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Ein grosser Kreis von Schulern und Freunden Arons, versammelt in
der Societe des Amis de Raymond Aron, bemuht sich seit Mitte der
achtziger Jahre um die Sammlung, Sichtung und Edition des Aronschen
Werks, dabei tatkraftig unterstutzt von einer amerikanischen und
einer deutschen Stiftung. So ist das philosophische Fruhwerk Arons
bei Gallimard neu aufgelegt wor den, ebenso wie Arons Vorlesungen
uber Geschichtsphilosophie aus den fru hen siebziger Jahren. 1 1990
sind Arons Schriften aus der Londoner Zeit (1940-1944) in einem
sorgfaltig edierten Band erschienen. Ende 1990 schliesslich ist der
erste Band von Arons Leitartikeln aus dem Figaro zur in
ternationalen Politik aus den Jahren 1947 bis 1955 herausgekommen,
dem 2 noch zwei weitere Bande folgen sollen. Fur 1993 ist eine
grosse Aron-Bio graphie geplant, die zum ersten Mal auch den
umfangreichen Briefwechsel 3 Arons mit anderen Personlichkeiten der
Zeitgeschichte auswerten wird. Die in diesem Band gesammelten
fruhen politischen Schriften Arons er moglichen zum ersten Mal den
direkten Einblick in die Entstehungsphase dieses ausserordentlich
umfangreichen und vielgestaltigen Aronschen Werks Zu den
Philosophen wird Aron hierzulande noch nicht gerechnet. Im Band von
Margot Aeischer (Hg.): Philosophen des Zwanzigsten Jahrhunderts;
Dannstadt 1990 gibt es keine Abhandlung uber ihn. Immer hin hat
aber ein Aufsatz uber Aron, auf welchem Wege auch immer, seinen Weg
gefunden in den Band von Karl Graf BaIlestreml Henning Ottmann
(Hg.): Politische Philosophie des Zwanzigsten Jahrhunderts; Munchen
1990."
Essay from the year 2006 in the subject Art - Installation /
Action/Performance Art / Modern Art, grade: good, The Open
University (Department of Art History), course: Themes and issues
in Contemporary Art History, language: English, abstract: This
essay tries to point out that Christo and Jeanne-Claude's work
deals with concepts of identity, gender and the performative, ideas
which inform a great deal of the art that has been produced since
the 1960s. These aspects in the work of the two artists have
generally been overlooked due perhaps to the giganticism of many of
their projects realized since the end of the 1960s, like "Wrapped
Coast" (1968/69, Australia), "Valley Curtain" (1970/72 USA),
"Surrounded Islands" (1980-83 USA), "Pont Neuf Wrapped" (1975/85,
France), "Wrapped Reichstag" (1971-1995 Germany), or "The Gates"
(2005 USA). Questions of identity, gender, and performance have not
really been adressed in interpretations of Chisto and
Jeanne-Claude's work. But at least since 2002 there are statements
by Christo himself, which make clear that identity and gender have
indeed been on his mind and that there also was quite early a link
to Dada and Surrealism. In this respect it is certainly relevant
that in 1963 Christo met Marcel Duchamp, who until 1968, the year
of Duchamp's death, remained a friend and supporter. Christo's
wrappings imply the blurring of identities, they transform male
forms into feminine forms, or even try to introduce the impression
of the formless, a concept developed by George Bataille. The
performative points in the same direction. The concept of
performance will have to be modified and enlarged in the case of
Christo and Jeanne-Claude, as ther performances are not bound to a
specific time and location, for instance in a gallery or a theatre.
The performances often extend over several years or even decades
and imply the presence of the artists at numerous different
locations. Here the aspect of politics comes into view. As their
environmen
Master's Thesis from the year 2008 in the subject Art - Sculpture /
Plastics, grade: distinction, The Open University (Department of
Art History), language: English, abstract: This research project
wants to assess to what extent Louise Bourgeois is employing
Surrealist practices in her work. Another question is in what way
Bourgeois criticized the practices of historical Surrealism and how
she has developed these practices further in order to adapt them to
new subject matter, for instance feminist themes. Chapter I tries
to elucidate, how art historians and art critics since the 1980s
referred to Surrealism when interpreting Bourgeois' work. It is
possible to show that Bourgeois used the concept of the "Surrealist
object" for her installations. However, she did this in a way in
which the female body is only present by implication. The erotic
dimension, which was of great importance for the Surrealists, is
destroyed by allusions to old age and death. Bourgeois'
installations of the 1990s can therefore be considered as a radical
and feminist reuse of the surrealist object. Chapter II looks at
works which imply allusions to the unconscious and psycho-analysis,
like the installations Arch of Hysteria (1992/3) and Precious
Liquids (1992). Here I also take into account Bourgeois' own
comments on her work. Although artist's comments do not represent a
definitive interpretation of a work of art, this aspect seems
justified as Bourgeois claims that her art is the result of her
direct access to her unconscious. At least according to Freud this
direct access is impossible, the unconscious being something
impenetrable, which communicates with the conscious only by signs.
However, in her installations Bourgeois consistently makes
allusions to the erotic and desire, but she also shows their
reverse side: fear, pain, violence, voyeurism, ephemerality, and
the ambiguities of male and female identity. Chapter III looks at
the overall social context of the 1960s and 1970s, to whic
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