3,340 research outputs found
Letter from Simeon Leo to his father
No full textLetter from Simeon Leo, Esq. to his father on paper torn from a notebook. Written in broken English.Digital imag
Portrait of Hans Sahl
No full textThree quarter profile portrait of the German writer Hans Sahl.Digital imageEstate of the artist.The German Jewish author and poet Hans Sahl was born in 1902 in Dresden. He fled Nazi Germany for France and then immigrated to the United States, where he gained success as a translator of American authors. Sahl returned to Tübingen in 1990, where he died in 1993.Leo Glueckselig was born in Vienna in 1914. He studied architecture and worked as an interior designer. He left Austria with his family in 1938 and immigrated to New York, where he worked as a graphic designer and illustrator. He was part of the Oskar-Maria-Graf Stammitsch. Since 1999 his artwork has been exhibited in Vienna, Salzburg, New York, Washington, and Graz. Leo Glueckselig died in New York in 2003. His brother was the poet Friedrich Bergammer (Fritz Glueckselig)
Ktētōr and Synthesis: Epigrams, Miniatures, and Authorship in the Leo Bible
No full textThesis (Master's)--University of Washington, 2014The Leo Bible (Rome, Vat. Reg. Gr. 1) is an illuminated Old Testament produced in Byzantium during the mid-tenth century. Presented as a gift to a monastery of St. Nicholas by Leo Sakellarios, a court eunuch and palace treasurer, the Bible is the only surviving manuscript of its kind from Byzantium. Known for its luxurious epigrams and miniatures, the Leo Bible's classicizing miniatures are frequently cited as exemplars of tenth-century Byzantine art, although the manuscript is rarely considered as whole. This study takes a new approach to the Leo Bible, focusing on the manuscript as a work of visual and poetic exegesis, in which word and image work together to frame the Old Testament in a Christian context. Beyond its exegetical nature, the Leo Bible also demonstrates a marked interest in the theme of authorship. By considering Byzantine notions of authorship in conjunction with the Bible's visual and epigrammatic program, this study offers new insights into the concept of patronage in Byzantium and the means by which patrons constructed their image and legacy through their commissions. In the case of the Leo Bible, this study will address how Leo Sakellarios is understood to be the author of the manuscript and its exegetical commentary, and how this act of authorship is reflected in the Bible's visual and poetic programs
Dialogues on the problems of the tame otherness : Stanko Lasić, Desiderius Erasmus of Rotterdam and European studies
Get PDFU tekstu se razmatra nekoliko eseja o Europi koje je Stanko Lasić pisao za različite prigode, ponajprije u formi javnih predavanja. Problemi kao što su kozmopolitizam, ekumenizam, eurocentrizam, “nova Europa”, tranzicijska stvarnost i sl. - a koji čine tematsku jezgru mnogih Lasićevih javnih istupa - analiziraju se u kontekstu jedne od njegovih najpoznatijih književnoznanstvenih studija, posvećene različitim viđenjima paneuropske intelektualne figure Erazma Rotterdamskog.The article considers several essays on Europe written by Stanko Lasić for different occasions, primarily in the form of public lectures. Issues such as cosmopolitanism, ecumenism, Eurocentrism, “new Europe”, transition reality etc. - composing a thematic nucleus of Lasić’s many public appearances - are being analyzed in the context of one of his most known literary-scientific studies, dedicated to different perceptions of the Pan-European intellectual figure of Desiderius Erasmus of Rotterda
POETRY AND ITS TREACHEROUS LANGUAGES ON THE STAGE: PROLEGOMENA TO THEIR POSSIBLE CORRELATIONS
Get PDFProblemi koji se obrađuju u tekstu, od poezije i kazališta do intersemiotičkog prijevoda i plesa, smještaju se u širi kontekst translacije izvedbenosti. Autor se bavi složenim procesima prevođenja između različitih umjetničkih disciplina, posebno naglašavajući ulogu jezika, tijela i njihovih međusobnih odnosa. Intersemiotički prijevod, kako ga autor opisuje, otvara prostor za nove načine razumijevanja i interpretacije umjetničkih djela. Ples, kao i poezija, prema autoru, proizvodi različite razine označavanja koje se mogu prenijeti i reinterpretirati unutar druge umjetničke discipline. Ferlinov "Sad Sam Lucky" predstavlja zanimljiv primjer takva intersemiotičkog prijevoda, gdje se plesom interpretira poezija Srečka Košovela. Također, autor se dotiče pitanja tišine i neverbalnosti