Search results for ""Author Hans Ulrich""

English summary: This collection of articles has two aims: The first is to create a comprehensive compendium of iconography on GilgameU. It includes reprints of three formerly published articles by Ruth Opificius (1970), Wilfred G. Lambert (1987) and Dominique Collon (2002). The second aim is to publish some objects of Near Eastern art from the Bible+Orient Collection in Fribourg, which relate to GilgameU. Seven new papers deal with the visual representation of GilgameU. Two of them discuss terracotta plaques and cylinder seals from the Bible+Orient Collection. The terms iconography and iconology have often been used loosely. In order to understand which method the authors of this book apply, an introductory article connects them to the history of the academic disciplines of archaeology and of art history. German description: Dieser Sammelband verfolgt zwei Ziele: Einerseits will er ein Kompendium zur GilgameU-Ikonographie bieten. Zu diesem Zweck werden drei Untersuchungen nachgedruckt und durch neue Forschungsbeitrage erganzt. Andererseits sollen Bildzeugnisse der Sammlung Bibel+Orient in Freiburg publiziert werden, die einen Bezug zu Themen der GilgameU-Legenden aufweisen. Die Begriffe Ikonographie und Ikonologie werden oft recht frei gebraucht. Um zu verstehen, welche Methode die Autoren dieses Bandes anwenden, ordnet sie ein einfuhrender Artikel in die Wissenschaftsgeschichte der Archaologie und Kunstgeschichte ein. Ausgehend von Humbaba-Masken identifiziert R. Opificius im ersten nachgedruckten Artikel den Typus einer Dreiergruppe, in der zwei Helden den in der Mitte befindlichen Gegner besiegen, mit der Uberwindung Humbabas durch GilgameU und Enkidu. W.G. Lambert vergleicht in seinem Artikel systematisch unterschiedliche Versionen des Epos mit bildlichen Darstellungen. D. Collon hat ihren Aufsatz fur diesen Band aktualisiert und erganzt. Der grosste Teil des ikonographischen Materials, das den Kampf von GilgameU und Enkidu gegen Humbaba darstellt, findet sich auf Rollsiegeln und greift eine haufig auf Siegeln abgebildete Konstellation auf, namlich den Dreifiguren-Kampf. Die beiden nachsten Beitrage stammen von Philologen. C. Mittermayer wirft ein Schlaglicht auf die Literaturgeschichte des GilgameU-Epos. D. Frayne untersucht, ob Keilschrifttexte und Rollsiegel des 3. Jahrtausends v. Chr. einen Bezug zu GilgameU aufweisen. U. Seidl beschreibt verschiedene altbabylonische Terrakotta-Reliefs, von denen einige aus der Sammlung Bibel+Orient stammen. Sie benennt zunachst vor-ikonographisch die Gegenstande und Figuren. Dann unternimmt sie eine ikonographische Analyse des Themas der Terrakotta-Releifes, welches sie als GilgameU's Zug zum Zedernwald bestimmt. T. Ornan stellt schriftliche Versionen des Epos und Bilder nebeneinander. Mit Hilfe bildlicher Darstellungen, die alter sind als die schriftlichen Zeugnisse, kann sie die Entwicklungsgeschichte der Erzahlungen und verloren gegangene Versionen rekonstruieren. M.-A. Atac fragt nach der tieferen Bedeutung von Zeichen, Symbolen und Figurentypen mit Bezug zu GilgameU in der neuassyrischen Kunst. H.U. Steymans stellt das Material uber GilgameU in der Levante zusammen. Seine Liste umfasst die Keilschrifttafeln, die Handlungssequenzen der auf ihnen erhaltenen Texte und das Bildmaterial.

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At once emphatically abstract and culturally specific, the work of Seung-taek Lee (born 1932) draws on the subtle beauty of Korean aesthetic traditions and folk art, also reflecting contemporaneous developments in earth art, Mono-ha and postminimalism—while maintaining resolute independence from its peer groups. Lee's oeuvre spans painting, drawing, sculpture, installation and performance, often within the same piece. Notions of negation—which he alternately refers to as “dematerialization,” “anti-concept,” and “non-sculpture”—structure his approach, by which he transforms ordinary objects, imbuing them with multiple meanings and affects. Embracing invisible forces and unorthodox materials such as tree branches, wire, stones, human hair, fabric and rope, his art elevates the mundane to the level of myth. This is the first English-language overview of his work.

