Studia theodisca
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Kunst-Gedanken in Tiecks «Franz Sternbalds Wanderungen»
Get PDFoai:ojs.riviste.unimi.it:article/1362Ludwig Tieck is not only the most productive and stimulating power of German Romanticism with respect to literature but also, largely unnoticed by his contemporaries and critics, an innovative proponent of a new art. His Sternbald goes way beyond the position of Wackenroder’s Herzensergießungen from which it started. It not only influenced the artwork of the two most important romantic painters, Philipp Otto Runge and Caspar David Friedrich, but advocates, in a way, twentieth-century ideas of modern painting
Die Tradition der Beredsamkeit und deutschsprachiger Rhetoriklehre im 19. Jahrhundert. Mit einem bibliographischen Anhang “Deutschsprachige Rhetorik-Handbücher des 19. Jahrhunderts”
Get PDFThis article focuses on rhetorical handbooks written in Germany during the 19th century. It traces back the tradition of rhetorical handbooks, which started in ancient Greece and developed into a branch of literature in Europe, where it is attested in various languages of the young national states. The books written and edited during the 19th century contribute to the history of rhetoric in Europe and demonstrate how rhetoric was implemented into the German educational system of the 19th century. A list of handbooks published during this period is a complementary element of research presented in this article
Cover and Introductory Pages
No full textStudia theodisca, Vol 18 (2011) - Cover and Introductory Page
Rilke contra Wagner. Rilke’s early concept of Music and the Convergence of the Arts around 1900
Get PDFThis article examines Rainer Maria Rilke’s fundamental distinction between the essence of music and poetry, concentrating on his earliest encounters with music around 1900 and their impact on his poetics. It places Rilke’s concept of music into the cultural context of the romantic experience and reception of music and the other arts in Germany at the turn of the century. Rilke’s early understanding is ultimately negative, deviating from the popularly held belief in fin de siècle Europe that all the arts are not just compatible but also in essence identical. For Rilke there can be neither a Wagnerian Gesamtkunswerk nor a greater underlying principle around which the arts could be united, despite his enthusiastic integration of the visual arts into his poetics
Le immagini del potere. La Deutsche Kunstgesellschaft e l’arte del Terzo Reich
Get PDFThis essay deals with the uses of art for representing power in Germany from the Weimar Republic to the Second World War. It focuses on the figure of Bettina Feistel-Rohmeder and the origins of her Deutsche Kunstgesellschaft. A brief comparison of the art promoted by the German Art Society with the one later made official by Hitler’s regime will demonstrate their common roots in the völkisch (nationalistic) milieu and the romantic tradition. This essay also presents a selection of a few articles collected in “Das Bild”
