Thesis (B.A. (Hons.))--University of Adelaide, Dept. of German Studies, 1994? / Includes bibliographical references (leaves 56-58).

Em 1799, enquanto a Europa sacudia com as guerras napoleônicas, o naturalista prussiano Alexander von Humboldt e o botânico francês Aimé Bonpland embarcavam rumo à América do Sul para realizar uma expedição científica. Oficialmente, era a primeira vez que cientistas viajavam ao mundo colonial espanhol sem escolta militar. Durante a viagem, uma peste atinge a tripulação obrigando Humboldt a desembarcar em Cumaná, na Tierra Firme, área marginalizada pela colonização espanhola. Humboldt permaneceria na área (hoje território colombiano e venezuelano) até 1801; este trecho da viagem seria seu principal objeto de representação quando, em 1808, já de volta ao mundo metropolitano, publica o Quadros da Natureza. No prefácio, Humboldt dizia que a obra tinha a intenção de evocar, através da descrição paisagística, aquilo que vivenciou no mundo colonial; neste procedimento, porém, pintava a colônia como espetáculo natural regido pela harmonia do mundo; com o Quadros da Natureza, Humboldt aniquilava, na paisagem descrita, aquilo que unia a colônia à metrópole: a mais brutal violência. / In 1799, while Europe concussed by the Napoleonic wars, the Prussian naturalist Alexander von Humboldt and the French botanist Aimé Bonpland boarded to South America to perform a scientific expedition. Officially, was the first time that scientists travelled to the Spanish colonial world without military bodyguard. During the trip, a plague reaches the ship forcing the scientists to land in Cumana, in Tierra Firme, Spanish colonization\'s marginal area. Humboldt stays in Tierra Firme (now Colombian and Venezuelan territory) until 1801; this travel section would be his main representation object when, in 1808, having returned to the metropolitan world, publishes Views of Nature. In the preface, Humboldt said that the work was intended to evoke, through the landscape description, what he experienced in the colonial world; this procedure, however, painted the colony as natural spectacle governed by harmonic forces; with Views of Nature, Humboldt annihilated, in landscape description, what tied colony and metropolis: the most brutal violence.

Em 1799, enquanto a Europa sacudia com as guerras napoleônicas, o naturalista prussiano Alexander von Humboldt e o botânico francês Aimé Bonpland embarcavam rumo à América do Sul para realizar uma expedição científica. Oficialmente, era a primeira vez que cientistas viajavam ao mundo colonial espanhol sem escolta militar. Durante a viagem, uma peste atinge a tripulação obrigando Humboldt a desembarcar em Cumaná, na Tierra Firme, área marginalizada pela colonização espanhola. Humboldt permaneceria na área (hoje território colombiano e venezuelano) até 1801; este trecho da viagem seria seu principal objeto de representação quando, em 1808, já de volta ao mundo metropolitano, publica o Quadros da Natureza. No prefácio, Humboldt dizia que a obra tinha a intenção de evocar, através da descrição paisagística, aquilo que vivenciou no mundo colonial; neste procedimento, porém, pintava a colônia como espetáculo natural regido pela harmonia do mundo; com o Quadros da Natureza, Humboldt aniquilava, na paisagem descrita, aquilo que unia a colônia à metrópole: a mais brutal violência. / In 1799, while Europe concussed by the Napoleonic wars, the Prussian naturalist Alexander von Humboldt and the French botanist Aimé Bonpland boarded to South America to perform a scientific expedition. Officially, was the first time that scientists travelled to the Spanish colonial world without military bodyguard. During the trip, a plague reaches the ship forcing the scientists to land in Cumana, in Tierra Firme, Spanish colonization\'s marginal area. Humboldt stays in Tierra Firme (now Colombian and Venezuelan territory) until 1801; this travel section would be his main representation object when, in 1808, having returned to the metropolitan world, publishes Views of Nature. In the preface, Humboldt said that the work was intended to evoke, through the landscape description, what he experienced in the colonial world; this procedure, however, painted the colony as natural spectacle governed by harmonic forces; with Views of Nature, Humboldt annihilated, in landscape description, what tied colony and metropolis: the most brutal violence.

Diss. Univ. Würzburg, 2008.

No description available.

