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Ergebnisse für Definition
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    Die Definition Vierte Auflage Mit einer Einführung von Wilhelm K. Essler Inhaltsverzeichnis Einführung. Von Wilhelm Essler............... IX WALTER DUBISLAV • DIE DEFINITION Einleitung............................. I 1 Kurze Charakterisierung der Untersuchungen Erster Hauptabschnitt Auf Klärung der Probleme gerichtete Übersicht über die wichtigsten Lehren von der Definition 2 Aufzählung der wichtigsten Lehren von der Definition 2 Erstes Kapitel: Die Definition als Wesensbestimmung .... 2 3 Die Definition nach Aristoteles, eine Wesensbestimmung 2 4 Die Interpretation von U ... >>

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    Tractatus de intellectus emendatione. Ethica Abhandlung über die Verbesserung des Verstandes. Ethik INHALTSVERZEICHNIS Abkürzungen................................................ VII Tractatus de Intellectus Emendatione............................ 1 Admonitio ad Lectorem...................................... 2 Abhandlung über die Berichtigung des Verstandes................. 3 Erinnerung an den Leser..................................... 4 Tractatus de Intellectus Emendatione.......................... 6 Ethica Ordine Geometrico Demonstrata / Die Ethik mit geometrischer Methode begründet ........................................... 84 Pars Prima / De Deo Erster Teil / Von Gott................. 86 Definitiones / Definitionen.................................... 86 Axiomata / Axiome.......................................... 88 Propositio I-XXXVI ... >>

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    Michael Lingner Reflections on / as Artists' Theories (In the context of the symposium Reflection on/as Artists' Theories) "That I could easily become a theoretical artist... it wouldn't matter." P.O.Runge That artists' theories could develop in modernism is mainly attributable to the fact that, after the French Revolution, Romantic art emerges as a completely new and self-determined form of experience for the ascending middle-class. The unprecedented autonomy gained by the arts is not so much a result of the drive for independence, which it has always had, as it is of the revolutionary changes in society preceding Romanticism, because, even if the French Revolution with its socio-political objectives initially failed, and so cruelly betrayed its own progres-, sive humanistic ideals, the earlier secular and spiritual domination by nobility and clergy had nevertheless been forever eliminated. It was this wide-reaching loss of an inherited frame of reference which contributed substantially to art becoming autonomous and not so much its characteristic pursuit of freedom. In any case, an art which has finally freed itself of its clerical and feudal shackles—at the beginning of the middle-class era of secularization and democratization—cannot and no longer desires to function as an instrument of religious doctrines or the dictates of ruling classes and is therefore not excluded from the circle of the useful arts.1 Divested of their function, be it as an altar painting or the portrait of a noble, pictures can only make sense or, even more, have a value, when they can, in every sense, hold their own as art. Having lost its function, art could, according to the art historian Martin Warnke, "like other manual skills [...] as a result, have died out" had it not been able to make this non-functionality into an integral, vital part of its aesthetic development.2 On the one hand, the arts are liberated, attain greater functional, institutional and economic independence, through their social autonomy, but, on the other, the result is a profound loss of a sense of purpose. Robbed of the former spiritual authority and secure financial foundations, all the expectations which had been directed at art prove themselves non-binding and, lastly, unfounded. Freed of its traditional ties and obligations, everything in art, whatever it wants to be or become, must be invented and justified out of itself. Thus the social autonomy of art, which was made possible by the revolutionary political changes, requires that the acquired formal and, initially, merely abstract freedom now be given a definite form through the self-determination of artistic decisions. In the previous centuries the "what" of art was extensively predicated, and all that the artists had at their disposal was a traditionally defined "how." In order to make use of a new, constitutionally guaranteed freedom of art, it became necessary to create from nothing, both content and form, and, in addition, also to justify the sense and value of this activity. Theodor W. Adorno introduces his Aesthetic Theory with an apt description of the modern artist's situation: "It became self-evident that nothing concerning art is self-evident anymore, not within it and not in its relationship to the whole, not even its right to exist.3 One can well understand that artists no longer believed that they could manage in their traditional field of work, given the enormous innovation and justification pressure, combined with existential anxiety, and that they would then have to take recourse to the medium of language to express the thinking process. Considering the complexity of the problem they faced, their thinking, with the application of reason, inevitably developed into full-fledged theory-like constructs. The phenomenon of the artists' theory in its modern form was born and has, in various ways, shaped the work of most of the important modern and avant-garde artists.4 But their lives were also affected, since theorizing also functioned as an instrument with which one could emancipate oneself from the new social expectations and demands directed at the artists, that is to say, the conventions of the middle-class. Since autonomy can certainly never be realized through anything but a process of "self-governance through reason,"5 a more rational and conceptual structure had to be developed in the arts parallel to the growth of autonomy. Once the process has started to think itself, there is no escaping from it, because reason, through its own tendency to be self-reflective and to generalize, must continuously refer to everything, even to itself. That reason has this tyrannical6— according to A ... >>

