Die Rezeption von fiktionaler Gewalt im Fernsehen und deren mögliche Auswirkung (German Edition)
India, Canada, Australia or any other country, which was colonized. The repressive rule of the empire resulted in public hostility towards Japan and collective yearning for national liberty. Inspired by the idea of national self-determination proclaimed by President Wilson, one of the earliest public movements calling for Korean independence occurred on March 1st, The March 1st Movement had a significant effect on colonial rule of Japan and became the catalyst for the replacement of the military police with a civilian force. As part of such shift, the Japanese Government General of Korea initiated an effort to collect, compile and translate traditional Korean arts and literature.
Through cross-cultural research on literary works written in Japanese in changing Korea, the panel will examine diverse aspects of colonial literature in terms of hybridity and comparatism. The Language of Intersicipalinary Research. Plato had written in the dialogical form of drama, not in the form of an academic essay. The famous German dramatist Gotthold Ephraim Lessing used various forms of writing. Rousseau gained his fame not only with his novels but also with his political and philosophical treatises.
All these prominent writers transcend the boundaries and limitations of disciplines and genres. They use the language of poetry to narrate philosophy and metaphysics.. Their poetry is philosophical; their philosophy is poetic. Hence, from the perspective of inter- and transdisciplinary dialogue and integration, we propose to further explore the relationships and dynamics between literature, philosophy, and history across global history and geography in order to help create new dimensions of research and teaching.
The round table we are proposing has three major topics. The conflict and dialogue between literature and philosophy. The relationship between form and meaning. Literature, narration, and the moral order. Closing the Gap between Past and Present. Scholarship on multilingual literature from Europe has up to now mostly focused either on pre-modern periods, or on avant-garde modernism, and on the present. At first sight, the 19th century does not seem to matter for the history of European literary multilingualism. This might seem logical since the 19th century is rightfully considered the epoch that most effectively promoted nationalist monolingualism, in the wake of the European reception of the Herderian theory of culture.
Still, it is worth considering forms of multilingualism also in this period. Firstly, not all European countries have undergone a process of nationalization and monolingualization to the same extent.
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And secondly, recent studies, namely in sociolinguistics, have shown that monolingual norms can be implemented only by massive language-political intervention. Therefore, it is plausible to assume that some forms of multilingualism play a role even in the apparently most monolingual constellations of European literary history.
A mapping of literary multilingualism in 19th-century European literature seems thus necessary. This section proposes an investigation into 19th-century European literary multilingualism, particularly into the period from to All areas of European literature will be considered. Papers can be presented either in English, German or French.
Fiction is mediated by different media that comparative literature may study. Above all, the crucial point is that fiction try not only to make believe but to make forget its media. Such a apparent disappearence of media is perhaps even the sine qua non condition for the esthetic effect of the fictionnal Illusion.
It follows, therefore, that the concept of Immersion analysed by theoricians of fiction could be related with the immediacy explored by the Media Studies, from Digital Studies to Medienwissenschaften. Furthermore, fiction highlights many media in its own subjects. What is the reason of such a display? Could it makes forget the medium used by the fiction itself, whatever it is, writing, speak, painting or film? What are the fictions of the medium, for instance, at first, the immediacy? How does fiction work when art, for example the Avant-garde, put the emphasis on the medium?
Is it an ethical question? This workshop finally intends to highlight the mediation, or the mediality, implied by fiction. Do the relationship with media vary in the different linguistic and cultural area? Hofstadter and Sander argue that categorization is indispensable to communication, and that analogy is the root of all thought and conceptualization: In this group, presenters will explore literary texts that foreground language — specifically, language that either precludes or depends on metaphor.
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Instances of literary texts with similar focuses include works by Delany, Borges, and Orwell, among many others. The connections among language, metaphor, and thought lead us to a study of the sense of fiction: There may also be implications in language philosophy in terms of modality — especially linguistic capacities to express irrealis moods, subjunctive moods, and counterfactuals.
What is the relationship between the presupposition of a mind and the presupposition of an ability to conceive of fictionality? What are the reverberations of the inability to conceive of fiction? We will seek to answer these questions by navigating the fascinating interstices of language, metaphor, and thought in literary texts.
Literature in the context of migration has been a major topic in literary research across Europe during the past fifteen years. However, comparative research on the topic is still only in its early stages. This might be due to the huge variety of concepts that are used in different academic spheres, depending on their cultural, linguistic, and historical background.
A transcultural reflection of the phenomenon thus proves to be a challenge, requiring careful consideration of the terminology used and the concepts applied, as well as an awareness of the origins and motivations for particular approaches. The participants of the proposed round table will discuss the question of the transferability of theoretical concepts in the realm of literature and migration, and address difficulties that may arise.
How can theoretical concepts be translated into different languages and different contexts? To what extent are we as scholars manipulated by our own academic background when we deal with theoretical concepts and how can we handle this? How has the study of migration and literature been influenced by the use of differing terminology? Each panellist will give a brief statement on her approach, which will then be discussed by the panel. The discussion will also open up to questions and contributions from the audience.
The participants will refer to their experience gained in the research and publication project Trans-Cultures: The project reflects on migration and literature in Europe from the s onwards based on a transnational approach. It also focuses on the reception of the phenomenon by European scholars and critics, and on its aesthetic and poetic imperatives state of the art. Translation is central to modernism. A large number of modernist writers were also translators, and the mutual impact of translation and creative practice was significant in the period: Indeed, particular emphasis on the role of translators is still needed Bassnett We propose therefore that modernism and translation need to be brought into broader comparative and global focus.
This is the aim of this international group section of 3 collaborative panels:. What translation strategies are employed by modernist writers who work as translators? What impact does translation have on their original work? What new sets of transfer practices established modernist writers within multilingual and multicultural contexts? Did modernist writers use different languages for different purposes? How have modernist writers appropriated texts, via translation, into original works? This group session turns the topic of Section B against itself, questioning what happens when literature comes up against a failure or absence of language — the muteness of things, creatures or readers.
