Die Hüterin der Krone: Historischer Roman (German Edition)

Macropolitics of Nineteenth-Century Litera- ture: Nationalism, Exoticism, and Imperialism. Duke University Press, Cambridge University Press, Douglas, and Laura Morrow, eds. Am- herst and London: Die anthropologische Wende in der Literaturwissenschaft. Criticism and Literary Theory to the Present. The Culture of Sensibility: Sex and Society in Eighteenth- Century Britain. University of Chicago Press, Beyond the Great Story: History as Text and Discourse. Cambridge, MA and London: The Anxiety of Influence: A Theory of Poetry. Oxford University Press, The Pleasures of the Imagination: English Culture in the Eighteenth Century.

Essays in the History of Cultural Expressions. Stanford University Press, New Perspectives on Historical Writing. New Literary History New Historicism and Contemporary Criticism. Manchester University Press, The English Novel in History — Zu den aktuellen Debatten der Geschichts- wissenschaft. Danneberg, Lutz, and Friedrich Vollhardt, eds. Vom Umgang mit Literatur und Literaturgeschichte: The Writing of History. Translated by Tom Conley. Englishness and National Culture.

Geschichte als Litera- tur: Elliott, Emory et al. Columbia Literary History of the United States. Berlin and New York: Theoretische Grundla- gen und Anwendungsperspektiven. An International and Interdisciplinary Handbook. A Companion to Cultural Memory Studies. European Journal of English Studies Mediation, Remediation and the Dynamics of Cultural Memory.

Erll, Astrid, and Klaudia Seibel. The Place of the Text. Eine Funktionsgeschichte des amerika- nischen Romans — Verhandlungen mit dem New Histori- cism: Das Text-Kontext-Problem der Literaturwissenschaft. Yearbook of Research in English and American Literature Literature, Literary History, and Cultural Memory. Grabes, Herbert, and Margit Sichert. Klio bei den Philolo- gen. Epochenschwellen und Epo- chenstrukturen im Diskurs der Literatur- und Sprachhistorie.

Healy, Thomas, and Jonathan Sawday, eds. Literature and the English Civil War. Herzog, Reinhart, and Reinhart Koselleck, eds. Poetik und Hermeneutik Zur theoretischen Grundlegung einer Sozialgeschichte der Literatur: Parodie und literarischer Wandel: Studien zur Funktion einer Schreibweise in der englischen Literatur des ausgehenden Harvard University Press, Huber, Martin, and Gerhard Lauer, eds. Geschichte der englischen Lyrik. The New Cultural History. The University of California Press, Zur Erneuerung eines umstrittenen Begriffs.

Ein Konzept der Literaturgeschichte. Baustein einer historisch- soziologischen Literaturwissenschaft. A Social History of the English Novel — Women Writers and Narrative Voice. Cornell University Press, Studying Transcultural Literary History. Am Beispiel des Ursprungs literarischer Symbolik in der Kollektivsymbolik.

Berkeley, Los Angeles and London: Univer- sity of California Press, Ideas of Nationhood in English Poetry — Literature and Culture in Early Modern London. The Memory of the Modern. Reflections on the Problems and Possibilities of Interdisciplinary Cooperation. Literary Theory and the Claims of History: Postmodernism, Ob- jectivity, Multicultural Politics. The Age of Virtue: British Culture from the Restoration to Romanti- cism.

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The Rise of English Nationalism: A Cultural History — Weidenfeld and Nicolson, Eine andere Geschichte der englischen Literatur: Towards an Outline of Approaches, Concepts and Potentials. Ways of Worldmak- ing from a Narratological Point of View. Where Metaphors and Culture Meet. Kulturgeschichte der englischen Literatur von der Renaissance bis zur Gegenwart. Cultural Ways of Worldmaking: Concepts for the Study of Culture. Theoretical Issues in Literary History. Is Literary History Possible? Johns Hopkins University Press, Literary Interactions in the Modern World 1. Notions of Literature Across Time and Cultures.

Beyond Constricting Notions of World Literature. Plumpe, Gerhard, and Karl Otto Conrady. Der Sinn der fiktio- nalen Wirklichkeiten: Ein systemtheoretischer Entwurf zur Ausdifferenzierung des englischen Romans vom Jahrhundert bis zur Gegenwart. University of Chi- cago Press, Von einem konstruktivistischen Standpunkt.