Roger Paulin, einer der besten Kenner der europäischen Literatur des 18. Jahrhunderts, bereitet die erste neuere Biographie zu August Wilhelm Schlegel vor. Die Grundlage dafür ist der Nachlass Schlegels, der sich im Bestand der Handschriftenabteilung der SLUB Dresden befindet.

Texte remanié de : Thèse : Lettres : Paris : 1969. / Titre provenant de l'écran d'accueil. Bibliogr. p. 483-498. Index.

Le roman de César Aira, l'un des plus grands écrivains argentins actuels, Un episodio en la vida del pintor viajero (Un épisode dans la vie du peintre voyageur), publié en 2000 en Argentine et traduit en français en 2001, constitue le fil conducteur de notre recherche. Dans cette fiction inspirée d'un fait réel, Aira raconte le premier voyage en Argentine de Johann Moritz Rugendas, peintre romantique allemand de la première partie du XIXe siècle, qui sillonna l'Amérique latine durant vingt ans et rapporta de ses voyages des milliers de dessins et de peintures. Inspiré par les théories du savant Alexandre de Humboldt, et en particulier par la pensée de la « physionomie de la nature », Rugendas fit également partie de ces artistes naturalistes dont l'art servit la science. En 1838, accompagné du peintre Robert Krause, il traversa les Andes puis la pampa argentine, mais il fut victime d'une grave chute de cheval avant d'arriver à San Luis. Durant le trajet de retour vers le Chili, il aurait approché les Indiens de la région du sud de Mendoza. C'est cet épisode de la vie de Rugendas que Aira relate, à sa façon. La première partie de cette thèse consiste en l'analyse littéraire approfondie du roman, à travers ses différentes thématiques. Parmi celles-ci, figurent l'art en voyage, les liens entre écriture et peinture, art et science, la perception de la beauté et de la laideur. Ce périple fait d'épreuves et de découvertes se révèle être finalement un véritable voyage initiatique pour l'artiste. Dans la deuxième partie, nous adoptons un point de vue historique pour confronter le roman aux faits vécus, tels qu'ils sont racontés dans les biographies de Rugendas ou dans les témoignages de ses contemporains, et réfléchissons à la dialectique entre fiction et réalité. Tout cela nous amène à réfléchir, dans une troisième partie, à l'activité de peintre voyageur. Nous retraçons l'itinéraire des deux artistes en mettant en parallèle les peintures de Rugendas et le récit de Krause, puis nous nous intéressons à chacune des caractéristiques de la pratique de l'art en voyage à travers les expériences de ces deux peintres mais aussi à travers celles d'autres artistes ayant voyagé en Amérique latine au XIXe siècle, tels Léon Pallière, Auguste Borget ou Raymond Monvoisin par exemple, et les peintres de l'école artistique humboldtienne. Cette thèse, qui allie littérature, histoire de l'art et esthétique, est à vocation pluridisciplinaire. / This research is focused on the novel Un episodio en la vida del pintor viajero (An Episode in the Life of a Landscape Painter), by César Aira, one of the greatest contemporary Argentine writers. In this novel published in 2000, and translated to french in 2001, Aira relates Johan Moritz Rugendas'first trip to Argentina. Rugendas was a German romantic painter of the first part of the nineteenth century who travelled throughout Latin America during twenty years and made thousands of paintings and drawings. Inspired from Alexander von Humboldt's theories, and more precisely from "the physiognomy of nature", Rugendas was also a naturalist artist and his art could help science. In 1838, he crossed the Andes and the Argentinian pampa with another painter, Robert Krause, but he suffered a fall horse before arriving to San Luis. During the return trip to Chile, he is said to have approached the Indians near Mendoza. This episode of Rugendas' life is the one Aira relates, his own way. The first part of this thesis aims to deeply analyze the novel, through its different themes. Among them are the links between art and travel, writing and painting, art and science, the perception of beauty and ugliness. This trip made of pain and discoveries turns out to be a real initiatory journey for the artist. In the second part, I adopt an historical point of view, comparing the novel with the events related in biographies of Rugendas and in contemporary accounts, and reflecting about the dialectic between fiction and reality. All this leads me to think about the activity of traveller painter, in the third part. I first reconstitute the trip route of the two artists, drawing a parallel between the paintings of Rugendas and the narration of Krause, then I consider each characteristic of the occupation of traveller painter through the experience of these artists and other painters who travelled through Latin America in the nineteenth century, such as Léon Pallière, Auguste Borget or Raymond Monvoisin for instance, and the painters inspired from Humboldt's theories. This thesis, which deals with literature, history of art and aesthetics, is an interdisciplinary research.