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What is produced in language when it tries to understand the animate or inanimate other — and how does this wish to understand partake of fear, aggression, desire or rivalry? How does the body intervene, and whose body is it? In 'Mutes, Muting, and Mutations: These papers will be followed by discussion of texts and images. The notion usually triggers associations with both the question of political reform and various avant-garde movements in the arts, but it is also deeply rooted in the traditions of Western thought and culture.
Stanislaw Jasionowicz will examine Gilbert Durand's vision of a future Science of Man, presented in "Science de l'homme et tradition. Pour un Nouvel Esprit Anthropologique", which could become a lingua franca for the humanities and consequently also for comparative studies. Nina Pluta will focus on diverse images of the inhabitants of Latin America and South America which emerge from the texts of Hispano-American culture essays, prose, as well as painting inspired by the three decades of reformist zeal from s through s of the last century.
Broadly speaking, the paragone has been broached by at least three distinct yet related critical traditions. To art historians, it primarily refers to a debate in the Italian Renaissance that, in a first step, sought to put the visual arts on equal footing with poetry and music and, in a second step, determine the respective merits of painting and sculpture.
To scholars of ekphrasis, emblems and similar phenomena, the paragone denotes a perennial struggle between words and images that permeates Western cultural history. Finally, media theorists frequently resort to notions of competition in order to describe our shifting contemporary media landscape — whether they label this as a paragone or not.
Literary critics have, to a greater or lesser extent, taken part in all three discussions, yet the paragone is hardly in common parlance in our discipline and its specific manifestations in literary texts and literary history remain to be closely studied in many cases. Our group section proposes to re- examine the role and place of literature in the three interconnected fields mentioned, focusing in particular upon question such as: At which points in literary history is the paragone especially conspicuous?
Which arts does literature engage in a rivalry with at which times? Which devices and strategies do texts employ to display their superiority? What influence have the various paragone theorists from Alberti and da Vinci to Bolter and Grusin had upon writers? Is the paragone a basic condition of the arts or a temporally limited phenomenon?
What function s does the rivalry between the arts serve? Comparative literary studies are a discipline which has been connected with globalization processes since the creation of the idea of world literature. However, it does not only explore various literatures of the world but has been practiced differently in different countries. Therefore comparative literary studies do not have either a single object of study or a single or unified method.
Theory and methodology is discussed in various languages and power relations. New terms enter the discourse of comparative literature or old terms return, often in new meanings as for example recently did the term "world Literature" in American comparative literary studies. The group section seeks to explore the pluralistic world of theory and methodology of contemporary comparative literary studies as well as the migration of concepts in time and space, while showing the specificity of local and regional traditions of comparative literary research. For example, in the 20th century the heterogeneous region of Central Europe produced several concepts of comparative literature Dionyz Durisin in Slovakia, Anton Ocvirk in Slovenia, Frank Wollman in Czechoslovakia or Alexander Flaker in Croatia which have been developing parallel to the so-called American and French school of comparative literary studies.
How do the various schools and traditions communicate with each other? Where do they converge and diverge? Do they have the potential to enrich each other? What is the role of the hegemonic anglophone discourse on non-anglophone comparative literary studies? Which terms and concepts of non-anglophone comparative literature seem viable in the present globalized comparative literary discourse?
The contributions in the group section should not only focus on theoretical studies but also on the exploration of terms and concepts on the basis of concrete literary material. The group section intendes to discuss the variety of treatments possible for the development of identical themes in different media. This will naturally lead to the airing of related topics. Here belongs, for instance, revisiting various theories of adaptation as well as the concept of remediation developed by Lars Ellestrom. Another relevant topic is the central role played in Western critical discourse by the ancient rivalry between the art of the word and the art of the image, the paragone sometimes dressed in friendly terms like "the sister arts".
The discussion will of course also involve the relations between other media, including kinetic forms like film or television. Also involved is the question of the alleged superiority of one art over the others in their capacity to represent material reality.
More specifically, the group will focus on the changes emerging from the specificities of each medium, with special emphasis on the matter of how far these specificities may contribute to a variety of justifiable readings of the source text. This ICLA seminar focusses on a specific form of multilingualism -- on mostly monolingual texts that do not present but rather evoke another language. There are many instances in which a text we read implies that it was "originally" in a different language: We read Usbek's and Rica's letters from Paris in Montesquieu's Lettres Persanes in French, but we understand that they "originally" wrote to their Persian correspondents in Persian; Macpherson's English Fragments of ancient poetry never let us forget that they are "translated from the Gaelic or Erse language"; Carlyle's Sartor Resartus chronicles a torturous attempt to acquaint the British public with a German philosopher's work, citing long passages from the "originally" German text in English "translation"; and when in Ted Chiang's story "The truth of fact, the truth of feeling" a missonary in West Africa talks with his student, they speak in Tiv, but we read their conversations in English.
In all these cases, the present language brings an absent language into play. These texts evoke and involve another language by inviting us to imagine the original text we read as a translation of a preceding original. This wide-spread phenomenon has only recently become a focus of scholarly attention. The terms used proliferate with the increasing number of contributions: This seminar aims at bringing the many languages of different research traditions together to discuss the implications of the multilingualism of imagined translation for Comparative Literature.
These include questions on the concepts of original and translation, on the process of translation and translatability, on transnational reception, authorship and audience, and on the multilingual potential of any language. These individual contributions to the seminar will allow us to explore and map this productive phenomenon for comparative literature. Participants in the panel s discuss aspects of digital humanities from various perspectives within the discipline of comparative literature and the fields of world literature s and comparative cultural studies.