Eine neue Darstellung aus der Sicht der Geschlechterforschung. Some Remarks from a Constructivist Point of View. Die Selbstorganisation des Sozialsystems Literatur im University of Pennsylvania Press, Seeber, Hans Ulrich, ed. From Structuralism to Poststructuralism. Literary History and the History of Reading. Modernism, History and the First World War. Princeton University Press, Thomas, Brook and Marshall Brown, ed. Tra- ditionen und aktuelle Probleme, edited by Frank Baasner, — Methodologische und histo- rische Studien.

Essays in Cultural Criticism. Johns Hop- kins University Press, Literary History in the Age of the Global Picture. Entwurf einer theoretischen Grundlegung der Literaturwissenschaft. On the Conception of the Amerikanische Literaturgeschichte Metzler, A descriptive approach to the analysis of relations between literary texts and their evaluating references is suggested.

Thus, it proves inevitable to include contexts in literary histories. Moreover, it is argued that the explicit and trans- parent positioning of historiographers with regard to their own norms for evaluation and selection is necessary. Introduction Writing a literary history involves creating and determining a canon to re- confirm, to revise, or, at the very least, to renew a former corpus of estab- lished names, works and activities. This set of apparently relevant cultural acts is constantly subject to change, though they do stabilize in value over time, so that it becomes more and more difficult to erase well-known actors or artifacts from the archived canon—and this can only be done by constant- ly ignoring them.

The tools and criteria employed when the critic decides what to include in an updated literary history always contain some normative notion. Thus, a descriptive approach to literary and cultural historiography is generally harder to pursue. A historiographer almost necessarily adopts a double perspective on liter- ary history while writing it. They also indicate the shortcomings that result from ignoring the historicity and the societal entanglements of recipients and evaluators themselves.

Both of these aspects have gained a renewed importance in liter- ary studies after the cultural turn during the last decades. Aestheticist as well as interventionist approaches to literary historiography imply their own normative standards of selection, interpretation and focus. To gain insight into how rele- vance and consequential archival and canonical status is created and stabi- lized, it will prove useful to analyze the relation between literary works and their cultural context—diachronically and synchronically—in terms of pro- duction, distribution and reception.

A heterogeneous set of actors is in- volved here: Fink, , 13— Theoriekonzeptionen und Fallstudien zur Kontextualisierung von Literatur, ed. WVT, , 5. Linguistic Studies in Literary Evaluation, ed. Willie van Peer Amsterdam and Philadelphia: John Ben- jamins, , Their paper is an elaborated short version of their groundbreaking study on literary evaluation: Systematik — Geschichte — Legitimation Paderborn: Methodologically, my approach is based on New Historicism— particularly the concept of circulating social energies—and structuralist as well as poststructuralist ideas of intertextuality.

This theoretical positioning is made with regard to two immediate and popular debates in literary and cultural studies, namely, value or canon research and so-called cultural eco- nomics. These research fields provide me with arguments and counter- arguments for how to avoid either aestheticist or simply quantifying criteria while describing the emergence of cultural relevance in the most neutral or abstract way as possible.

At the outset, I have to claim that the establishment of value is and must be based on topical relevance in a larger discourse. Therefore the crucial question is: Renate von Heydebrand and Simone Winko, two advocates of descriptive canon research, differentiate between two ways of ascribing value: For example, if you buy a book, if you attend a theatre play and applaud, if you hang a drawing in your gallery or office, etc.

Heydebrand and Winko concisely analyze the prerequisites of literary evaluations: The quality of literature. In each case the task then remains of analyzing how a particular evaluation actually takes place, in the interaction between collective and indi- vidual norms and values and, where applicable, of the conflict of different roles.

Their answer is that the objects are evaluated because they relate to a standard of value applied by an individual, collective or institu- tion. But both researchers deal less with the other, preceding problem of how evaluation structurally takes place, even though they do describe the diverse subjects of literature-related acts and their functions as evaluators. Their groundbreaking work is based on action- and systems-theory, which leads them to conclude that the agents of literature-related acts are responsible for literary evaluations, regardless to some degree of their intention.

It seems possible to go one step further back than Heydebrand and Winko, and to look at the bare framework and structure in which literary evaluations emerge. Literary Evaluations In her dissertation, Friederike Worthmann tries to establish a purely descriptive model for the analysis of literary evaluation. Heydebrand and Winko de- scribe pre-conscious selection as a second type of evaluation; intentional selection and verbal- ized judgements are the two other, more transparent types. The originals are cited in footnotes, sometimes in broader context: Heydebrand and Winko also demon- strate this lack of focus on the evaluation process in contrast to the multitude of arguments for what literature should be or why certain works are better than others.

