Search results for ""Author Schnell"

The hill park of Wilhelmshöhe in Kassel is one of the most magnificent achievements of European garden art in existence. Even today, the gardening styles and tastes of several centuries remain visible and explorable, overlaying each other, merging and interacting to form an unforgettable whole. The guiding principle observed by all those who had a part in laying out the park over the years was the orchestration of the primeval power of water, realised in a terrain as challenging as it was inspiring – the steep slope west of the city. The work of centuries has resulted in a worldclass masterpiece of garden art, incorporating the Baroque and Romantic water displays as well as the Octagon building with the statue of Hercules, and the many and varied landscaped spaces. This booklet provides an overview of the history and development of Wilhelmshöhe Park, inviting you to discover a place of outstanding and intriguing beauty, and the numerous fine sceneries created by its garden artists over the years.

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In 1955, Arnold Bode initiated the documenta in Kassel, thus laying the foundation for the internationally important exhibition series of contemporary art. The permanent exhibition "about: documenta" in the Neue Galerie uses artworks from the museum's own collection, visual material and documents to provide an overview of the development of documenta: from the initially one-off art event to the globally active discussion platform. "about: documenta" is a cooperation of the Museumslandschaft Hessen Kassel with documenta und Museum Fridericianum gGmbH and the documenta archiv.

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In this multi-award-winning study, Joanna Olchawa sheds light on the extraordinary utensil type known as aquamanile, watering vessels for the religious hand-washing rite. The detailed research not only on Christian, but also on Islamic works leads to a new view of the bronze utensils of the Middle Ages. Lions, dragons or even women on horseback–figurative watering vessels for the hand-washing rite, which are referred to by the modern term as 'aquamaniles', have been enjoying great public attention for several years. They are admired for their shiny gold bronze, their technically sophisticated production and their unusual shapes. More astonishing is the lack of academic research into the form. With her dissertation, Joanna Olchawa presents basic research on aquamaniles. The catalogue includes detailed studies of the objects not only from West Central Europe and Hungary (12th–13th centuries), but also from the Islamic regions for the first time. Based on this catalogue, Joanna Olchawa approaches questions about the genesis of the form in West Central Europe, the dissemination of knowledge about its production and its significance in Islamic as well as Christian ceremonies and comes to new, surprising results.

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While many sources have been lost, scholars have devoted much time and effort to unearthing and analyzing the surviving material in Roman and European archives and libraries, allowing for a reassessment of Rome as a long-devalued place of university study. The term place of study (Studienort) is also intended to direct our attention beyond university institutions as such to the considerable range of locations for acquiring education that Renaissance Rome offered. The second section of the essay collection is dedicated in particular to a comparative, European view of two of the universities founded in the Holy Roman Empire north of the Alps within the context of a more general educational renewal: Trier and Mainz in 1473 and 1477, respectively. Taking the example of critiques of Rome and the pope, the volume’s closing essay illuminates selected controversies that also point to transalpine processes of perception and transfer on both sides of the Alps. The “national” and confessional discourses that developed above all from the sixteenth century on generated narratives that would have a lasting impact.

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An introduction to the dispute about religious art conducted in France from the beginning of the sixteenth century until the end of the eighteenth century. The debate involved not only Catholic and Protestant theologians, but also lay writers who tried to replace dogmatic Christianity with the ‘religion of reason’ invented by the philosophes. A recurrent theme in the majority of statements in this discussion is a contention that religious images must not be perceived as ‘portraits of God’, but that they should be seen merely as ‘separated signs’, detached from their invisible prototype; signs that only remind the faithful about God. French writers favoured restraint in shaping paintings and sculptures, fearing that otherwise works of art might excessively fascinate viewers with their sophisticated appearance, or might too profoundly move the emotions of the faithful. Christianity was for these writers above all a religion of the Word, and they considered images merely as a pastoral aid intended for ‘simpletons’ who either could not read or were unable to grasp the teachings of the catechism or the message of simple homilies. So, these writers approached religious art with reservations. Yielding to the above theoretical assumptions, the makers of religious art in seventeenth-century France achieved a high level of workmanship, characterized by noble simplicity and purity, only to succumb to the banality of schematic solutions in the following century, as they were unwilling to exert themselves in a domain that was becoming increasingly disregarded by the elites.

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The lavishly decorated Ishtar Gate was one of ancient Babylon’s city gates. The Babylonian king Nebuchadnezzar II built it in the 6th century BCE. During the annual New Year festival, the processions of the gods passed through this gate as they entered the city centre. But how did the Babylonians make the glazed bricks used in the gate’s construction? What was the significance of the lions, dragons, and bulls that adorned the gate? How and why did pieces of the gate end up in Berlin, where the Ishtar Gate was reconstructed from thousands of fragments in the 1920s? And how authentic is this reconstruction?

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Im Studium kommen Sie am Bürgerlichen Recht kaum vorbei und das zu Recht: Es ist eben nunmal wichtig. Oliver Tillmann erklärt Ihnen die Systematik des BGB und was Sie zum Allgemeinen Teil wissen sollten. Hier erfahren Sie, das Wichtigste zu Willenserklärungen, Verträge, Stellvertretung, Rechts- und Geschäftsfähigkeit. Außerdem führt er Sie in das Schuldrecht und das Sachenrecht ein. Kursorisch streift er gegen Ende des Buches auch noch das Familien- und Erbrecht. Zahlreiche Übungsaufgaben mit Lösungen helfen Ihnen, Ihr Wissen zu testen und zu festigen.

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Ist der Anfang bei der Organischen Chemie getan, geht es auch gleich weiter, denn nach den Grundlagen kommen die Reaktionen. David R. Klein erklärt Ihnen in dieser umfassend korrigierten Auflage, was Sie zu Substitutions-, Eliminierungs-, und Additionsreaktionen wissen sollten. Ein Kapitel zu Alkoholen und eine Einführung in die Synthesen runden das Buch ab. So ist dieser Schnellkurs die richtige Hilfestellung, wenn es in der Organischen Chemie ein wenig mehr als nur die Grundlagen sein soll. Mit zahlreichen Übungsaufgaben samt Lösungen können Sie Ihr Wissen gleich auch noch testen und festigen.

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Wie komme ich an Geld und wie verwende ich es am Besten? Mit diesen Fragen beschäftigen sich die Fächer Investition und Finanzierung. Jochen Beißer und Oliver Read erklären Ihnen die Aufgaben der Finanzwirtschaft, finanzwirtschaftliche Ziele und die Grundbegriffe des Finanzwesens. Sie führen Sie in die statische und dynamische Investitionsrechnung ein, in die Fremd-, Eigen- und Innenfinanzierung und vieles mehr. Abschließend widmen Sie sich noch der Finanzplanung. Mit Übungsaufgaben samt Lösungen können Sie Ihr frisch erworbenes Wissen testen und festigen.

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