Owing to the current situation worldwide when fewer students are interested in the study of literature, digital humanities has promise for the social relevance of the humanities in research e. It has been half a century since J. Through his distinction between performative and constative, Austin discusses how performative language does rather than states. This work has played a particularly influential role in such areas as rhetoric, comparative literature, and performance studies. In Japanese, where the verb is modified by tense and negative at the very end of the sentence, one experiences the performativity of delay—one has to wait for the performative moment until the very end of the utterance.
The particular natures of specific languages make us rethink the extent to which the construction of concepts, ideas, and theories depend on which language one employs. Considering the multiple manners of performatives derived from various languages, this panel reconsiders polyphonic temporally, spatially, and sensually manners of performatives through many languages. This roundtable proposal aims to explore how world literature is perceived and taught at small liberal arts colleges of the United States. For the past year, six faculty members from Kenyon and Oberlin Colleges in Ohio have collaborated with the support of the Great Lakes Colleges Association GLCA to enhance our research, respectively, on world, postcolonial, global, transnational, and diasporic literatures and to develop intellectually robust parameters for framing our courses on world literatures and cultures that are not simply those of Europe and the United States.
We believe that the small college model is ideally suited to generate an exchange of ideas between colleges in such a way that innovative thinking about the global can move outward from our localized communities. Indeed, an eye toward new networks of meaning within the field of world literature has opened the possibilities for novel ways of bringing "the world" into the curriculum through faculty hiring initiatives, broader course offerings, and interdisciplinary projects. Typically, however, any one department at small liberal arts colleges will not have more than one or two faculty members engaging questions of world literature.
But in the aggregate, these faculty members among the GLCA institutions and affiliates represent a significant resource. Therefore, we aim to identify work that is already ongoing in small liberal arts colleges and that fits conceptually within our identity as scholars and teachers. Postcards are travel souvenirs and messages to those who have remained at home. Moreover postcards have been collected and arranged in special albums ever since their emersion, and have quickly formed different categories and genres.
But what happens to postcards when they show up as parts of fictional texts? This workshop focuses on the various connections between postcards and literature. Topics might include, but are by no means limited to: Postkarten sind Souvenirs von Reisen, Botschaften an die Daheimgebliebenen und seit jeher auch Sammelobjekte, die in Alben organisiert und arrangiert werden. Von Beginn an differenziert sich daher die Postkarte in verschiedene Genres aus. Recent researches about language and culture turn the view to the relative importance of language in defining culture and identity especially in a global culture that is mostly affected by migration and cross border motions.
Literature represents social challenges and issues of self-discovery in an intercultural context. In light of this observation, the panel should examine the relationship between language, identity and culture on the one hand, and the literary reflection on those topics on the other.
This panel aims at exploring the aesthetics of code in a historical perspective. Code, cryptographic technologies and literature constituted from magical spells to contem porary code poetry a complex fi e l d of interaction that constantly challenged and transformed modes of reading.
The contributions to this panel will display the particular practices that conflate the production of code and literature. Historically, we will reflect on the creation of symbolic entropy through the ars combinatoria in the baroqu e, the use of cryptography by authors such as Heinrich von Kleist and E. A major question of o ur investigation will focus on the fact that cod e has a unique performative func tion , which becomes esp e cially apparent in computer programs that are not made to be read bu t t o be executed.
We will ask if the use of code in poetry implements a quality that transforms the reading process into something that could be described as a compilation or execution of code -- a transformation of the reading process into a complex form of data processing. This discussion will open up the question of the philological implications that go along with the integration of code. Especially in present discourses about computer code , the necessity of commenting computer programs transforms the use of code into a philology of code itself. The dominance of information technology, the rich history of blending literary text s and cryptograph ic techniques, and the self-reflexive forms of commenting in computer programm ing allude to philological practices that make it apparent that code should be included among the languages of comparative literature.
Code is thereby not only an additional idiom, but a practice of writing that by its ver y nature demands interpretation , i.
In the last decades, the topical opposition between literary theory and literary history has been reworked by many critics in less conflicting terms than in the late seventies. Universalist literary poetics used to consider that historical variations were minor aspects and to look for timeless literary forms.
This exclusion of historical development has been challenged in many ways, that have emphasized the temporality of literary norms and forms. Researchers in comparative literature, dealing with at least two literary systems, languages or artistic media, are more particularly confronted to differentiated rhythms of development and therefore sensitive to the evolutionary nature of literary language and norms. The aim of this workshop is to reassess, in an international perspective, the ways in which formalist critical tools belonging to poetics can deal which the questions of successivity, time and history, in the study of literary and artistic productions.
We will try and investigate the ways in which a historical and comparative perspective can challenge or improve general theoretical views, but also, conversely, how historical approaches do benefit from theoretical considerations. The decisive question of the extent in space and time of literary corpuses that give ground for literary theory is also meant be taken into account.
The languages of the workshop will be French, English and German. The call for papers will accordingly be proposed in these three languages. Translation can be seen as producing a text in one language that will count as equivalent to a text in another. It can also be seen as a release of multiple signifying possibilities, an opening of the source text to Language in all its plurality. The first view is underpinned by the regime of European standard languages which can be lined up in bilingual dictionaries, by the technology of the printed book, and by the need for regulated communication in political and legal contexts.
The first view sees translation as a channel; the second as a prism. The prismatic view of translation has yet to be fully theorised. For instance, a historical and intercultural glimpse at translation practices reveals a highly varied relationship between 'original' and 'copy' that demands further examination. Papers of the committee meeting could study the pragmatic requirements of translations e.
Dictionnaire des intraduisibles, itself translated as Dictionary of Untranslatables: Such degrees of translation require standard ideas such as 'equivalence', 'fidelity', and the binary of 'foreignizing' and 'domesticating' to be rethought. Attention to non-European languages and translation traditions is likely to be crucial to this endeavour. Quelles sont les langues, anciennes et modernes, majeures ou mineures, qui sont en jeu? Viel mehr sollen die traditionellen Forschungsmodelle in ihrer linearen und hierarchischen Struktur kritisch hinterfragt werden.
