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Visualizing the Revolution
The authors explore the complex, many-faceted visual culture of the French Revolution, which took place in a period characterised by the creation of a new visual language steeped in metaphor, symbol and allegory.
Einführung
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Jacques-Louis David
"Well-known specialists in art history, gender studies, French literature, and aesthetics address a wide range of issues and problems pertaining to the intersection of art and culture that have profound implications for artistic and historical developments in late-eighteenth and early-nineteenth century France and Europe. The essays present new historical, archival, and interpretative material from diverse methodological vantage points in clear and lucid prose that makes the volume particularly accessible to a broader public interested in learning more about the artist and his time. The text is complemented by seventeen black-and-white plates and fifty-five figures."--Jacket.
Digital Resources from Cultural Institutions for Use in Teaching and Learning
This volume presents contributions to a workshop held by the Andrew W. Mellon Foundation and the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation) on the subject of creating and using digital library, museum and archive collections for learning and teaching purposes.
Frankreich, 1815-1830
Aus dem Inhalt: N. Athanassoglou-Kallmyer: Delacroix, Stendhal and Rossini � M. Erbe: Verfassungsdiskussion zwischen 1814 und 1830 � G. Gersmann: Die R�gicides in der Restauration � H. Hamm: �Le Globe� zur Franz�sischen Revolution und deren Rezeption durch Goethe � M. Hesse: Die Chapelle expiatoire in Paris � D. Hoeges: Michelet, Vico und die �Histoire des mentalit�s� � R. Jakoby: Polizei, Presse und Politik in der Restauration � J. Kahr: Die verdr�ngte Revolution in Stendhals �Le Rouge et le Noir� � H. Kohle: Kunstkritik als Revolutionsverarbeitung � H.-J. Luesebrink: Victor Hugos Bug-Jargal (1818/1826) � S. Otten-Kukuk: Die Entstehung der Charte von ...
Energetic Bodies
Throughout the fin de siècle, "energy" was a buzzword that was used far beyond the boundaries of the sciences to negotiate the formative scope as well as limits of Western modernity. The human body was positioned at the center of the visualization of this enigmatic drive of all movement in discourses on labor and economics, physical culture, sport, art, and literature. It was through the body that this all-pervading and conditioning physical principle as well as its perceptual qualities were to be made tangible. This volume is dedicated to these "energetic bodies." The transdisciplinary individual contributions trace body scenarios of force and energy over the course of history from 1800 to the peak phase around 1900 and up to the present.
Principles of Art History
Principles of Art History by Heinrich Wölfflin (1864–1945), a revolutionary attempt to construct a science of art through the study of the development of style, has been a foundational work of formalist art history since it was first published in 1915. At once systematic and subjective, and remarkable for its compelling descriptions of works of art, Wölfflin’s text has endured as an accessible yet rigorous approach to the study of style. Although Wölfflin applied his analysis to objects of early modern European art, Principles of Art History has been a fixture in the theoretical and methodological debates of the discipline of art history and has found a global audience. With translati...
