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Intime Beziehungen. Ästhetik und Theorien der Sexualität um 1968

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ISBN: 9783835319479 Year: DOI: 10.26530/OAPEN_622130 Language: German
Publisher: Wallstein Verlag Grant: Swiss National Science Foundation (SNSF) - OAPEN-CH - 170307
Subject: Languages and Literatures
Added to DOAB on : 2017-01-13 11:01:24
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The author compares theories of sexality and theories of aesthetics around 1968 and find out that there is a strong relation between them. So she states that there is not only a tendency of a politization of aesthetics at that time, but also a tendency to be sexually connotated or even sexualized.

Soncino – Gesellschaft der Freunde des jüdischen Buches

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Book Series: Europäisch-jüdische Studien – Beiträge ISBN: 9783110368208 Year: Language: German
Publisher: De Gruyter Oldenbourg Grant: Knowledge Unlatched - 103580
Subject: Sociology
Added to DOAB on : 2019-01-15 13:34:05
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In May 1924, the Soncino Society of the Friends of the Jewish Book was founded in Berlin. Named after the Soncinos, a 15th to 16th century Jewish-Italian family of printers, it was the first society of Jewish bibliophiles, and set the goal of publishing rare Jewish books and Hebrew printings. The eight essays in this volume explore the history of the Society and its commitment to Hebrew book culture.

Musik und Melancholie im Werk Heimito von Doderers

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ISBN: 9783205788287 Year: Pages: 690 Seiten DOI: 10.26530/OAPEN_453615 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 4313
Added to DOAB on : 2013-09-21 22:37:43
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The present book consists of two parts, thus embodying the “two forces” that Bakhtin sees at play in every work of art: form and content. They are accorded equal weight. With regard to form, the book explores the various literary strategies employed by Doderer in his “Divertimenti,” in as much as they are inspired by musical forms. With regard to content the book focuses on the rather gloomy subjects that dominate the “Divertimenti.” The aim is to explore in how far these two aspects, i.e. musical form – a superstructure informed by musical aesthetics – and melancholic content – an oppressive atmosphere, the explicit foregrounding of experiences of depression – depend on each other. The book shows how they form a compelling whole.It is based on a variety of unpublished primary sources that have not been studied before, including an early fragment of “Divertimento No VI” („Erwachen fröhlicher Empfindungen bei der Ankunft auf dem Lande“) as well as diary sketches and draft outlines of the composition of the work. The book is thus able to comprehensively explore the musical techniques and strategies of musical composition of the “Divertimenti.” This thorough formal analysis provides new insights into what Steven Paul Scher has called an area of “comparative liminality” – that area in which the conditions are negotiated under which musical techniques can be transferred into “literature.”The “Divertimenti” belong to the world of Saturn. By focusing on melancholy and depression – topics that resonate throughout the Divertimenti and provide the dark undertone of the author’s later works – the book offers a new reading of Doderer’s work; it brings to light depictions of “deperceptive” states. This requires a new explanation of Doderer’s own theory of “apperception” and “deperception,” and of “first” and “second reality.” It will be offered in light of Kristeva’s “dark sun.” The book explores depictions of melancholy in a broader context and considers potential links between literary and clinical manifestations of melancholy.In view of the intellectual milieu of contemporary Vienna, the present study shows how deeply indebted Doderer’s early works are to Viennese Modernism – a quality that has been obstructed by the fact that most of these works were only published after Doderer’s death. This presupposes an appreciation of the Wiener Moderne which goes beyond the time span suggested by Gotthart Wunberg’s 1981 anthology, “Die Wiener Moderne. Literatur, Kunst und Musik zwischen 1890 und 1910,” instead drawing inspiration from “Wien 1880-1938. Die fröhliche Apokalypse,” a 1986 exhibition at the Centre Pompidou in Paris which, according to Jacques Le Rider, epitomizes the study of Viennese Modernism.Doderer’s receptivity for the intellectual, theoretical, and artistic movements of the turn of the 20th century is shown to be more pronounced than previously assumed. While the ambition of Doderer’s works ultimately transcends Viennese Modernism, a close exploration of the central tenets of this period can highlight various aspects of his early works, especially his uncompromising will to (musical) form.

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