poezije u umjetničkim izvedbama te povezuje fenomen glasa s različitim aspektima umjetnosti. Na primjeru plesnih projekata inspiriranih poezijom istražuje se kako se poetski potencijal može prenijeti u pokret i scenski izraz. U zaključnom dijelu razmatraju se i pojedini projekti na hrvatskoj sceni, pri čemu se ističe važnost intersemiotičkog prijevoda kao načina interpretacije poezije na sceni. Pitanja o granicama i razlikama između jezika, tijela, zvuka i svjetla unutar umjetničkih izvedbi čine središnju temu. Naposljetku, tekst istražuje kompleksne veze između različitih umjetničkih disciplina, naglašavajući dinamiku prevođenja iz poetskog izraza u neki drugi te kako ta dinamika oblikuje i obogaćuje umjetničko iskustvo.The problems dealt with in the text, from poetry and theatre to intersemiotic translation and dance, are placed in the wider context of performance translation. The author deals with the complex processes of translation between different artistic disciplines, especially emphasizing the role of language, body and their mutual relations. Intersemiotic translation, as the author describes it, opens up space for new ways of understanding and interpreting works of art. Dance, like poetry, according to the author, produces different levels of signification that can be transferred and reinterpreted within another artistic discipline. Ferlin's Sad Sam Lucky is an interesting example of such an intersemiotic translation, where the poetry of Srečko Košovel is interpreted through dance. Also, the author touches on the issue of silence and non-verbality of poetry in artistic performances and connects the phenomenon of voice with different aspects of art. Using the example of dance projects inspired by poetry, it is explored how poetic potential can be transferred into movement and stage expression. In the final part, individual projects on the Croatian scene are considered, emphasizing the importance of intersemiotic translation as a way of interpreting poetry on the scene. Questions about the boundaries and differences between language, body, sound and light within artistic performances form a central theme. Finally, the text explores the complex connections between different artistic disciplines, emphasizing the dynamics of translation from poetic expression to another and how this dynamic shapes and enriches the artistic experience
Meyerhold Bound: Montažstroj's “Vatrotehna (2.0)” and the Barbaric Discipline of the Machine
Get PDFMeyerhold bBound: Montažstroj's Vatrotehna (2.0) and the Barbaric Discipline of the Machine
The paper deals with Montažstroj’s two versions of Vatrotehna performance, inspired by Aeschylus’ Prometheus Bound and Meyerhold’s tragic execution. Context of both performances is analyzed, especially in the light of re-performability in post-sociorealist and neo-capitalist conditions. Montažstroj’s performances are, hence, seen as radical in situ performance praxis, community oriented, and deeply rooted in traditions of avant-garde theatre. Therefore, questions like iterability, social proxemics and political engagement of the performance arise as most important. Aeschylus’ plot intertekst and Meyerhold’s performative intertext thus function as a platform for re-examining and re-performing in a rigid, utmost barbaric biomechanical mode, furthermore – in totally mediatized and mechanicocentric society.
Skok Meyerholda: Vatrotehna (2.0) grupy Montažstroj i barbarzyńska dyscyplina maszyny
Artykuł analizuje dwie wersje widowiska Vatrotehna, inspirowanego Prometeuszem skowanym Ajschylosa i tragicznością interpretacji Meyerholda w wykonaniu grupy Montažstroj. Przedstawiony został kontekst obu wykonań, a zwłaszcza perspektywa re-performatywności w warunkach postsocrealistycznych i neokapitalistycznych. Wykonania Montažstroju uznane są za radykalną in situ performatywną praxis, zorientowaną na wspólnotę i głęboko zakorzenioną w tradycjach teatralnej awangardy. W związku z tym kluczowe okazały się takie kwestie jak iteratywność, proksemika społeczna i polityczne zaangażowanie widowiska. Fabularny intertekst Ajschylosa i performatywny intertekst Meyerholda stają się platformą ponownego zbadania i ponownego wykonania w surowym, niemal barbarzyńskim trybie biomechaniki, co więcej – w totalnie zmediatyzowanym i maszynocentrycznym społeczeństwie
Teologija urote: čitanje Držićevih pisama Cosimu I. i Francescu Mediciju
Get PDFRad se bavi pismima koja je Marin Držić uputio Cosimu I. i Francescu