They even mention Worthmann as a rare exception. A Theory of Poetry, 2nd ed. Phaidon, , 1— Deconstructionist research contains its own norms and thus creates its own canon, as do gender and postcolonial studies. Is this normative notion inevitable when discussing literary value?

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Worthmann supports an open, pragmatic definition of literature that in- cludes didactic, trivial or instructive texts and is unbiased to historical changes to the term literature: With regard to subject criti- cism, I have to add non-individual and even non-human cases, e.

To give an extreme example, one could argue that climate change lends a new relevance to eco-dystopian literature. Immediately after the recent Fu- kushima catastrophe, the moralistic anti-nuclear novel Die Wolke , translated as Fall-Out by Gudrun Pausewang was broadly discussed in German media. It even re-entered the bestsellers lists and the author was interviewed about Chernobyl and Fukushima, since the events are apparently associated with her novel. With regard to actor-network theory, the nuclear meltdown in Fukushima might refer to the novel and even serve as a literary evaluation.

At least several journalists13, editors14 and the author herself15 obviously regarded it as such. Any men- tion of a literary object or literature-related action or text16 includes an evalu- ation, even if it is just the implicit confirmation of its relevance against its forgetting in the archive.

The reference or link must itself be recognizable and describable. Any normative ideal is unnecessary and misleading for the description of the act and process. Instead, its immediate relevance can be noticed and the continuous stabilization of the value of an object may be examined. Of course, a reference can include a qualitative evaluation and be qualitatively assessed. Rel- evance, however, is attributed in all three cases. Recall that even a disastrous event and a polemical article put Pausewang and her novel Die Wolke back into the immediate literary discourse.

When I polemi- cally called the academic field of cultural economics a so-called field, it was because this interdisciplinary subject is less devoted to the actual economy of culture, i. Westdeutscher Verlag, , This includes a core area of art and culture, and preceding and subse- quent fields. She barely differentiates between commercial and cultural value, while, in my view, these are different, if related, areas of discourse.

She defends a quantitative, economistic assessment of cultural success: The stakes this implies for minor, innovative, experimental or didactic art productions are obvious. Hence, the plurality of cultural expressions might be at risk. Bendixen himself argues that culture is usually subordinate to economy in most research on cultural economy.

However, he does not discuss forms of economic exchange that are not based on market economy or its relation to the latter. See also Ruth Towse, introduction to Cultural Econom- ics: The Arts, the Heritage and the Media Industries, vol. Ruth Towse, Cheltenham and Lyme: Probleme, Fragestellungen und Antworten Wiesba- den: VS, , 75f: She distinguishes with reference to Werner Heinrich between four understandings of culture.

The fourth would be most relevant in culture eco- nomics: But the evaluation of a text or action is not quantifiable or even ob- jective unless an evaluation and its analysis are restricted to numerical sche- mata. The number of references a piece of literature gets might confirm its relevance and it might be an interesting experiment to compose a literary history according to the number of reviews, quotes or essays on authors and their works, yet such a history would not capture the complete impact of a work of art: But it would still imply strict selection and restrictions.

Once the material is represented in quantitative form, it seems likely that some norms are implicit. If you look at library statistics like Franco Moretti does,26 you only get information about what is archived in libraries at a given time e. Thus, quantification helps answer specific research questions, but it cannot serve as the main objective of descriptive canon research.

A numerical figure representing quotation frequency can only be one auxiliary way of approaching literary evaluation. A general reference system may provide the structure in which literary evaluation appears. How- ever, the assessment of the diverse qualitative aspects in references must be decided upon by a literary researcher, namely, the literary historiographer. One might object that a vague relation between texts or merely mentioning the author is negligible to historiography and canon research.

I would apply this to their evaluating function as well. Verso, , 5. Verso, , 9. He suggests an expanded historical system of references as the object of a context- and culture-oriented literary analysis. How- ever, Greenblatt does not approve of the Poststructuralist practice of decon- structing cultural signs to find nothing but other cultural signs behind them ad inifinitum. He picks up the idea of cul- ture as an ever-incomplete text and confirms the impossibility of understand- ing texts as isolated entities.

Frank Lentricchia and Thomas McLaughlin, —32, 2nd ed. Fotis Jannidis et al. Ergebnisse und Perspekti- ven, vol 3, Zur linguistischen Basis der Literaturwissenschaft, ed. Jens Ihwe Frankfurt am Main: U of California P, , 5: Louis Montrose famously states: For the actual method of literary analysis, unfortunately, the plain dialectics somewhat succeed within New Historicism.