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    KUNST ALS KUNSTDEFINITION Joseph Kosuth im Kabinett für aktuelle Kunst Wer schon heute ein abschließendes Urteil wagen will, der wird Joseph Kosuth sicher zu den Klassikern einer Kunstrichtung zählen, die Mitte der sechziger Jahre als concept-art bekannt geworden ist. Die in den angelsächsischen Ländern entstandene concept-art ist eine sehr theoretisch argumentierende und häufig mit Sprache als künstlerischem Material operierende Kunst, die darum als recht schwierig gilt. Um so mehr ist es ein Verdienst des Kabinetts für aktuelle Kunst, fast alle wichtigen Künstler der concept-art nicht nur in exemplarischer Weise, sondern auch sehr frühzeitig vorgestellt zu haben -bis auf Joseph Kosuth. Von ihm zeigt das Kabinett im Zeichen der gegenwärtigen Rückschau auf Positionen konzeptueller Kunst zum ersten Mal eine Arbeit. Die concept-art ist - soweit sich absehen läßt - die letzte Kunstrichtung, die sich noch völlig bruchlos in die Entwicklungsgeschichte der künstlerischen Avantgarden des 20. Jahrhunderts einfügt. Von allen früheren Kunstepochen unterscheidet sich die Avantgardekunst vor allem dadurch, daß mit ihren Formerfindungen immer auch die Definition eines neuen Kunstbegriffs einhergeht. Avantgardistische Kunst geht es letztlich um den fortwährenden V ... >>

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    Die zeitgenössischen Denkmethoden Prof. Dr. I. M. Boche ski Ordinarius für Philosophiegeschichte und Direktor des Osteuropa-Instituts in Freiburg i. Ue. INHALT Vorwort 7 I. Einleitung 1. Terminologie 9 Ontologische Terminologie - Psychologische Terminologie -Semiotische Terminologie - Erkenntnistheoretische Terminologie 2. Logik, Methodologie und Wissenschaft 15 Logik - Methodologie - Wissenschaft - Wissenschaft und Logik - Einteilung II. Die phänomenologische Methode 3. Allgemeines 22 Historische Vorbemerkungen - Methodologische Vorbemerkungen - Wesentliche Züge der P ... >>

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    Michael Lingner Kunst als Kunstdefinition Joseph Kosuth, 1945 in Toledo/Ohio geboren, ist einer der Hauptvertreter der analytischen Richtung der konzeptuellen Kunst. 1965 begann er mit Arbeiten, die vom Prinzip der Tautologie (Selbstbezüglichkeit) ausgingen. Vier an die Wand gelehnte Glasplatten versah er mit dem Text "Four Square Glass Leaning". Es folgten Werke, in denen er Objekt, Foto des Objekts und Lexikondefinition des Objekts nebeneinander präsentierte ("One and Three Chairs"). Hieraus entwickelten sich Arbeiten, die aus Definitionen aus Wörterbüchern bestanden. Kosuth untermauerte seinen Kunstbegriff durch zahlreiche Texte. In "Art after Philosophy" (1969) beschreibt er die Bedeutungskonstitution des Kunstwerks durch den Kontext, in den es eingefügt wird. Seit 1969 ... >>

