precise definition of these principles. It was Johann Joachim Winckelmann who made the first systematic application of categories of style to the history of art (Gombrich, 1968, 319). Sir John Beazley, the greatest of all modern classical art historians followed in this tradition basing attributions ‘on the grounds of tell-tale traits of individual mannerisms’ (Carpenter, 1963, 115 ff.) a scheme first applied to painting less than a century ago by the Italian physician Giovanni Morelli (Gombrich, 1968, 309 ff.) and followed at the turn of the nineteenth century in the study of Italian painting (Lermolieff, 1892–3). With Beazley it is, however, difficult to follow step by step his methods of work.

scholarly journals SYMBOLIC MEANING OF LAMOHOLOT’S TRADITIONAL ARCHITECTURE IN ILE APE, LEMBATA ISLAND, EAST NUSA TENGGARA

2016 ◽  
Vol 1 (1) ◽  
pp. 11
Author(s):  
Dionisius Kumhan ◽  
Agus Saladin ◽  
Enny Supriati Sardiyarso
Keyword(s):  
Belief System ◽  
Cultural Factors ◽  
Space Structure ◽  
Qualitative Approach ◽  
Symbolic Meaning ◽  
Traditional Architecture ◽  
Social And Cultural Factors ◽  
Architectural Symbolism

<p align="left"><strong><em>Abstract</em></strong></p><p><em>Besides climate, economic, politic, social and cultural factors, belief/religion factor has an influence on the shape and meaning of traditional house. Lamaholot tribe’s traditional house in Ile Ape, Lembata Island is rich of architectural symbolism. The relation between the shape and the physical symbolic meaning willbe described in this articles. Through qualitative approach, it isfound that the space structure of Lamohot’s traditional house is the manifestation of social stratifications status and community’s belief system, both horizontally and vertically.</em></p><p><em>Keywords: Shapes, meaning, architecture elements of traditional house, Lamaholot tribe.</em></p>

Architectural Symbolism of Imperial Rome and the Middle Ages

1960 ◽  
Vol 64 (1) ◽  
pp. 115
Author(s):  
Phillipe Verdier ◽  
E. Baldwin Smith
Keyword(s):  
Middle Ages ◽  
Imperial Rome ◽  
Architectural Symbolism ◽  
The Middle Ages

scholarly journals Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana

2016 ◽  
Vol 5 ◽  
pp. 72-84
Author(s):  
Jodi Kovach
Keyword(s):  
Economic Growth ◽  
21St Century ◽  
Special Period ◽  
Economic Decline ◽  
Photographic Images ◽  
Revolutionary Ideology ◽  
A Site ◽  
Construction Plans ◽  
Architectural Symbolism ◽  
Ideological Construction

Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. Each of these fragile drawings, often composed of delicate threads adhered to a photograph of a site after demolition, serves as a vestige of the sagging structure that the artist photographed prior to destruction. The dialogue that emerges from these photograph/drawing diptychs implies the unmooring of the radical utopian underpinnings of revolutionary ideology that persisted in the policies of Cuba’s Período especial (Special Period) of the 1990s, and suggests a more complicated narrative of Cuba’s modernity, in which the ambiguous drawings—which could indicate construction plans or function as mnemonic images—represent empty promises of economic growth that must negotiate the real socio-economic crises of the present. This article proposes that Garaicoa’s critique of the goals and outcomes of the Special Period through Havana’s ruins suggests a new articulation of the baroque expression— one that calls to mind the anti-authoritative strategies of twentieth-century Neo-Baroque literature and criticism. The artist historically grounds the legacy of the Cuban Revolution’s modernizing project in the country’s real economic decline in the post-Soviet era, but he also takes this approach to representing cities beyond Cuba’s borders, thereby posing broader questions about the architectural symbolism of the 21st-century city in the ideological construction of modern globalizing society.

scholarly journals TIERRA PRIMITIVA. FLOTACIONES Y ABATIMIENTOS

2020 ◽  
Vol 23 ◽  
pp. 16-27
Author(s):  
María Teresa Muñoz Jiménez
Keyword(s):  
Paul Gauguin ◽  
Aldo Van Eyck ◽  
Siglo Xix ◽  
Siglo Xx ◽  
Wilhelm Worringer

Desde finales del siglo XIX algunos pintores, como el francés Paul Gauguin o el alemán Max Pechstein, habían sentido la necesidad de trasladarse físicamente a los lugares en que vivían pueblos primitivos, atraídos por la fuerza de su arte. No contentos con observar las producciones de estas culturas llamadas “primitivas” en los museos etnográficos, muchos artistas de las vanguardias europeas del siglo XX se lanzaron a un conocimiento directo de estas, emprendiendo largos viajes para compartir incluso su modo de vida. El primitivismo fue un ingrediente esencial en la formación de nuevo arte de vanguardia y en su defensa se pronunció de una manera inequívoca una figura tan relevante en la historiografía del arte como Wilhelm Worringer en 1911. En los años cuarenta, el escultor Jorge Oteiza viajó a los Andes colombianos en busca de una estatuaria original, el antropólogo Claude Lévi-Strauss publicó sus obras más importantes sobre las estructuras sociales de las culturas primitivas en los años sesenta y por esos mismos años el arquitecto Aldo van Eyck viajó y posteriormente escribió sobre el pueblo dogón. Todos estos autores se refieren a los mitos desarrollados en estas culturas, que se relacionan directamente con la tierra y con un eventual abatimiento del cielo sobre la tierra. Este escrito trata algunos de los modos en que se concreta esta relación entre lo que flota allá arriba y lo que sucede sobre la superficie del terreno, una relación de enorme importancia para la arquitectura y el arte de nuestro tiempo.

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