Rodin-Lekturen - Buchdetails zu Autor, Inhalt und ISBN

Rodin-Lekturen - Details zu Inhalt, Autor und Veröffentlichung

Wer nach einem Buch von Dominik Brabant aus dem Themenfeld Sachbuch sucht, findet mit Rodin-Lekturen eine Ausgabe mit präziser inhaltlicher Positionierung. Die vorhandene Beschreibung macht deutlich, worauf Rodin-Lekturen den Fokus legt: the title Figurenkunst und Künstlerfigur turns to the art-critical writings on the Gates of Hell (1880). In this chapter, famous art critics and writers such as Edmond de Goncourt, Gustave Geffroy, Anatole France and Arthur Symons are at the centerof interest. For the generation of the symbolist art critics, for example, the Gates of Hell became an icon of their own melancholic art doctrine insofar as the art work seemed to stage a temporality of deferral and hesitation which could be understood as a counter-image to an all-too-optimistic belief in historical progress. At the same time, Rodin?s apparent inability to bring this work to an end seemed to betray a very similar understanding of time. Rilke?s and Simmel?s interpretations of Rodin?s work, which are at the core of the following chapter, are described as theoretically ambitious attempts of emulating the art-critical debate at the turn of the century by using innovative narrative strategies of coalescing biographical patterns and reflections on art (Rilke) or by declaring Rodin?s work to be the ideal object for an analysis of modernity in the context of contemporary sociology (Simmel). The sixth chapter, entitled Verlust und Wiederbelebung, turns to two interpretations by German-speaking authors in the years around 1950: the philosopher Günther Anders and the art historian Josef Schmoll. gen. Eisenwerth. Anders, who was also a student of Edmund Husserl, described Rodin?s sculptural images of the human body as artistic expressions of an historical experience of loss and isolation, as objects which could stimulate a deepened reflection about modernity as crises. Josef Schmoll gen. Eisenwerth?s investigations of the motif of the torso, which emerged in the 1950s, rather tried to describe the fragmented body as the »symbol« of an aesthetic experience of totality and holism. Obviously, the art historian?s strategy of emphatically denying the disturbing aesthetic effects of some of Rodin?s torsos can be ? at least from today?s perspective ? conceived as a way of dealing with the historical experience of the collapse of civilization. The last chapter of the study is entitled Auf dem Weg in die Postmoderne. It focuses on the writings of Leo Steinberg and Rosalind Krauss since the 1960s. While Steinberg was mostly interested in the diverse ways of how Rodin constructed and deconstructed the meanings of his sculptures with the help of the art forms of the »montage« and the »assemblage«, thereby ostentatiously demonstrating the sculptural »semiosis«, Krauss emphatically turned to the problem of ?reading? Rodin?s images of the human body. For her, Rodin?s sculptures became emblems of an ?opaque? subjectivity and therefore the first artistic realizations of a radically new paradigm of aesthetic reception: Instead of clinging to the traditional notions of psychological and hermeneutical depth in the beholding of sculptures, in her view Rodin?s sculptures emphasize the material surface as the original site of the production of meaning Die Ausgabe erschien am 2017 bei Modern Academic Publishing und ist dem Verlagsstandort Cologne zugeordnet.

Relevante Merkmale auf einen Blick

Innerhalb von Sachbuch bietet Rodin-Lekturen eine klar erkennbare thematische Zuordnung. Auch das Veröffentlichungsdatum 2017 macht Rodin-Lekturen für zeitlich eingegrenzte Suchen besonders interessant. Mit Modern Academic Publishing in Cologne ist die verlegerische Zuordnung der Ausgabe klar nachvollziehbar. Dass Rodin-Lekturen in Deutsch erschienen ist, erleichtert die gezielte Auswahl für sprachspezifische Recherchen. Rodin-Lekturen ist besonders für Leserinnen und Leser interessant, die sich gezielt mit Veröffentlichungen von Dominik Brabant beschäftigen möchten.

Was behandelt Rodin-Lekturen?

Wer wissen möchte, worauf Rodin-Lekturen inhaltlich abzielt, findet in dieser Zusammenfassung einen ersten Ansatzpunkt: the title Figurenkunst und Künstlerfigur turns to the art-critical writings on the Gates of Hell (1880). In this chapter, famous art critics and writers such as Edmond de Goncourt, Gustave Geffroy, Anatole France and Arthur Symons are at the centerof interest. For the generation of the symbolist art critics, for example, the Gates of Hell became an icon of their own melancholic art doctrine insofar as the art work seemed to stage a temporality of deferral and hesitation which could be understood as a counter-image to an all-too-optimistic belief in historical progress. At the same time, Rodin?s apparent inability to bring this work to an end seemed to betray a very similar understanding of time. Rilke?s and Simmel?s interpretations of Rodin?s work, which are at the core of the following chapter, are described as theoretically ambitious attempts of emulating the art-critical debate at the turn of the century by using innovative narrative strategies of coalescing biographical patterns and reflections on art (Rilke) or by declaring Rodin?s work to be the ideal object for an analysis of modernity in the context of contemporary sociology (Simmel). The sixth chapter, entitled Verlust und Wiederbelebung, turns to two interpretations by German-speaking authors in the years around 1950: the philosopher Günther Anders and the art historian Josef Schmoll. gen. Eisenwerth. Anders, who was also a student of Edmund Husserl, described Rodin?s sculptural images of the human body as artistic expressions of an historical experience of loss and isolation, as objects which could stimulate a deepened reflection about modernity as crises. Josef Schmoll gen. Eisenwerth?s investigations of the motif of the torso, which emerged in the 1950s, rather tried to describe the fragmented body as the »symbol« of an aesthetic experience of totality and holism. Obviously, the art historian?s strategy of emphatically denying the disturbing aesthetic effects of some of Rodin?s torsos can be ? at least from today?s perspective ? conceived as a way of dealing with the historical experience of the collapse of civilization. The last chapter of the study is entitled Auf dem Weg in die Postmoderne. It focuses on the writings of Leo Steinberg and Rosalind Krauss since the 1960s. While Steinberg was mostly interested in the diverse ways of how Rodin constructed and deconstructed the meanings of his sculptures with the help of the art forms of the »montage« and the »assemblage«, thereby ostentatiously demonstrating the sculptural »semiosis«, Krauss emphatically turned to the problem of ?reading? Rodin?s images of the human body. For her, Rodin?s sculptures became emblems of an ?opaque? subjectivity and therefore the first artistic realizations of a radically new paradigm of aesthetic reception: Instead of clinging to the traditional notions of psychological and hermeneutical depth in the beholding of sculptures, in her view Rodin?s sculptures emphasize the material surface as the original site of the production of meaning Für die thematische Suche und semantische Zuordnung sind insbesondere diese Tags relevant: Criticism and interpretation, Aesthetics, History of art & design styles: from c 1900 -, Sculpture, Humanities, History of art & design styles: c 1800 to c 1900, Theory of art