Mediciju. Nastoji se istražiti književnohistoriografski i političko-teološki
habitus tih pisama, u dvama kontekstima – u kontekstu dosadašnjih
držićoloških istraživanja, bilo onih književnohistoriografske ili historiografske naravi, i, detaljnije, u kontekstu novijih pristupa problemu
suvereniteta, političke iznimke i izvanrednog stanja, osobito kroz prizmu
teoretičara kao što su Schmitt, Benjamin i Agamben
Queer immanence in "Who is? Woyzeck": The technocentric utopia of the master and the slave
Get PDFQueer immanence in Who is? Woyzeck: The technocentric utopia of the master and the slaveMontažstroj’s Who is? Woyzeck is a performative history about individuals’ open wounds that will probably never heal, especially in the context of technodemocracy and liberal deprivation processes. Woyzeck is a Georg Büchner hero whose voice is not able to be heard. He is deprived, deprivileged, and his behavior/labor is socially unacceptable. He is devoid of humanity, turned into an animal, pure zoe, and thus treated like one by the system. Montažstroj’s project was, therefore, eager to explore the politics of power where the individual is subdued to numerous forms of violence and the way these violent acts resonate on the surface of human intimacy. The rhythmic changing of scenes depicted social coercion and private agony; the play questioned the world of isolated and lonely individuals. Woyzeck was presented as a pure phenomenon, as an individual trapped in a Hegelian master-slave relation, thus as a non-person whose body is being occupied and used in a specific situation of violence, love, betrayal, jealousy and murder, with no way out. The performance of two men and a woman on a stage, which is supposed to function as a specific community of life, bombarded with techno and rave music, together with pure channels of associations derived from various sources, primarily from Büchner's text, which was written in 1836, is thus analyzed as a deconstructive and multi-layered re-inscription of political and discursive regimes subdued by frenetic music samples. Immanencja queer w Who is? Woyzeck. Technocentryczna utopia „pana i niewolnika”Who is? Woyzeck autorstwa grupy Montažstroj to performatywna opowieść o otwartych ranach jednostek, które prawdopodobnie nigdy się nie zagoją, szczególnie ze względu na procesy technodemokracji i liberalnej deprywacji. Woyzeck, którego głos jest niesłyszalny, to bohater dramatu Georga Büchnera – jest ograbiony, odarty z praw, a jego zachowanie/praca są społecznie nieakceptowane. Woyzeck jest pozbawiony cech ludzkich, zamieniony w zwierzę, czyste zoe, a co za tym idzie jest traktowany przez system jak zwierzę. Celem omawianego projektu grupy Montažstroj było zbadanie polityki władzy, w której jednostka jest poddana licznym formom przemocy, a także sposobów, w jakie te akty przemocy rezonują na powierzchni ludzkiej intymności. Rytmiczna zmiana scen ilustruje społeczny przymus i prywatną agonię, sztuka bada świat zamieszkany przez wyizolowane i samotne jednostki. Woyzeck został zaprezentowany jako czyste zjawisko, jednostka uwięziona w Heglowskiej relacji „pana i niewolnika”, a więc jako nie-osoba, której ciało jest zawłaszczane i używane w konkretnej sytuacji przemocy, miłości, zdrady, zazdrości i morderstwa, bez możliwości ucieczki. Performans dwóch mężczyzn i kobiety na scenie, który ma prezentować specyficzną wspólnotę życia, bombardowany muzyką techno i rave, wzbogacony czystymi strumieniami skojarzeń wywodzącymi się z różnych źródeł (przede wszystkim z napisanego w 1936 roku tekstu Georga Büchnera), jest analizowany jako dekonstrukcyjna i wielowarstwowa re-inskrypcja politycznych i dyskursywnych reżimów podporządkowanych frenetycznym próbkom muzycznym
Leo Katz as an author of children’s books. A failed attempt?
No full textDas Ziel dieses Beitrags ist es, Leo Katz als Kinderbuchautor zu betrachten und darüber
nachzudenken, welche Rolle seine Jugendbücher in seinem gesamten Werk und in der
Geschichte der deutschsprachigen Kinder- und Jugendliteratur spielen. Es werden nicht
nur seine veröffentlichten Kinderbücher betrachtet, sondern auch andere
unveröffentlichte Jugendromane, die unbekannt bzw. unpubliziert geblieben sind.
Um den Autor aus der Vergessenheit zu holen, werden unter anderem die nicht
bekannten Werke des Autors für Jugendliche vorgestellt und es wird überlegt, weshalb
sie damals nicht veröffentlicht wurden.Stadt Wien KulturDepto. de Filología Alemana y Filología EslavaFac. de Comercio y TurismoTRUEpu
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