Instead, a Deleuzian rhizomatic structure or an alternative manifold structure makes more sense. The description of such complex processes and manifestations would also confirm its own non-dialectic method, while a binary interrelation could be regarded as a normative restriction of perspective. Their work or activity is not necessarily textual, but structurally it should not be regarded any differ- ently than actual literary texts or other primary artistic pieces or performan- ces. It should only be related to the arts in some way.

At the same time, this pre- carious relation of literary texts and social or cultural phenomena cannot sufficiently be addressed only by means of structuralism or action and com- munication theory. On the Relation of Relevance and Value If cultural value is ascribed to an object through repeated and polyphonic reference to it and, at the same time these references are a sign and proof of relevance, then what is the difference between value and relevance? Debates on canonization usually claim that the possible canonical status of an author cannot be confirmed until a certain period of time has passed since the publi- cation of a particular piece or after the death of the author.

Consequently, the passage of time is necessary to stabilize value. This is not the case with the relevance of a work of art. Relevance focuses on the synchronic axis of topi- cality. Aram Veeser New York: Routledge, , While her literature was at first regarded as authentic, critics now accused her of plagiarism. Iris Radisch, Feuilleton editor of the renowned weekly Die ZEIT, argued against the grain and accused some of her male journalist colleagues of patriarchalism and reactionary yearning for authen- ticity.

This is also the differ- ence between relevance and consumption or market quantity: This is another rea- son for the hype around the book in the first place: This gives us a reason to shift from the synchronic perspective towards a diachronic view. Value is assessed at one specific historical point in time, yet on the other hand, it sta- bilizes only with the passage of time.

After the German minister of defense, Karl-Theodor zu Guttenberg, was exposed as having largely plagiarized his Ph. The main article below the photograph reports on the accusations of plagiarism against Gutten- berg. See Frankfurter Allgemeine Zeitung, February 17, , 1 This example leads to another research question: It may just as well refer to all kinds of signs float- ing around before and after. Yet the diachronic perspective on this process seduces us into a discussion of literary texts as arising as a result of certain foregoing influences.

Although literary texts are themselves static historical documents, their meaning and the processes they participate in are anything but fixed. The literary text always has a secondary function in its reference to the preceding and surrounding context. Works of literature thus evaluate aspects of the culture from which they emerge. Therefore, a perspective cen- tered on works of art which are possibly masterpieces is necessarily an over- simplification.

Nevertheless, processes of evaluation have a describable starting point, even though it may be difficult to discover. A first, establishing evaluation of a literary or other cultural work takes place, but by a secondary authority rather than the author , to transfer the object into the cultural archive. A text or author is acknowledged and supported by someone, i. Then, the object must be continually updated through a system of references.

Repeated rela- tions to the artistic object re-evaluate it and renew this archiving procedure. If these secondary references are relevant to other evaluators, then they at- tribute value to the object and gain value themselves through this reference. For example, a newspaper review of a novel gets quoted on a new, updated edition of the book, and other papers or blogs mention the review either to agree or disagree with it. Secondary cultural productions or literature-related acts thus gain their value through this network of references as well.

Therefore literary texts and related practices are formally on the same level. Some publishers are regard- ed as more important than their authors, e. The primary a literary text becomes relevant through the work of the secondary its evaluation. In this way, the evaluator only achieves the potential of getting referred to and evaluated himself: Once again, this evaluation happens apart 41 Wagenbach wrote some books on Kafka, mostly printed in his own publishing house Ver- lag Klaus Wagenbach that he tried to organise as a co-op.

Moreover he was an intellectual among the movement of , and published several important literary works of that time including poems by Erich Fried and Ernst Jandl. He also was sued for publishing documents by RAF members.

The same phenomenon can be seen in elements preceding and influencing the creation of a literary text. If they are cut off from the emergence of literary texts, an understanding of artistic autonomy is reclaimed that in itself maintains a normative restriction. For this reason, contexts and intertexts are an inevitable objective for literary histories that take their function as evaluating documents seriously. Works cited Barthes, Roland. Die kulturpoetische Funktion und das Archiv: Eine literaturwissen- schaftliche Text-Kontext-Theorie.

Accessed April 04, A Theory of Poetry []. Frankfurter Allgemeine Zeitung, February 17, Probleme, Fragestellungen und Antworten. Berkeley and Los Angeles: University of California Press, Zur Erneuerung eines umstrittenen Be- griffs, ed. Niemeyer, , Systematik — Geschichte — Legi- timation. Frankfurter Allgemeine Zeitung online, March 15, Accessed April 05, Gudrun Pausewang und die positive Macht der Vernichtung.

