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Copyright of Colloquia Germanica Stetinensia is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Im folgenden Beitrag soll in einer Perspektive auf die Bildmedien der griechischen und römischen Antike dem Phänomen nachgegangen werden, dass dort die Angehörigen einiger ferner Ethnien dezidiert als hässliche Fremde geschildert wurden. Dabei ist einerseits die in der bildenden Kunst beider Kulturen zu diesem Zweck entwickelte Formensprache entsprechender Darstellungen interessant, anderseits stellt sich die Frage nach den Ursachen eines solchen Bedürfnisses sowie dem Nutzen dieser Praxis. Umso mehr, als gerade in der sogenannten Klassischen Antike das Cliché „Schön ist auch Gut/Hässlich ist auch Böse“ geboren wurde, welches noch bis in unsere heutige Gegenwart ausstrahlt, wie ein Ausblick beleuchten wird.

Der Beitrag geht dem Paradox nach, dass Hässlichkeit, Schrecken und Grauen in den Bildenden Künsten, bis in die modernen Medien hinein, in Formen dargestellt werden, die künstlerisch ‚vollendet‘ sind und insofern als ‚schön‘ empfunden und genossen werden (können). In der griechischen Kultur und Kunst ist körperliche Schönheit das höchste Leitbild des sozialen Lebens – dem gegenüber verkörpert die grässliche Fratze der mythischen Gorgo die extremen Schrecken des Todes. Wenn in ihrem Bild Grauen, Gewalt und Tod in perfekten Formen zu visueller Wirkung gebracht werden, so muss scharf zwischen ästhetischer Vollendung und thematischem Horror unterschieden werden. Den Horror zum ästhetischen Genuss zu machen, beruht auf einer modernen Verabsolutierung der künstlerischen Form, für die es in vormodernen Kulturen keine Legitimation gibt.

At first, music seems to us to be something uniform. But it is something composed. Starting from the duality of hands/body versus voice, relevant components of music here are deduced anthropologically. Their multidimensional, complex interaction is developed step by step, from an evolutionary, phylo- as well as ontogenetic perspective. 'Sonando' and 'Cantando' (Harry Goldschmidt) as generative deep structure can be realized both instrumentally and vocally. They are concretized here as percussive (noise / sound and rhythm) and vocal (»Vokalisches«) (tone). Through the omnipresent rhythm in nature, dance plays a key role. The two basic arts, i.e. art of dancing (Tanzkunst) and word art poetry (Wortkunst), are based on the everyday languages of gesture (»sign«) and word (»verbal«) language. Their common phylo- and ontogenetic origin is the multimodal 'mimetic action'. They become art in and through the 'Mimetic Ceremony', genuinely the 'Gesamtkunstwerk', tendentially with elements of all senses, originally practiced by all participants in the 'Other State', which is separated from the prosaic 'Normal State' of everyday life by functional and structural distance. The poetry comes, systematically seen, only»late«into the music, as setting texts to music in vocal music and as texting (troping) into the instrumental music. The verbal text can be dissolved by vocalises (e.g. scat singing) or dadaistic deformations, or by 'de-texting' the transformation of vocal music into instrumental music into latency. One conclusion is the formula: Dance art + word art = sound art. [ABSTRACT FROM AUTHOR]

Copyright of Spektrum der Augenheilkunde is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Spektrum der Augenheilkunde is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is devoted to the cycle of paintings entitled October 18, 1977, which consists of 15 pictures, painted by Gerhard Richter between March and November 1988. Within the framework of cross-curricular teaching, I propose here a goal-oriented approach with the events of the German autumn within teaching German as a foreign language. This cycle belongs to the canon of contemporary art. As a consequence of their contemporary thematic relevance (40 years of German autumn, 1977-2017) along with their technical and formal qualities as well as their communicative accessibility, these pictures have the capacity to motivate authentic linguistic utterances when used in teaching in connection with activity-oriented tasks. On the other hand they can be integrated with the learners' existing state of knowledge and also provide stimulating access to aesthetic learning within cultural studies teaching. [ABSTRACT FROM AUTHOR]

Der Beitrag beschäftigt sich mit Metaphern für (digitalisierte) Subjekte in Bildender Kunst und Literatur. Die Audio Walks der Künstlerin Janet Cardiff bieten – ebenso wie Prosatexte des Schriftstellers Paul Nizon – ein Sprechen über Wanderer und Marschierer an. Subjekte ohne sicht- oder greifbares Gegenüber werden wahrnehmbar werden durch den Einsatz von Körper und Technik bzw. durch eine autofiktionale Erzählstrategie. Sie lassen sich nicht als autonom, stabil oder handlungsfähig beschreiben, sie konfigurieren sich zeitlich begrenzt und bleiben beweglich.

Copyright of Life & School: a Magazine for the Theory and Practice of Education / Život i škola : časopis za teoriju i praksu odgoja i obrazovanja is the property of Zivot i Skola and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)