Diese Herangehensweise scheint auf vielen Gebieten der komparatistischen Reflexion fruchtbar. L'on devrait pouvoir constater que certains auteurs par exemple E. We invite papers that ponder the relationship -- from a broadly comparative perspective, in a variety of traditions -- between the interpretation of secular literary texts and the exegesis of sacred texts.
What is the relation between the two, and where does ethics fit in? We are not speaking here about the question of "belief," but rather of ways of reading. The Proposal is directed at exploring various cultural similarities, differences and developments in the South Asian region as ideas and cultures have travelled and intermingled and also as there is a shared past between India and Pakistan, India and Bangladesh, Nepal, Sri Lanka and other SAARC countries.
The panel, likely to spread over all the 5 days of the conference aims at working through the politics, gender relations and languages as they have evolved on different soils and tracing patterns of similarities and differences, with the aim of working out areas of peace, of the possibilities of negotiations, the role of religion in defining a society, as well as gender positions, the diversity in objectives, the rights of the state versus the rights of the individual, the right to relate to others outside the boundaries of one's nation, the similarity or difference in political struggles.
It would also be interesting to move through the shared history and influence of colonization and its totalizing aura, yet look for interstitial space for resistance, protest, non conformity. We could see what has happened to accepted notions of language and its meanings, both at the level of semantics and syntax. Further, it is important to look at all aspects of orality in our region. While discussing the oral traditions we also need to look into the surviving elements of the oral and aural in contemporary culture. It may further be explored how pluralism and multiculturalism are reflected in the poetics of South Asian Region.
The research committee coordinator will submit the selected abstracts from the eminent scholars and researchers to the ICLA Congress Academic Committee at Vienna for inclusion in the program well on time. The past decades have brought to comparative literary studies an increased interest in describing the position of small literatures literary cultures characterized by small number of authors and readers, limited international accessibility and dissemination in the global literary space.
The emphasis has mostly been on how small literatures in the periphery of western literary space relate to its centres — to literatures of high visibility, diffusion and influence. Their perceptions often exhibit a pronounced unawareness of processes not directly related to the centre, and depend largely on the availability of texts in a few central languages.
Our goal is to discuss the limits of these perceptions and the alternative foci and descriptive categories small literatures can contribute to the study of trans- and international literary relations and practices. Their own sensitivity to central literary processes has considerably influenced their self-description, but has also led to the realization that constructing objects of study on the example of differently structured and positioned literary cultures is often inadequate to account for key aspects of the local traditions.
We seek to launch a discussion of possible new descriptive models that emerge when concentrating on comparing and modelling the empirical cultural experience of small literatures. Participants are invited to identify incompatibilities that have resulted from applying central descriptive models to empirical material related to small literatures, describe their means of overcoming these difficulties, and discuss alternative models that allow for a more diverse and comprehensive description of literature as an essentially multicultural and multilingual phenomenon. Auch die Komparatistik bildet kulturdifferente Wissenschaftsvarianten aus, die sich auch und gerade hinsichtlich ihrer wissenschaftlichen Beschreibungssprache und Terminologie unterscheiden.
Darin liegt das Ziel der Sektion. Transkulturelle Literatur im Zeitalter der Globalisierungsprozesse. Aufgrund ihrer Mehrsprachigkeit schwanken sie in ihrem Schreiben zwischen ihrer Herkunfts- und einer Dienst sprache so der aus Polen stammende Artur Becker. Ein zweites Betrachtungsfeld befasst sich mit der Literaturgeschichte als Liebesgeschichte, d.
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Most of the wide-ranging scholarly analyses of language policies, minority languages, multi-ethnic codes or bilingual writers have failed to combine literary and linguistic analyses. The horizon of research has been broadened through critical examination of imagined language communities as well as the emerging power relations between institutions and actors, as shown by recent publications about migration literature, diglossia and super-diversity show.
Neither the hegemonies of national languages nor verbally expressed social distinctions can be understood as a mirror of sociolinguistic circumstances. The style and form of multilingual texts are the focus of controversial debate in this group. While they are often seen to epitomise subjective speech and assurance of authenticity in literary studies, the model of a writer-specific 'way of speech' remains highly questionable from a linguistic point of view.
Interdisciplinary cooperation is a major goal in research: Therefore, our group will analyse concrete stylistic phenomena in all layers of multilingual texts: What expectations are matched by their respective styles? What presuppositions manifest themselves through the way in which styles are used? Claims that literary studies and the sciences are incompatible have long been recognized as obsolete. Numerous scholarly endeavours bring together researchers, theories, and methods from literary studies and the sciences, e. Yet attempts at an integration of the two fields have not only been contested, but also the issue of mutual incomprehension remains unsettled.
This is largely due to both sides having different notions of what constitutes scholarly language. The group section will debate the extent to which scientific methods and tools can contribute to literary studies, and particularly at the role of scientific terminology as a new dictionary with the potential to transgress the boundaries of academic disciplines and individual languages. Topics for our session of brief talks plus in-depth discussions may include:.
The language of science: It is necessary to evaluate critically the particularities of scientific language and its ability to achieve terminological precision and clarity. Under which circumstances is it justifiable to extend scientific terminology to the study of literature? Does scientific language as a meta-dictionary in the field of literary studies add to terminological clarity? If so, it might prove useful for Comparative Literature to converge seemingly irreconcilable phenomena.
The struggle for authority: Taking recourse to scientific terminology further strengthens the role of English. What are the implications for Comparative Literature? When Reinhard Mucha, together with photographers Bernd and Hilla Becher, was invited to represent the Federal Republic of Germany at the 44th Venice Biennale , he created a carefully designed architectonic and sculptural construction.