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    Michael Lingner Art as a system within society There is no art that exists outside of public space, only the choice between different types of public forums, each involving its own conditions of communication. Many well-known artists, art critics and art historians are of the opinion that, since the early eighties, the most interesting art has been done on public sites. You only need to think of the last DOCUMENTA's in Kassel where many significant works were installed outdoors. And hardly a large city in Germany worthy of its name has failed to commission similar art projects these last years. RUDI FUCHS has organized an extensive exhibition in Stuttgart this year that opened in June, 1992. Under the title PLATZVERFÜHRUNG (SITE-SEDUCTION), twenty artists set up their works at eighteen different locations in and around the city. The catalogue is unique, since it consciously caters to the needs of tourists. Along with the location of the artworks, it also points out other sight-seeing attractions in the neighborhood and even goes so far as to include the addresses of good restaurants. This example leads me to another point that needs to be mentioned at least briefly. The reason that art for public sites has mushroomed in such a way is partly a question of economics. In the eighties it was discovered that art was an important economic factor. Meanwhile, several reports have scientifically studied the existence of what is known as indirect profitability. Because of the out-of-town visitors at large exhibitions, the hotel and restaurant industry, for example, makes higher profits that in turn provide increased tax intake, more than making up for the public funds spent to finance the project, to say nothing of the enhancement of the city's image with all its accompanying financial advantages. Art in outdoor sites is spectacular and highly visible, so that communities that can boast of such projects try to make full use of the economic possibilities at hand. Art often then has the sole function of providing a trademark for the city, so it can advertise and enhance its image and project up-to-date urbanity. Naturally, such projects are of solid interest to the artist as well; they are a welcome source of income and, at the same time, provide him with an upswing in publicity and, possibly, reputation. This background of monetary profit-should not be forgotten. But it should be seen as marginal, since to explain a specific artwork out of purely financial motives is inadequate: alone, the intention of becoming rich is not sufficient to produce a work that is good. That is why I would like to concentrate on reasons that lie within art itself; reasons that today lead so many artists, especially the younger ones, to commit themselves to public projects. My own thoughts on the matter are directed toward the question of what in the artists' commitment it is that derives from the way contemporary art itself is evolving. Or put another way: in which context do these public artworks make sense? And against which background do they become understandable and possibly even capable of providing art with guidelines for the future? This complex problem is what I wish to present here in 3 steps. First of all, I would like to look back in time at recent German history and to consider the questionable intentions behind the so-called ART-ON-ARCHITECTURE PROGRAMME (KUNST AM BAU) when it was first conceived and that eventually caused it to fail. T ... >>

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    Michael Lingner Verbal Art Communication Theoretical and Practical Models I like to thank the Director and the Theory Department of the Jan van Eyck Akademie and especially: Jo Frenken, Paul Domela Nieuwenhuis, Frans Vos, Frank van Helfteren and Jeanne Haunschild for their support in realizing this book. Meiner Mutter und meinem Vater (speziell zum 4. 6. 1995) Foreword When Heinz Paetzold accepted a post as visiting professor at the University of Tokyo (Gedai) in the winter of 1993-94, Michael Lingner replaced him as head of the academy's Theory Department. His discreet but highly enthusiastic approach made his appointment a success. His contribution as an artist and theoretician was obvious not only in his dedication to the personal development of the participants, but also, and more in particular, in the debate which he initiated on the idea of '(continuing) the enlightened autonomy of the aesthetical and developing it further from a form of perception to a form of being.' This was one of the themes discussed during his seminar, which was entitled 'Art as a Project of the Enlightenment, B ... >>

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    Gudrun Scholz Kompositionsprinzipien ästhetischer Zeichen auf semiotischer Basis: Analysen von Nathalie Sarraute und René Magritte INHALT VORWORT EINLEITUNG 1. Semiotik als anwendbare Theorie 1 2. Ziele der Arbeit 5 TEIL I THEORETISCHE VORAUSSETZUNGEN 3. Semiotik und Ästhetik. Zur Anwendung der Semiotik auf ästhetische Objekte 9 4. Bild und Text als ästhetische Zeichen 22 5. Bemerkungen zu den angewendeten semiotischen Mitteln und ihrer Relation zum Text 33 TEIL II SEMIOTISCHE ANALYSE DER "TROPISMES" VON NATHALIE SARRAUTE 6. Zur Auswahl der T ... >>

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    INHALTSVERZEICHNIS (in Stichworten) I. Vorbemerkung.............17 Schlegel —eine noch immer umstrittene Gestalt—Primat der zu Lebzeiten veröffentlichten Schriften Schlegels — Wiederaufnahme des Schlegel-schen Begriffs der objektiven Poesie als Hinweis auf die traditionellen Züge und die Kontinuität in der Entwicklung der poetologischen Gedanken Schlegels — Anwendung einer dialektischen Betrachtungsweise entsprechend dem dialektisch strukturierten Schönheitsbegriff Schlegels — Herkunft des Begriffs der objektiven Poesie — Der Studium-Aufsatz, eine hervorragende Quelle für die Erkenntnis Schlegelscher Poetik — Die innere Nähe der Schlegelschen Poetik zur literaturkritischen Praxis als Rechtfertigung einer auf die literaturkritischen Schriften sich stützenden Analyse — Objektive Poesie als Name und als Begriff II. Der Ursprung des Schlegelschen B ... >>

Ergebnisse für Definition
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