Wichtige Kennzeichen dieser Ausgabe

Die Ausgabe ist über den Verlag Modern Academic Publishing, den Ort Cologne und das Datum 2017 klar kontextualisiert. Die Open-Library-Zuordnung über OL20931168W und OL28358113M verbessert die externe Nachvollziehbarkeit des Werkes.

Wichtige Buchdaten im Überblick

1. Inhaltliche Kurzcharakteristik: the title Figurenkunst und Künstlerfigur turns to the art-critical writings on the Gates of Hell (1880). In this chapter, famous art critics and writers such as Edmond de Goncourt, Gustave Geffroy, Anatole France and Arthur Symons are at the centerof interest. For the generation of the symbolist art critics, for example, the Gates of Hell became an icon of their own melancholic art doctrine insofar as the art work seemed to stage a temporality of deferral and hesitation which could be understood as a counter-image to an all-too-optimistic belief in historical progress. At the same time, Rodin?s apparent inability to bring this work to an end seemed to betray a very similar understanding of time. Rilke?s and Simmel?s interpretations of Rodin?s work, which are at the core of the following chapter, are described as theoretically ambitious attempts of emulating the art-critical debate at the turn of the century by using innovative narrative strategies of coalescing biographical patterns and reflections on art (Rilke) or by declaring Rodin?s work to be the ideal object for an analysis of modernity in the context of contemporary sociology (Simmel). The sixth chapter, entitled Verlust und Wiederbelebung, turns to two interpretations by German-speaking authors in the years around 1950: the philosopher Günther Anders and the art historian Josef Schmoll. gen. Eisenwerth. Anders, who was also a student of Edmund Husserl, described Rodin?s sculptural images of the human body as artistic expressions of an historical experience of loss and isolation, as objects which could stimulate a deepened reflection about modernity as crises. Josef Schmoll gen. Eisenwerth?s investigations of the motif of the torso, which emerged in the 1950s, rather tried to describe the fragmented body as the »symbol« of an aesthetic experience of totality and holism. Obviously, the art historian?s strategy of emphatically denying the disturbing aesthetic effects of some of Rodin?s torsos can be ? at least from today?s perspective ? conceived as a way of dealing with the historical experience of the collapse of civilization. The last chapter of the study is entitled Auf dem Weg in die Postmoderne. It focuses on the writings of Leo Steinberg and Rosalind Krauss since the 1960s. While Steinberg was mostly interested in the diverse ways of how Rodin constructed and deconstructed the meanings of his sculptures with the help of the art forms of the »montage« and the »assemblage«, thereby ostentatiously demonstrating the sculptural »semiosis«, Krauss emphatically turned to the problem of ?reading? Rodin?s images of the human body. For her, Rodin?s sculptures became emblems of an ?opaque? subjectivity and therefore the first artistic realizations of a radically new paradigm of aesthetic reception: Instead of clinging to the traditional notions of psychological and hermeneutical depth in the beholding of sculptures, in her view Rodin?s sculptures emphasize the material surface as the original site of the production of meaning
2. Seitenzahl: 328
3. Open-Library-Work-ID: OL20931168W
4. Verlag: Modern Academic Publishing
5. Primäre Kategorie: Sachbuch
6. Verfügbare Sprache dieser Ausgabe: Deutsch
7. Erscheinungsdatum: 2017
8. Verlagsort: Cologne
9. Titel: Rodin-Lekturen
10. Autor beziehungsweise Autoren: Dominik Brabant
11. ISBN-13: 9783946198246
12. Thematische Tags: Criticism and interpretation, Aesthetics, History of art & design styles: from c 1900 -, Sculpture, Humanities, History of art & design styles: c 1800 to c 1900, Theory of art
13. Externe Editionsreferenzen: OL28358113M

Suchrelevante Merkmale dieser Ausgabe

Durch die Kombination aus Titel, Autorenschaft, Kategorie und Schlagwörtern - also Rodin-Lekturen, Dominik Brabant, Sachbuch und Criticism and interpretation, Aesthetics, History of art & design styles: from c 1900 -, Sculpture, Humanities, History of art & design styles: c 1800 to c 1900, Theory of art - ist der Datensatz sowohl für Suchmaschinen als auch für Nutzerinnen und Nutzer sehr gut interpretierbar.

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