The bronze Demeter flatters the haptics and optics of the beholder without any erotic connotation. Only at the beginning of the s, did Emil Schumacher turn towards abstraction. As a result of the different breadths of the black and white stripe configurations it is unclear which areas are negative and which positive. Ilja Kabakov, founder of Moscow-based Conceptualism, traces Stalinist self-representation in profoundly ironical mirrorings.
The Birth-Death Triptych by Herbert Falken, dating from , takes on a paralysing silence and heaviness by dint of the limitation of its colours to beige-brown, grey, near-black and near-white. Only a pathway, a row of bushes and trees in the park of the museum, separate two multi-piece sculptures that significantly differ as to their material and style: Concerning his Fast surfaces, Allsop explains: Three steel chairs are arranged around a steel table on which two arm clasps have been fastened in front of each seat.
Moreover, for each seat, a small green and a red signal light have been installed. Alexander Archipenko had been part of the wider circle of Paris Cubists since and soon claimed some fundamental discoveries of modern sculpture for his work: Sealed in a glass box, organic and inorganic rubbish can be seen: Munich artist Beate Passow has mostly focused on the medium of large-format, staged photography.
In her two-part work , Passow shows the idyll of a romantic, slightly overgrown garden during two seasons. His 15 Variations on a Single Theme shift the musical spectrum of possibilities to the visual sphere, to abstract painting.
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At first glance it may be compared to a construction chart demonstrating rather basic rules of art. The drawers and compartments of a wooden box are filled with different materials. The writing is swiftly applied to the base with black acrylic. In his photographs, Tobias Zielony explores meeting places of young people in urban peripheries.
Air Force from a side perspective. Roy Lichtenstein, a major representative of American Pop Art, was committed to Abstract Expressionism in his early work. His turn to Pop Art at the beginning of the early s was accompanied by two innovative changes: When, in the early s, Andy Warhol started to draw on pictorial images from comic strips and from advertising, the world of trivial images had long been considered worthy of art.
Yet it takes up the formal language of the traditional sculptural bust: The stripe sequences of Cantus firmus , which are combined into a unit, generate a picture all of its own: He shows the scholar and thinker Carl Einstein with a certain detachment, albeit with an eye for the human sides and mental abilities of the sitter. Colossal Ashtray is the last of a series of works taking up the motif of the extinguished cigarette, a motif Claes Oldenburg had been involved with since With his Cono Cone , made of wickerwork, Mario Merz creates an ambiguous artistic form that visualizes the close connection between the perception of nature and cultural tradition.
The object was produced at Edition MAT in copies. This dog may not bite, but as a pictorial motif it may well turn our heads. Gestural-abstract paintings with strong colors emerge. The penetrating effect of the faces, individually illuminated in the semi-darkness, coming across as anything from impassive to friendly, suggests a memorial site, an archive and at the same time a burial chamber. The painting Woman at the Mirror expresses this form perfectly. FLUXUS -1 is the first large and the most important publication of the art movement that came to be known by this name.
The design is rather unusual for a book: Di e ter Rot h dedicated an entire cycle to the garden gnome, that keeper usually set up outside of German front yards. In a cultural climate of far-reaching change and in times of diminished taboos and inhibitions, Allen Jones discovered the image repertoire of the erotic industry. In Henry Moore became Official War Artist, who domented how the London population tried to find shelter from air raids in bunkers and the underground. The Homage to the Square series represents one of a number of systematic investigations into the effects of optical phenomenon carried out by Josef Albers.
Of decisive importance is the optical interaction of the colored fields. In the titles of his works, Winfred Gaul sometimes had recourse to associations of landscapes when looking at his pictures. The formalized mode of photography emphasizes the sculptural character of the apparatus depicted and inexorably stimulates a comparative view of the objects photographed. Captured in full broadside, a stately animal crosses the path in Daido Moriyamas photograph Kanegi , from The animal is led by the hand of a male human with a thin rod, who nevertheless appears like a strange animal tamer.
In , while building the Gelsenkirchen Music Theater, architect Werner Ruhnau called upon Yves Klein, Norbert Kricke, Jean Tinguely, and others to participate in the artistic design and decoration of the theater. Already before and while still a member of the group de Stijl, Belgian artist Georges Vantangerloo had transferred tectonic-constructive work with open and closed volumes to three-dimensional sculptures. Since , Michael Badura has focused on phenomena of history, time, system, and chance in his work series Zettelbilder.
The sculptures and drawings of French artist Jacques Delahaye were received enthusiastically in European art criticism of the s and s. It dates from the same year. At the center, however, there is no longer the single figure. A play of light and movement, of appearance and disappearance. Light and movement are the central topics of the work Heinz Mack produced after the late s. So definieren wir unser Territorium. Ardhi Engl Donnerstag, 1. Zwei ihrer Soli zeigte sie auf internationalen Festivals.
Drei Menschen in einem Raum verpassen sich. Spielort Halle 6 Dachauer Str. Tanz, der als universelle Sprache die sinnliche Wahrnehmung des Zuschauers direkt und ohne Umwege anspricht. Mit ihren neuen Projekten macht sie bislang theoretische choreografische Ideen von Raum und Zeit physisch und sinnlich erfahrbar. Mit einer unverwechselbaren Tanzsprache stellt sie abstrakte, grundlegende Themen des menschlichen Befindens in den Mittelpunkt ihrer Choreografien.
Das Publikum wird durch Stationen geleitet, an denen es unterschiedlichen Reizen ausgesetzt ist. Stefanie Schumacher Spielort Muffatwerk Zellstr. Tanz, Musik, Film, Text, u. Juli, einen Tag lang: Eintritt mit Essen pro Abend: Reservierung erforderlich Das Essen ist nicht auf Vegetarier ausgerichtet.