Zur lingu- istischen Basis der Literaturwissenschaft, edited by Jens Ihwe. Frank- furt am Main: The Poetics and Politics of Cul- ture. Abstract Models for Literary History. Lon- don and New York: Atlas of the European Novel — London and New York: Introduction to Cultural Economics: Cheltenham and Ly- me: Outline for a Theory of Cultural Continuity. There is, however, one common feature in all early modern theories of tragedy: Yet, this does not necessarily mean that the tragedy should be less horrible.

Rather to the contrary, by the 17th century, the horrifying sudden encounter with the supernatural, causing bodily reactions of fear i. Tragedy—Cruelty without Sense and Justification? Quoniam leccione seuera L. Annei Senece grauitate et morum et sentenciarum refertissima mentes multorum perterruit, [Petrus Luder] ad quedam leuia nec tamen mediocriter ne sese inercia torpentem reddat utilia animum induxit. Walter de Gruyter, , 20— Therefore so that nobody could blame him for his inflexibility he offered something easier and still equally useful for his listeners.

Obviously, it was difficult to make sense from the cruelty of classical tragedy. The Theory of Tragedy in the Middle Ages: There were two translations of the Poetics into Latin that could eventually have been used: Medieval and Renaissance Studies 10 Filippo di Pietro, Copies are held in: Gloria Avella-Widhalm et al. U of California P, , He deletes the passage describing the formal varia- tions of the parts of the drama, and he also amends the alternative of actio and enuntiatio.

He has everything represented per enuntiationem. Thereby, he displays a clear mistrust in performance art. Laurentius Minio-Paluello, 2nd ed. It is given in a sermon that is especially pleasing because of its form which is different in each individual part.

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The action is not presented in a report, but as an action. Finally, it arouses pity and fear and thereby cleanses the mind from or: Aristotle claims that not every hero could arouse the affects of misery and fear. The hero should neither be ex- tremely perfect, nor should he deserve his fall because of his mean character; he should rather make a fault or mistake and therefore suffer misfortune a 8— B 15 According to Hermannus, we do not only feel strong compassion with those who did not deserve their misery, but especially with those who suffer cruel- ty and malice from their own friends and relatives: Res autem per quarum representationem accidit cum delectatione sua tristitia seu dolor et pavor, poterit homo inquirendo que sint difficilia et gravia ex his que solent incidere hominibus, et que res sint parve et exiles, ex quibus non sequitur magnitudo tristitie neque pavoris.

Et huiusmodi sunt que accidunt amicis quibusdam a quibusdam amicorum suorum voluntarie, ut parentum interfectio et pericula et damna et ceterea consimilia nocumenta; non enim quod accidit inimicis quibusdam a quibusdam inimicorum suorum. Non enim contristatur quis neque leditur neque expavescit propter malum quod infertur ab inimicis quemadmodum contristatur et offenditur propter malum illatum ab amicis.

We do not feel the same compassion or offence or shock when some malice is caused by enemies than when it is caused by friends. The tragic genre lives from senseless cruelty, the representation of which, however, is not at all senseless: Those emotions will make him think about honesty and will teach him virtue. Italian Pre-Humanism In Padua, a famous circle of pre-humanists was formed in the late 13th centu- ry.

One of its leading members was Albertino Mussato — ,17 whose poetological writings gained widely spread influence in Italy, but also in Germany. Mussato distinguishes two different types of tragedies: Fulmina supremas feriunt ingentia turres, Nec capiunt planas impetuosa casas. Ecerinis Frankfurt et al.: Acta Conventus Neo-Latini Lovaniensis, ed. Leuven University Press, , 85— Johann Georg Graevius, and Petrus Burmannus, vol. Petrus Vander , , col.

The Leopard Unleashed

The sudden and steep fall of the hero is supposed to illus- trate the instability of fate and to teach a stoic way of life. According to Mussato, the contingence of fate is the main objective of tragedy. Mussato highly criticises a mixture of comic and tragic elements: Full of pride, Ezzelino promises his father that he will always serve him, in any possible transgression. Immediately, the war activi- ty starts, Treviso is soaked in blood, Verona and Padua are conquered and submit to cruel tyranny.