Roger Paulin, einer der besten Kenner der europäischen Literatur des 18. Jahrhunderts, bereitet die erste neuere Biographie zu August Wilhelm Schlegel vor. Die Grundlage dafür ist der Nachlass Schlegels, der sich im Bestand der Handschriftenabteilung der SLUB Dresden befindet.

Diese Dissertationsschrift ist angesiedelt im Bereich Digitaler Edition archivalischer Quellen, deren Erschließung und (computergestützter) Analyse. Im Zentrum stehen die sog. Kosmos-Vorträge, die Alexander von Humboldts 1827/28 in zwei Vortragszyklen in Berlin gehalten hat. Diese werden als gleichwertige, zweifache Publikationen in Humboldts Werkbiographie eingeordnet. In einem zentralen Kapitel (Kap. 7) geht es mir um eine editionstheoretische Fundierung der Edition von Vorlesungsnachschriften, zunächst allgemein und dann bezogen auf die Nachschriften der Kosmos-Vorträge. Zuvor wird das Forschungsfeld beleuchtet, da über die Rahmenbedingungen und Inhalte der beiden Vortragsreihen bislang nur wenig bekannt war. Humboldts Motivation zu diesen Vorträgen, deren Zusammenhang mit dem Kosmos (1845–62) und weiteren seiner Publikationen, sowie die jeweiligen organisatorischen Rahmenbedingungen werden untersucht. Inhaltlich sind die Kosmos-Vorträge bislang wenig erforscht worden, unter anderem weil die wichtigsten Quellen nicht rezipiert wurden. Dank der Digitalisierung des Humboldt-Nachlasses und vor allem durch die Digitale Edition der Nachschriften aus dem Hörerkreis sind die Voraussetzungen dafür mittlerweile sehr viel besser. Um die künftige Arbeit mit diesen Dokumenten zu unterstützen, dokumentiere und reflektiere ich in Kapitel 8 die praktische Umsetzung des Editionsmodells gemäß den Richtlinien der Text Encoding Initiative (TEI). Anschließend stelle ich die edierten Nachschriften aus beiden Vortragszyklen vor und zeige, wie sich mit den digitalen Volltexten arbeiten lässt. Dabei kommen quantitative Untersuchungen und Verfahren wie automatische Kollation bzw. Plagiatssuche, aber auch ‚traditionell hermeneutische‘ Methoden zum Einsatz. Schließlich geht es mir in meiner Arbeit darum, die Grundlage für die weitere Erforschung der beiden Vortragsreihen wesentlich zu verbessern und anhand einiger exemplarischer Analysen erste Schritte in diese Richtung zu unternehmen. / This dissertation is located in the field of digital editions of archival sources, their exploration and (computer-assisted) analysis. In terms of content, it deals with the so-called Kosmos-Lectures, which Alexander von Humboldt held in two distinct courses in Berlin in the winter of 1827/28. The two series are recognised as two distinct publications of equal value in Humboldt’s oeuvre. In a central chapter (chapter 7), I am concerned with an edition-theoretical foundation for the edition of attendee’s notebooks, first in general and then in relation to the transcripts of the Kosmos-Lectures. Before this, the research field of the long-neglected Kosmos-Lectures is illuminated, as little has been known about the framework conditions of the lecture series. Humboldt’s motivation for these lectures, their connection with the Kosmos (1845–62) and other of his publications, and the respective organisational framework of the courses are being examined. In terms of content, the Kosmos-Lectures have so far been little researched, partly because the most important sources have not been taken into consideration. The conditions for this are now much better thanks to the digitisation of the Humboldt legacy collection and, above all, the digital edition of the transcripts from the audience. To facilitate future work with these documents, I document and reflect the practical implementation of the edition model according to the Text Encoding Initiative (TEI) in chapter 8. In the following two chapters, I present the attendee’s notebooks from both courses, and show how to work with these digital full texts. Quantitative investigations and methods such as automatic collation or text re-use detection, but also ‘traditional hermeneutic’ approaches are used. Ultimately, my work aims to significantly improve the basis for research into the two lecture series, which has so far been lacking, and to take the first steps in this direction by means of some exemplary analyses.