Er schuf in den Jahren bis von Texten begleitete Fotografien von selbstgebauten, fetischartigen Puppen, hergestellt aus Teilen von Schaufensterpuppen, mit Holz, Metall und Gips. Die Bewegung des Dada oder des Dadaismus vereinigte zu Beginn des Das Buch ist was ich bin. Spielort buchladen Lothringer Str. Die Idee des Momentanen steht im Fokus: Halten Sie Augen und Ohren offen. Mit Tanztendenzmitgliedern und Freunden: Tanzfotos von Franz Kimmel, - Foyer: Er wurzelt im No- und Kabukitheater und im deutschen Ausdruckstanz. Thomas Mahnecke und Raphael Kurig Soundscape live: Das Leben stellt uns immer wieder vor existenzielle Fragen: Gibt es einen Anfang, ein Ende?
Oder ist alles jetzt? Was will sich offenbaren? Juli und Mi 1. Agenten und Dissidenten" veranstaltete. Die in Berlin lebenden Choreografen arbeiten hier an ihren aktuellen Solos. Manche werden wieder hervorgeholt und in Erinnerung gerufen. Welche Relevanz also haben Produktionen von vor 5, 15 oder 25 Jahren? Sabine Glenz und Stephan Herwig. Presseinfo zum Download als pdf Pressemitteilung Studioreihe Tanztendenz 2. Michael Bischoff Dramaturgie und Produktion: Ma Ma Ma Materials work-in-progress plays out as a mix tape of performative identities.
Through the sampling of dance vernaculars and performative strategies the cultural migration of a dancing body is charted. By exercising a chameleonic strategy, Linder is evoking the multiplicity of a body's inscriptions. Das Showing dauert ca. Ma Ma Ma Materials wird am Samstag, Acht unterschiedlichste Choreografien formen vom 5. Juli zusammen ein Lange Nacht des Tanzes im Spielort schwere reiter.
Rita Barao Soares Stimme: Rekonstruiert werden sie mittels verschiedener Raumzitate, innerhalb derer die Performer agieren. Monica Gomis ist Mitglied der Tanztendenz e. Was macht einen Moment aus? Wir nehmen selektiv wahr, und stets schwingt Erinnerung an Vergangenes mit. Im Moment zu sein bedeutet: Wie geht ein Individuum in der Gruppe auf, wie passt sich der Einzelne an, was nimmt er von den anderen auf, welche Rolle spielt er. April im schwere reiter ging es weiter: Eine Kerngruppe aus den Bereichen Musik, Tanz und Wissenschaft hat sich zusammengeschlossen, um miteinander in Dialog zu treten.
Gibt es gemeinsame Gestaltungsformen innerhalb der Komposition von Musik und Bewegung? Gibt es ein sich bedingendes und zusammen kommunizierendes Vokabular? Wie und warum wirken Musik und Bewegung? Caroline Finn wurde in England geboren. Von bis studierte er Sportwissenschaften. Doch wie gehen Betroffene mit ihrem Handicap um? Werden sie es schaffen? Die Voraussetzungen sind gut! Adrian Silvestri, Sigi Kalnbach Grafik: Die Performance ist u. Choreografische Skulptur, en passant zwischen Einfach an die Abendkasse kommen!
Es geht um Leben und Tod, Liebe und Verderben. Es entsteht ein leidenschaftlich, skurriler Kosmos der Einverleibung. Eine Kooperation mit elektrominibarklingelton. Das Kontingent ist bereits ausgebucht! Am Abend des Die Arbeit wird von einer Tutorin begleitet, die alle Phasen des Kennenlernens und des gemeinsamen kreativen Schaffens verfolgt. Am gleichen Abend um The "Enoteca Regionale di Nizza" presents more than prestigious wines from piemontese winegrowers, mainly from the area of production of Barbera d'Asti Superiore Nizza Docg.
Kurztrailer auf Vimeo https: Eine Strategie der Selbstbestimmung, der Definition des Ich? Eine Absicherung, ein Rettungsanker? Der Prozess der Zusammenarbeit wird zum eigentlichen Mittelpunkt der Produktion: All those entities are supporting her collaboration with Katja Wachter. Idee, Choreografie und Regie: Stefan Marria Marb Live am Kontrabass: Weitere Informationen unter www. Wir lieben und kuscheln sie, nutzen und benutzen sie und schmecken tun sie uns auch.
Christus, der zur Zeit in den Vatikanischen Museen in Rom ausgestellt ist. Die Skulptur eines Torsos macht es dem Betrachter nicht leicht, denn sie erfordert, so Rodin, ein Sich-nach- Innen-Biegen, ein Lauschen in die Tiefe des Innenraums, um einer Bedeutung gewahr zu werden. Ein Torso widerstrebt der Perfektion und zeigt sich dagegen als etwas Entstelltes, ja Verletztes und Behindertes. Marb setzt sich in seiner Performance konkret mit einem deformierten Metalltorso auseinander und tritt mit ihm in einen dramatischen Dialog.
Nick Parkin Licht und Technik: Die Premiere von Torso fand am Pressemitteilung zum Download als pdf: Eine wichtige Rolle spielt die eigene, ihnen zugrunde liegende Zeitstruktur: Claus Biegert, 58 Min. Christian von Borries, D 78 Min. DJanes Romina und Ruth, Eintritt: Mai im Muffatwerk untersucht den minkowskischen Raum: Eine Kooperation mit schwere reiter tanz. Sie geraten in Seenot und stranden auf einer einsamen Insel. Erst nach zwei Jahren, in denen sie zuhause als verschollen gelten, erscheint am Horizont das ersehnte Schiff zur Rettung. Diese Geschichte ist die Grundidee und Rahmenhandlung des Tanztheaters.