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What is it the legacy that humankind has been living with since 1945? We were once convinced that time was the agent of change. But in the past decade or two, our experience of time has been transformed. Technology preserves and inundates us with the past, and we perceive our future as a set of converging and threatening inevitabilities: nuclear annihilation, global warming, overpopulation. Overwhelmed by these horizons, we live in an ever broadening present. In identifying the prevailing mood of the post-World War II decade as that of "latency," Gumbrecht returns to the era when this change in the pace and structure of time emerged and shows how it shaped the trajectory of his own postwar generation. Those born after 1945, and especially those born in Germany, would have liked nothing more than to put the catastrophic events and explosions of the past behind them, but that possibility remained foreclosed or just out of reach. World literatures and cultures of the postwar years reveal this to have been a broadly shared predicament: they hint at promises unfulfilled and obsess over dishonesty and bad faith; they transmit the sensation of confinement and the inability to advance. After 1945 belies its theme of entrapment. Gumbrecht has never been limited by narrow disciplinary boundaries, and his latest inquiry is both far-ranging and experimental. It combines autobiography with German history and world-historical analysis, offering insightful reflections on Samuel Beckett and Paul Celan, detailed exegesis of the thought of Martin Heidegger and Jean Paul Sartre, and surprising reflections on cultural phenomena ranging from Edith Piaf to the Kinsey Report. This personal and philosophical take on the last century is of immediate relevance to our identity today.

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The Richter Interviews collects together a series of conversations between Hans Ulrich Obrist and Gerhard Richter over the course of more than two decades of discussion and collaboration. Subjects range from Richter's place within art history to artists books, architecture, religion, unrealised projects and his advice for young artists. The collection also includes a previously unpublished interview focused on Richter's much-lauded window for Cologne Cathedral, unveiled in 2007. Obrist's vast knowledge and interrogating mind coupled with his longstanding friendship with Richter make him a unique interlocutor for an artist whose work spans more than 60 years and ranges from painting to photography, glass to printmaking, watercolours to books. Obrist deftly guides the reader through a dazzling array of topics and offers an invaluable historical perspective on Richter s place within the art world of the 20th and 21st centuries. Illustrations of discussed artworks by Richter feature thro

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Anyone who has ever experienced a sporting event in a large stadium knows the energy that emanates from stands full of fans cheering on their teams. Although "the masses" have long held a thoroughly bad reputation in politics and culture, literary critic and avid sports fan Hans Ulrich Gumbrecht finds powerful, as yet unexplored reasons to sing the praises of crowds. Drawing on his experiences as a spectator in the stadiums of South America, Germany, and the US, Gumbrecht presents the stadium as "a ritual of intensity," thereby offering a different lens through which we might capture and even appreciate the dynamic of the masses. In presenting this alternate view, Gumbrecht enters into conversation with thinkers who were more critical of the potential of the masses, such as Gustave Le Bon, Friedrich Nietzsche, Sigmund Freud, José Ortega y Gasset, Elias Canetti, Siegfried Kracauer, T. W. Adorno, or Max Horkheimer. A preface explores college crowds as a uniquely specific phenomenon of American culture. Pairing philosophical rigor with the enthusiasm of a true fan, Gumbrecht writes from the inside and suggests that being part of a crowd opens us up to an experience beyond ourselves.

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The Christo Interviews brings together a series of conversations between the artist, who is best known for the large-scale, site-specific environmental installations he created in collaboration with artistic partner and wife, Jeanne-Claude, and Hans Ulrich Obrist, the pre-eminent commentator on and curator of contemporary art.Taking place between December 2012 and May 2020, the interviews provide insight into the individual minds of two of the art world's most esteemed figures, while also tracking the unfolding of their entire working relationship. Hans Ulrich describes these as werksttat interviews', meaning a workshop or laboratory of words' and taken together, they also reveal the progress of The London Mastaba, Serpentine Lake, Hyde Park (2016-18), Christo's first major public outdoor work in the UK, which coincided with an exhibition at the Serpentine Galleries outlining Christo and Jeanne Claude's 60-year history of working with oil barrels.Fully illustrated with images of finish

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This work describes an intellectual trajectory that can be traced from the interdisciplinary re-orientation of the humanities in Germany between 1975 and 1990 to similar issues being discussed in North America today. Its point of departure is the progression from the traditional positions of hermeneutics and reception aesthetics to new practices in the field of cultural history, central to which are concepts of "sense" and "reality" that motivated a fresh interest in the socio-historical contexts of literature and culture. On this basis, Hans Ulrich Gumbrecht develops a nontextual theory of narrative and advances a historical outline of canonized and non-canonized texts and cultural institutions in Europe from the Renaissance to the 20th century.

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