Putnam, S. Get out or die Scottsdale, Ariz. Poisoned Pen Press, S. A bitter chill Scottsdale, Ariz. Buried too deep Scottsdale, AZ: Prime Crime, In: The Wolf of Masada New York: Morrow, S. A Life of St. Joseph, S. A Biography of St. Gollancz, S. The Eagle and the Raven Toronto: Der Adler und der Rabe: Goldmann, Aus dem Engl.

The Eagles Depart New York: The Eagles Depart London: Artorius Rex New York: Caesar of the Narrow Seas London: Caesar of the Narrow Seas New York: Ullstein, S. Doubleday, S. The last rainbow Toronto: The last rainbow New York: Avon Books, 1.

Lords of the White Castle

New American Library, Juni. Eastwick Press, S. Cassell, 72 S. A Story of Roman Bath London: Pitman, S. A Tale of Ancient Cornwall London: Longmans, Green, S. Durobrivae; or, Roman Rochester Rochester: Harris, S. Anglia Young, 64 S. Island Books, S. Scribner's, S.

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Mason, S. Verlags-Anstalt, S. Ginn, S. The iron grail New York: Druid time New York: Dodd, Mead, XI, S. Guardians of the forest London: Guardians of the forest New York: Eaglets for the Legion London; New York: Barbarian Princess New York: Ballantine, The Centurions series, bk. Hamilton, S. Chariot boy and the warrior queen Leicester: Matador, S.

Not for All the Gold in Ireland London: Man Went To Cattraeth London: The Bridge of Sand London: Arrow, S. Pocket books, S. The Witch of Chedworth: A Tale of the Roman Cotteswold Swindon: Jones, S. Clottus and the ghostly gladiator London: Bacillus and the beastly bath London: Tertius and the horrible hunt London: Twitta and the ferocious fever London: Piper, Aus dem Engl. Wordsworth, X, S. Children of Ancient Britain Boston: The legionary from Londinium London?: The man from Pomegranate Street London?: The Trenden Treasure London: The Eagles Flew Straight London: A spell for old bones London: Cape, S.

A spell for old bones New York: These Four Shall Die: Muller, S. Valerius, A Roman Story … Edinburgh: Blackwood, 3 Bde. Alena Toronto ; New York: Harlequin, S. Claudia and Pudens, or, the Early Christians in Gloucester: A Tale of the First Century London: Hamilton, Adams, S. The People of the Horse London: Allen, S. Etain of the Red Hair: Golden Eagle, [] S.

Mondadori, S. Piper, Aus dem Ital. Escape to the Wild Wood London: The Pagan King Garden City: A Romance of Roman London London: Oxford UP, S. A Duke of Britain: A Romance of the Fourth Century Edinburgh: Blackwood, S. By the King and Queen: Revell oder Rivington , S. Im Schatten des Kranichs: Under the Hollies London: Bentley, 3 Bde.

Tros of Samothrace New York, London: Tros of Samothrace London: One Traveller Returns London: Roman Manchester and thereafter? Curtain of Mist New York: Adventures in Roman Britain Cambridge: Press, 32 S. To Spare the Conquered London: Methuen, S. To Spare the Conquered Harmondsworth: To Tell My People London: Holt, Rinehart, Winston, [] S. Under the Eagle London: Macdonald, S. Boys and Girls of History London: Cambridge UP, S. Philosophical Library, S. For Queen and Emperor: A Story of Valour and Adventure London: Rain from the West London: The crows of war: The crows of war New York: Athenaeum, S.

The son of the swordmaker: Laird, [] S. Boudica and the lost Roman?: A Season of Chariots London: The boat of fate London: Das Boot des Schicksals: The Village by the Stones London: Phoenix, S. Scripture Union, 93 S. The Germanicus mosaic London: A pattern of blood London: Headline, S. Murder in the forum London: The chariots of Calyx London: The legatus mystery London: Enemies of the empire?: A coin for the ferryman?: They Fought for Brigantia London: The Novel of England London: Century, S.

Droemer Knaur, Dt. Under the Roman Eagles London: Partridge, S. Under the eagle London: The building offers thousands of square meters of unconventional exhibition spaces in the impressive architecture of a viennese city palais from the 19th century. The initiators - a team of galerists, organizers and curators - intend to make a diverse selection of projects and perspectives accessible to a large audience and under a single roof. The kafkaesque building sets an exceptional stage for a large variety of contemporary art practices, where innovative and established art can be discovered and recontextualised.

The organisers see the participants as the essential foundation of the internationally renowned Vienna art scene. These galleries and spaces are responsible for helping to develop and establish local and international artists and art movements in this city. An innovative curatorial model allows to integrate commercial and experimental initatives without introducing any kind of hierarchy.