Monika Schulte-Rentrop Verein mitSprache e. Tim Bergmann Leitung der Trommelgruppe: Hans Peter Boden Dokumentation: Claus Biegert , 58 Min. Unweit der riesigen Anlage liegt ein ehemaliger Supermarkt, "das schwarze Loch". Bei Grothus, dem gewitzten Kopf mit schwarzem Humor, treffen sich alle, die sich kritisch mit dem Atomzeitalter auseinandersetzen. The Los Alamos National Laboratory. The lab takes up forty-three square miles - indigenous land of the Tewa people, who are today cut off from their traditional shrines of worship: The central meeting point for artists and activists is the Black Hole, a former supermarket.
Claus Biegert arbeitet seit als Journalist. Das Thema lautet Heterotopien und andere Orte. Jahrhundert und zu Architektur und Stadtplanung im Nationalsozialismus. The Dubai In Me. In seinem undercover auf einer Fotokamera mit HD-Video-Funktion gedrehtem Film beschreibt von Borries mit Hilfe eines klugen, selbstreflexiven Kommentars jedoch mehr einen Zustand als einen konkreten Ort. Der Luxus auf Pump, der aufgrund der Wirtschaftskrise nicht mehr so einfach finanzierbar scheint, lebt in virtuellen Scheinwelten fort.
Christian von Borries produces media from other media. He is an orchestra conductor, composer and producer of site specific psychogeographic projects. His first film "The Dubai In Me" was shown at film festivals all over the world as well as the Yekaterinburg Industrial Biennale and the principio potosi exhibition in Madrid and Berlin and online. This year, he will take part in the central asian pavillion of the venice biennale.
Sie hat beratend beim Filmprogramm des Ateliers mitgewirkt. Wie lassen wir uns beeinflussen? Festejemos en la magia del tango! Juli Residenzgast in der Tanztendenz. This is the precise function of the word "reality": Nevertheless sometimes we experience the unfamiliarity of the world: Das ergibt bereits als Grundkonstellation eine ganz eigene vibrierende Energie. Stephan Herwig Choreografische Mitarbeit: Da das Platzangebot limitiert ist, bitten wir um Kartenreservierung per Mail reservierung schwerereiter. Von bis war sie Mitglied der belgischen Kompanie les ballets C de la B.
Patricia Liebling's Die Rezeption von fiktionaler Gewalt im Fernsehen und deren PDF
Seit entwickelt zudem sie eigene Arbeiten. Rock Rose WoW Contemporary dance and research "Rock Rose WoW" tries to define the profile of three different bodies that "exceed" toward their own "ego", doing everything they can do. By analyzing from different prospectives the theme of the race to self-realization, we can think about all the different personalities living in us, and about the infinite potential that has been sealed and lost in time.
The aim is to investigate this territory in order to translate "All I can" through the body. In this state the body duplicates, triplicates itself to tell the fragile beauty and the traces of a lost innocence, hidden behind the need to be important, recognized here and now. Rock Rose is a flower that naturally opens and closes its corolla very quickly evoking feelings of instability and loss of control.
The use of Rock Rose allows you to convert fear into courage and panic into ability to rationalize the situation. With the support of the project DE. Mehr zu Daniele Ninarello: Nach dessen Ausscheiden ist die Tanztendenz nun seit alleiniger deutscher Partner. Nun wird dem neuen Status als alleiniger deutscher Partner Rechnung getragen. Alle Begriffe haben eine starke Verbindung, die sich in einem choreografisch dichten, hoch musikalischen Duett entwickeln. Ulrike Etzold, Zufit Simon Musik: Nackt, Robert Merdzo Licht: Bisher wechselte sich die Tanztendenz mit der Entsendung von Choreografen nach Lille mit dem Tanzhaus nrw ab.
Das Internationale Choreografenatelier, von der Tanztendenz alle zwei Jahre veranstaltet, war immer ein Format, das Gelegenheit bot, sich konkret am Austausch mit Einladungen an Choreografen, die sich in Lille vorgestellt hatten, zu beteiligen. My warmth was not what she needed, but the warmth of someone else.
I felt almost guilty being me. It was a clarity that had nowhere to go. Lisa Welham und Aaron Vickers Komposition: Wenn ich eine neue Erfahrung mache, bringe ich sie in den Kreis und gebe ihr dort einen Namen. Sie ist dann Teil meiner Welt. Malgven Gerbes Komposition und Dramaturgie: Marie Spiller Dank an: Am Freitag, den Beate Zeller In Kooperation mit Lusofonia e.
Dadurch entsteht ein Spannungsmoment in der Auseinandersetzung: Wann geschieht Tanzen und was bewirkt es? November bis Sonntag, Letztlich aber sind sie zeitlos und fundamental. Dali Touiti lebt seit vielen Jahren in Deutschland und ist immer wieder mit diesen Themen konfrontiert. Jedes Tun hat eine Auswirkung auf die uns umgebende Welt und jede Entscheidung bringt uns in eine neue Richtung. Wir erschaffen die Welt, die wir wollen?
Oktober von 14 - 21 Uhr und Sonntag Samstag um 16, 18 und 20 Uhr - Sonntag 14, 16 und 18 Uhr nicht bei Regen. Kis eigene Formensprache wird von H. Ott in seinen Videos aufgegriffen. November , in Kooperation mit tanz. Marcus Bomski, Valerie Kommer, Ursula Nill und Romy Schwarzer Der Inhalt wird nicht konkret benannt eine volle sondern muss der der wir unseren Auf der dem und mein zu zum Weise zwischen den dieses kann der Wir versuchen uns in einem?
Ein eine und einer der zu begeben, die dem einem von dem zum. Die Beeinflussung des Bildhaften, die Kraft der visuellen Sprache auf choreografische Methoden und deren Beschaffenheit spielen dabei eine zentrale Rolle. Was ist heute noch authentische Natur? Restkarten an der Abendkasse: Er ist stiller Beobachter, Katalysator, Fremder und Liebesobjekt in einem. Es entsteht ein innerer Dialog. Therese springt mit der Musik zusammen von Bild zu Bild. Ruth Golic, Beate Kellmann Musik: Dies gelingt anhand der Beziehung des Klangs und der Geste zum Bild, das entweder in seiner angehenden Bewegung oder in der steifen Erstarrung des Augenblicks begriffen werden kann.
