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The scientific debates on border crossings and cultural exchange
between Judaism, Christianity, and Islam have much increased over
the last decades. Within this context, however, little attention
has been given to the biblical Exodus, which not only plays a
pivotal role in the Abrahamic religions, but also is a master
narrative of a border crossing in itself. Sea and desert are spaces
of liminality and transit in more than just a geographical sense.
Their passage includes a transition to freedom and initiation into
a new divine community, an encounter with God and an entry into the
Age of law. The volume gathers twelve articles written by leading
specialists in Jewish and Islamic Studies, Theology and Literature,
Art and Film history, dedicated to the transitional aspects within
the Exodus narrative. Bringing these studies together, the volume
takes a double approach, one that is both comparative and
intercultural. How do Jewish, Christian and Islamic texts and
images read and retell the various border crossings in the Exodus
story, and on what levels do they interrelate? By raising these
questions the volume aims to contribute to a deeper understanding
of contact points between the various traditions.
The scientific debates on border crossings and cultural exchange
between Judaism, Christianity, and Islam have much increased over
the last decades. Within this context, however, little attention
has been given to the biblical Exodus, which not only plays a
pivotal role in the Abrahamic religions, but also is a master
narrative of a border crossing in itself. Sea and desert are spaces
of liminality and transit in more than just a geographical sense.
Their passage includes a transition to freedom and initiation into
a new divine community, an encounter with God and an entry into the
Age of law. The volume gathers twelve articles written by leading
specialists in Jewish and Islamic Studies, Theology and Literature,
Art and Film history, dedicated to the transitional aspects within
the Exodus narrative. Bringing these studies together, the volume
takes a double approach, one that is both comparative and
intercultural. How do Jewish, Christian and Islamic texts and
images read and retell the various border crossings in the Exodus
story, and on what levels do they interrelate? By raising these
questions the volume aims to contribute to a deeper understanding
of contact points between the various traditions.
Die Literatur des Trecento ist reich an Kunstleranekdoten,
Erzahlungen und Ekphrasen, in denen Kunstwerke eine wichtige Rolle
spielen. Der Band behandelt das Sprechen uber Kunst und Kunstler
vor und wahrend der Etablierung der Kunsttheorie. Im Zentrum steht
die Frage nach dem "Kunstgesprach", den Spuren seiner
UEberlieferung in literarischer Brechung und den in den Praktiken
zeitgenoessischer Kunstlerwerkstatten vermittelten Auffassungen von
Kunst.
Der Begriff Habitus, so er in der kunsthistorischen
Forschungsliteratur gebraucht wird, scheint der Soziologie
entliehen zu sein. Dabei ist wenig bekannt, dass Pierre Bourdieu
seinen wesentlichen theoretischen Impuls einem Kunsthistoriker
verdankte. So berief sich Bourdieu in seiner Verwendung des
Habitus-Begriffs mehrfach auf Erwin Panofsky, der in den 1930er
Jahren die kunsthistorischen Disziplinen der Ikonographie und
Ikonologie zu einem einheitlichen, methodischen System ausgebaut
hatte. Bourdieu zeigte, wie Panofsky ein Instrumentarium praziser
interpretativer Schnitte und Stufen entwickelt hatte, die es
ermoglichten, die semantische Vielschichtigkeit der Werke bildender
Kunst freizulegen. Der Themenband versteht sich als ein erster
Beitrag zu einer Wiederentdeckung des fur die Ikonologie im
Besonderen wie fur die Kunstgeschichte im Allgemeinen so zentralen
Begriff Habitus . Er widmet sich dabei vier grossen
Themenbereichen: I. Der Habitus des Korpers, II. Ordnung, Macht und
Transgression, III. Habitus in Form und Stil und IV. Identitat und
Distinktion."
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