An exciting program of events and performances is set to take place throughout the entire weekend. Details to be announced soon. Sunday October 6 , noon to 2 pm. May 25 - October 27 Whereas the use of ceramics was frowned upon in the world of art for many years, it has recently enjoyed a surprising renaissance. For the first time, ceramic objects by 75 internationally renowned artists will come together to form a unique panorama. They range from large-scale installations to small curios, the unexpected, the extraordinary and the experimental.

They are placed in a historical context with artists such as Ernst Barlach and Marcel Duchamp and the exhibition focuses on thematic questions of our time, from spirituality to provocation, from myth to explosiveness. After abstraction, virtuality and conceptuality, are we now seeing a return to handwriting, the body, materials? The exhibits from throughout the world will be presented not only in the regular exhibition spaces of Gerisch-Stiftung.

A series of glass pavilions designed by the architect Roger Bundschuh will be installed in the extensive sculpture park and the home of Herbert and Brigitte Gerisch will also be used as an exhibition space, lending the exhibition a special character. His work has been shown internationally in museums and galleries e. The song is performed by the virtual supergroup Gorillaz, a taciturn punk, a prepubescent Asian girl, a misanthropic rocker and a good-natured hip-hop hunk with a tendency to tantrums. They are symbols of extremely marketable forms of youth protest.

Their protagonists take over promotion dates and the role of projection surface. Hewlett, Albarn and varying colleagues, like Prometheus, Frankenstein and Faust rolled into one, pull the strings in the background. They articulated their unease with the lack of substance of the MTV world neither by making appearances as themselves, shouting protest slogans, identifying physically with the aesthetic of truth, nor as a theatrical embodiment, with the aesthetic of a production.

They did it as cool-headed studio musicians. They hold up a mirror, with the aesthetic of resistance, to an aesthetic of rebellion that has become anaemic. According to Jacques Derrida, things happen not by art representing, imitating or putting a political reality on the stage that takes place elsewhere but by politics or the political being allowed into the structure of art and thus the present also breaks apart. They are much too fragile for that. Their glaze is much too sugary and their faces are painted too sickly pale. The form and material cause the preconditions for judgement to falter: Like figures from ancient mythology.

Staged with borrowed gestures and poses. Dead, lifeless eyes stare into the barrel of the gun. Tjorg Douglas Beer is an artist. His work is represented in Collections in Europe and the US, i. During the last years Beer has developed a wide repertoire of types of work. In his collages, paintings, sculptures and installations he generates sceneries around the perception of the realities that surround him, i.

Doing this he acts less as as pseudo-scientist that developes art history, more than that his work complies to the work of a musician that transforms various layers of thoughts in texts and arrangements. The ceramic figures are casts of pale-looking children shop window puppets that are painted and glazed and combined with contemporary materials like clothes, plastic bags. They are representatives of a stagnating youth movement and utopical way of thinking; poor-fascistoid children figures with mutated dog creatures, militant homeless, beggars or a fortune-teller on an oil drum.

The paintings show portraits and landscapes. The program of changing exhibitions, lectures screenings includes: In many larger cities there are project rooms existing alongside museums and art associations. These are independent art spaces established by artists or independent curators where the way art is handled is continually being reinvented and other forms and rituals of art presentation developed. In the second part of the event, the heads of museums and art associations will discuss formats of art presentation between the traditional and the experimental.

The works will be hung salon style on our gallery walls, and include painted, drawn and photographic portraits. The German artist Tjorg Douglas Beer b. The works are a personal sampling of impressions from everyday life with inspiration from popular culture, social and political aspects and many everyday impressions from Berlin and Hamburg, where the artist is active. The idiom is colourful and raw, with both figurative and abstract elements.

Snow in the Jungle is the title of the new series of paintings that shows a number of utopian landscapes with misplaced persons either warming themselves at a fire or going exploring in the jungle. Painted ceramic sculptures scattered over the exhibition space are hardly distinguishable from child mannequins, but have a thoughtful, adult expression. The figures are painted and glazed and combined with contemporary materials like clothes, plastic bags. Throughout the works, from sculptures to collages, the artist reflects on the political realities and social inequalities facing society.

