Rodin-Lekturen | Inhalt, Autor und bibliografische Daten

Rodin-Lekturen von Dominik Brabant - Informationen zur Ausgabe

Mit Rodin-Lekturen liegt ein Buch von Dominik Brabant vor, das der Kategorie Sachbuch zugeordnet wird und sich für alle eignet, die gezielt nach Literatur mit diesem Schwerpunkt suchen. Inhaltlich lässt sich Rodin-Lekturen folgendermaßen zusammenfassen: 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

Einordnung nach Autor, Thema und Ausgabe

Die Angaben zu Modern Academic Publishing und Cologne stärken die bibliografische Präzision des Eintrags. Wer Literatur aus dem Bereich Sachbuch sucht, findet in Rodin-Lekturen einen gut klassifizierbaren Titel. Mit der Sprache Deutsch lässt sich Rodin-Lekturen auch im internationalen oder mehrsprachigen Kontext präzise filtern. Gerade wer nach Werken von Dominik Brabant sucht, sollte Rodin-Lekturen näher betrachten.

Thematische Einordnung von 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 Über die Schlagwörter History of art & design styles: from c 1900 -, Sculpture, Humanities, History of art & design styles: c 1800 to c 1900, Theory of art lässt sich Rodin-Lekturen auch in größeren Beständen gezielt auffinden.

ISBN, Revision und weitere Referenzdaten

Im Open-Library-Kontext ist das Werk über OL20931167W sowie die Editionszuordnungen OL28358112M referenzierbar.

Wichtige Buchdaten im Überblick

1. Verfügbare Sprache dieser Ausgabe: Deutsch
2. Open-Library-Editions-IDs: OL28358112M
3. Open-Library-Work-ID: OL20931167W
4. Primäre Kategorie: Sachbuch
5. Schlagwörter: History of art & design styles: from c 1900 -, Sculpture, Humanities, History of art & design styles: c 1800 to c 1900, Theory of art
6. Titel: Rodin-Lekturen
7. Verlag: Modern Academic Publishing
8. ISBN-13: 9783946198246
9. Verlagsort: Cologne
10. Verfasst von: Dominik Brabant
11. Seitenzahl: 328
12. Kurzbeschreibung: 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

Suchrelevante Merkmale dieser Ausgabe

Durch die Kombination aus Titel, Autorenschaft, Kategorie und Schlagwörtern - also Rodin-Lekturen, Dominik Brabant, Sachbuch und 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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