Jasmine Morand in Zusammenarbeit mit David N. Christiane Pfau, info pfau-pr. Das ergibt bereits als Grundkonstellation eine besondere, vibrierende Energie. Was kann mich in Zukunft beruflich begeistern und herausfordern? Aber ist es ein Traum? Pino De Vittorio Chitarra Battente: Die Produktion ist im Anschluss am Februar, gibt es um Sie saugen ihn auf und emanzipieren sich. Emotionen werden subtil austariert oder explodieren in expressiven Gesten. Felix Leon Westner Licht: Ein Experiment mit offenem Ausgang.
Warm wird es sicher auch. Ein Spannungsfeld, in dem Choreografie hautnah erlebbar wird. Diverse Aktionen laden zum Betrachten und Innehalten ein. Raum- und Zeitstruktur bleiben in der Schwebe. Die eingesetzte Technik des Real Time Motion Tracking Verfahrens reagiert auf die sich bewegenden Performer, woraus sich eine ganz eigene Dynamik entwickelt.
Dabei werden die Inspirationsquellen Lyrik Ricardo Domeneck: Juli im Stadtraum zu sehen sein - am 3. Juli rund um den Rotkreuzplatz und am 4. Sharon Isbin, Lute Suites J. Elena Di Marco Dauer: Mit seiner Rapography strebt Linder nach einem Ort, der die Vielfalt urbanen Ausdrucks parallel zu den Diskursen des westlichen Theaters erfahrbar macht. Brendan Dougherty Sound Technik: Nach dessen Ausscheiden ist die Tanztendenz seit alleiniger deutscher Partner.
Das Internationale Choreografenatelier, von der Tanztendenz alle zwei Jahre veranstaltet, ist bereits ein Format, das Gelegenheit bietet, sich konkret am Austausch mit Einladungen an Choreografen, die sich in Lille vorgestellt hatten, zu beteiligen. Juli im Stadtraum und am 4. Drei Schwerpunkte waren die Basis der Recherche: Schick begibt sich darin auf die Suche nach dem Mehr im Weniger.
Als drittes Medium kommt das Publikum hinzu. Stephan Herwig hat vom Wie gelingt es, den eigenen Weg in ein selbstbestimmtes Leben finden? John Jones Tanz und Choreografie: Monica Gomis Regie, Visuals, Raum: Monica Gomis ist Mitglied der Tanztendenz. Eine Reservierung ist nicht erforderlich. Ausgabe der Body-Territories-Reihe findet am Freitag, Der Eintritt ist ebenfalls frei.
Bekomme ich einen Stromschlag? Kommt da Musik raus? Das fand bald Nachahmer und v. Das Spiel zwischen Subjekt und Objekt provoziert eine irritierende Spannung, Grenzen zwischen Abbild und Realem heben sich scheinbar auf. Judith Hummel, Markus Kunas Sound: Das Tanztheater ist eine klare Aufforderung an den Zuschauer, in sich selbst hineinzuschauen, und die Masken, die wir alle im Alltag tragen, und die Rollen, die wir spielen, kritisch zu hinterfragen und den Mut zu finden auf beides zu verzichten.
Die choreografische Plastik LoveChild bewegt sich ganz bewusst vor dem Hintergrund dieses erweiterten und immer noch kontroversen Kunstbegriffes von Joseph Beuys. Stefan Maria Marb Assistenz: Januar an unterschiedlichen Orten. Aktuelle Informationen zu den jeweiligen Orten und Referenten finden sie unter www. Marc Lohr Licht design: Die Anordnung kommt zu keinem Ende, sie existiert innerhalb eines geschlossenen Aktionsspielraums.
Das Publikum kann sich frei im Raum bewegen und auch zu jeder Zeit den Raum verlassen und betreten. Judith Hummel Performance Tanz: Heidi Schnirch Perfomance Live-Elektronik: Zwei existierende Soli werden neu betrachtet und bearbeitet: Es ist ein Spiel mit den eigenen Erinnerungen und der Freiheit der Interpretation. Wegen begrenzter Zuschauerzahl bitten wir bis Veranstaltet von Stefan Dreher. Und Shakespeare zeigt sie uns alle: For you my love!
Im Sommer endet die Intendanz von George Podt. Februar findet eine Werkschau der aktuellen Probenskizzen statt. Abendzettel als pdf zum Download Spielort Tanztendenz Lindwurmstr. Ikumu Mizushima, Andreas Stauber Videoinstallation: Januar Aktuelle Informationen zu den jeweiligen Orten und Referenten finden sie unter www. Diesen Namen muss man sich merken. Wer nicht mehr funktioniert, muss sich selbst heilen. Jahrgang des Studiengang Schauspiel Leitung: Ein Bewegungsprofil aus 30 Jahren Choreografie und Aktion. An drei Tagen darin eingebettet: Filmausschnitte choreografischer Arbeiten u.
Micha Purucker Konzept, Inszenierung, Objekte: Peter Slabon, Pius Spiesshofer Pressearbeit: An allen Tagen vor Ort: April zwischen Bouchra Ouizguen wurde in Marokko geboren und erhielt ihre Ausbildung in Frankreich. Ihre eigenen Choreografien touren inzwischen weltweit.
Zusammen zu leben, zusammen zu arbeiten? Welche Grenzen werden gezogen und wollen gewahrt bleiben? Dann sind da noch die Grenzen in uns selbst, die uns ausbremsen. Als Choreograf arbeitete er u. Laor, geboren , erhielt seine Ausbildung an der Tel Aviv University. Mai Von und mit: Wir sagen, dass dies die Wirklichkeit ist und vielleicht wird sie es dadurch.