Despite the serious subjects the works have an ironically playful character. Dimitrios Antonitsis, Alexandros Vasmoulakis, b. Contrary to the digital revolution and the economic recession that threatens the printed media with extinction, the artists with their own extraordinary ways assist for the perpetuation of the medium. Appropriations of printed matter, most commonly newspapers first appeared in the Synthetic Cubism of Picasso, Braque and Juan Gris, in A century ago it was a radical concept: Fifty years later Pop and Arte Povera artists took up the enterprise, with different objectives but undiminished impact.

And although the conceptual premises behind the use of found printed matter may have changed over the decades, its appeal to artists perseveres. The artists that participate in the show use the newspaper either as a raw material or as a conceptual canvas for the work that they present. Copies of the newspaper will be available at the exhibition but will also circulate as usual at their regular retail outposts. Elias Kafouros examines the newspaper as a symbol whose components are time and recording through language and image.

He is interested in the psychological dimensions of its function, the familiarity of its aesthetics and also the fact that it is an actual archetypical plan of the psychological perception of our relation with time and place in the Western World. Chinese artist Tao Xue takes newspaper and twists it into rope from which he makes sculptures.

Thus the print medium is converted into durable construction material. Paris Koutsikos and b. Konstantin Kakanias paints his reknown heroine Mrs Tependris on printed advertisements offering her the lead role that she so much deserves. Dafni Barbageorgopoulou picks a fabric with a newspaper print on which she imprints the traces of a motif of her own. Alexandros Vasmoulakis presents a series of portraits collaged from small colorful pieces of newspapers. Apostolos Georgiou depicts on his acrylic on canvas painting the newspaper as an ally in desperation, since the protagonist has covered his face with it.

Sofia Touboura combines in her sculptures newspaper with neon plexiglass and synthetic resin with unexpected results. On the occasion of the book presentation Tjorg Douglas Beer presents sculptures and collages from the book. The publication is accompaigned by a text by Max Henry, a poet maudit and mercenary curator. Since then his work has been shown internatianally at museums and galleries i.

Tjorg Douglas Beer is artist and lives in Athens and Berlin. Since five years he has been around in the international artworld. Exhibitions in Japan, Europe and the US, aswell as parttaking in several artfairs have influenced his life as a young artist. A combination of a lecture being held at Schaulager Basel about self-organised work and examples of developing exhibitions. The presentation gives an inside view in the relation of self-organised work structures and the experiences of a young artist in a humorous way.

Das Bild ist hierbei oft Kommunikationsmittel seine Interessenfelder zu transportieren. Tjorg Douglas Beer invites: June 7 - July 30 Eine panoramaartige Wandmalerei vereint Malereien und Kollagen unterschiedlicher Formate und Techniken. On the balcony of the yard building, an outside sculpture; inside, an installation made from ceramics, paintings and collages. They are representatives of a stagnated youth movement and utopical way of thinking. Additionally, Beer shows large sized new works on fabric—combinations of painting and collage.

His installations, sculptures, collages and paintings always refer to a specific situation. He generates different scenes and approaches topics without moralising them and associates himself along topics such as war, politics, poverty, social problems. By exaggerating, Beer creates a distance between the viewer and the object.

The egg or the hen? Galerie im Regierungsviertel promotes contributions that critically and sensually confront existential phenomena. Ranging from monumental structures to witty interventions, epic performances to interactive installations, participants will exhibit alongside each other without partitions or walls, creating a pop-up village of global art for visitors to explore.

All participants will host a live event of their choice on the dedicated performance space on the Turbine Hall bridge, ranging from talks and screenings to performances. For instance, his imagery circles around global questions of war, politics, as well as social and power structures.

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He generates various scenarios out of elements that bear reference, among other things, to the absurdities of the world of the media. And he approaches these topics without becoming moralistic. Strangelove, the sad remains of an orgy held in an executive assembly room, and the laboratory of a diamond factory.

A crossbone-cum-boardroom-cumlast-supper table holds the fragments of a failed society. A frozen mise-en-scene of life-size paper figures surrounded by the ruins of one of the last great orgies of a dying elite. Beside the installation, the exhibition presents sculptures and new portraits. The templates for the latter were colour photocopies, etchings and heliogravures. They depict the sickly pale faces of mannequins that have have been pasted over and painted. Mutated subjects of an inexplicable experiment. The applications cut out of carton, meanwhile, provide us with fragmentary headlines or slogans.

TV, initiated by Beer, broadcasts its programme via online streaming. The TV station is both installation and broadcasting instrument. Now the first actual programme is produced and broadcast in Innsbruck. The exhibition will be accompanied by an artist book published in cooperation with Kunstraum Innsbruck. The meanest maledictions lead to the most beautiful reconciliation drawings.