The following dissertation is an endeavor to put forward the conceptual background of Gadamer&rsquo / s assertion in Truth and Method that art has a truth value. This conceptual background includes many important concepts which are indispensable in understanding the assertion that art has a truth value. Second chapter is mainly concerned with Bildung and sensus communis. Bildung describes the nature of knowledge which flourishes in the character of the person and which changes that person by penetrating the personality of him. Sensus communis describes the relationship of truth with the power of persuasion and the power of making right choices in social life. Taste, on the other hand, not only accompanies us when we are fulfilling our most basic needs in life and also shows itself in all of our moral decisions. In that sense, a developed taste is very effective in directing us to the truth. The third chapter offers an analysis of Gadamer&rsquo / s critique of Kant&rsquo / s aesthetics revolving around the concepts of judgment, taste, genius and Erlebnis. For Gadamer, Kant has subjectivized aesthetics. This subjectivization has two sides. Firstly, Kant argues that the experience of beauty does not give us any knowledge about the beautiful object. That is to say, Kant insists that aesthetic experience does not contain any cognitive element, because he believes that the only source of truth and knowledge is science. Secondly subjectivization means that Kant reduced art and beauty only to the experience of it / he talks only about experience of beauty, not about work of art itself at all. The forth chapter introduces the ontology of the work of art which is elaborated mainly on concepts of play, representation, mimesis, total mediation, contemporaneity. When inquiring into the mode of being of play, Gadamer defends that the subject of the play is play itself and in the same way in the experience of art the subject is not the subjectivity of the person who experiences it but the work of art. In the last chapter history of hermeneutics is elaborated in order to find the proper place of Gadamer&rsquo / s constituting concepts in the general frame of hermeneutics.

Univ., Diss.--Erfurt, 2006.

Der Widerstand gegen Kunstgeschichtsschreibung ist ebenso groß wie die Notwendigkeit, Grundlagen der Diskussion und Verständigung zu schaffen. Alle Debatten um Kanonbildung, Ereignis- versus Werkgeschichte, sozialen Kontext im Gegensatz zu auratischem Wirkprozess, finden auch auf den Tanz Anwendung. Gleichwohl ist die Historiographie des Tanzes viel weniger weit entwickelt. Aber es gibt eine Geschichte des Tanzes. Ihre Kenntnis ist Voraussetzung für ein Entkommen aus der Falle der ewigen Innovation und subjektivistischen Produktionslogik im Namen der schieren Ästhetik. Notwendig sind Initiativen zur Visualisierung von Geschichte. Notwendig sind aber auch Auswahlprozesse, die sich gerade nicht nur von den Gegebenheiten der Überlieferung lenken lassen, sondern die Tiefenbereiche offenlegen. Im Fall des Tanzes sind das etwa Diskursgeschichte, Pädagogik, Stilanalyse oder Rechtsfragen, beispielsweise urheberrechtliche Aspekte.

Die Region um Zwickau wird als Zeitsprungland bezeichnet. In der Kinderbroschüre informiert Gismu, das Schlossgespenst, spielerisch über Attraktionen für Kinder in der Region, gibt Tipps und stellt Rätsel.

Made available in DSpace on 2016-06-02T19:39:57Z (GMT). No. of bitstreams: 1 DissFFL.pdf: 1304381 bytes, checksum: 8388017763a32bdbcb487833ac4c5af4 (MD5) Previous issue date: 2005-06-17 / The unbalanced advance between infra-structure and supra-structure, which material base develops at a faster pace than society evolution as a whole, sharply acts on the man who gradually loses awareness about his own significance as an individual, leaving even more fragile those ties binding him to tradition and to a deeper, longer lasting and enhanced knowledge about his history. That was named by Walter Benjamin as experience ( Erfahrung ). The advances in communicational technologies and particularly in Internet and the hypertext, which are reflection matters of this present work, have contributed even more to such unbalance, stimulating a fleeting, a-historical, de-rooted and fragmented living ( Erlebnis ). One of its causes is technical rationality itself, which may be identified on the Internet by speed, ephemerality and informational excess. Those new technologies reach school and, along with the traditional blackboard, chalk and book or study aid material, become part of teaching-learning process. At the computing laboratories, students find out the Internet and at the same face a huge informative, fragmented and non-linearly organized mass - the hypertext. In the optimistic view, electronic hyper-textualiality is the promise of autonomy and motivation besides enriching the training process through accessing information coming from anywhere in the world. The critical ones, on the other hand, analyze the net as one of the newest and most appealing cultural industry expressions, claiming that be a more sophisticated and subtle way to control and oppress, showing that some categories dealt by Adorno and Horkheimer in the last century may be conferred to present time. It was thus through some of those categories such as cultural industry, semi-information and bildung (formation) that investigations have been made to verify in practice to what extend the hypertext offers contributions to education, based on a research carried out at a private school in São Carlos. Students produced compositions about the World War I by means of a traditional research done in the classroom (books, study aid material, notebooks) and using also hypertexts. Analyzing the writings, an under-use of hypertextual resources were noticed, and even an alienation situation, being the text wrote in class of a better use, although presenting mistakes. / O avanço desproporcional entre a infra-estrutura e a superestrutura, em que a base material desenvolve-se num ritmo superior à evolução da sociedade como um todo, age incisivamente no homem que gradativamente perde a consciência de sua importância como sujeito, deixando ainda mais frágeis os laços que o ligam a sua tradição, ao conhecimento mais profundo, duradouro e aprimorado de sua história que Walter Benjamin denominou de experiência ( Erfahrung ). O avanço das tecnologias comunicacionais e especialmente da Internet e do hipertexto, que são objetos de reflexão deste trabalho, vêm contribuindo ainda mais para este desequilíbrio, estimulando uma vivência ( Erlebnis ) fugaz, a-histórica, desenraizada e fragmentada. Uma das causas é a própria racionalidade técnica, que pode ser identificada na Internet pela velocidade, efemeridade e excesso informacional. E estas novas tecnologias chegam à escola e, juntamente com o tradicional quadro-negro, giz, livro ou apostila, passam a integrar o processo de ensino-aprendizagem. Nos laboratórios de informática, os alunos descobrem a Internet e ao mesmo tempo se deparam com uma imensa massa informativa, organizada de modo não-linear e fragmentado que é o hipertexto. Para os otimistas, a hipertextualidade eletrônica é a promessa de autonomia, de motivação, além de enriquecer o processo formativo pelo acesso a informações de qualquer parte do mundo. Já os mais críticos analisam a rede como uma das mais novas e atraentes expressões da indústria cultural, alegando que ela seja uma forma mais sofisticada e sutil de controle e opressão, mostrando que algumas categorias trabalhadas por Adorno e Horkheimer no século passado podem ser atribuídas ao momento atual. E foi através de algumas destas categorias como indústria cultural, semiformação, bildung (formação) que buscou-se verificar, na prática, até que ponto o hipertexto oferece contribuições para a educação a partir de uma pesquisa realizada em uma escola particular de São Carlos. Os alunos produziram redações sobre a 1ª Grande Guerra Mundial através da pesquisa tradicional em sala de aula (livros, apostilas, caderno) e também por meio de hipertextos. Analisando os trabalhos, verificou-se uma subutilização dos recursos hipertextuais e até mesmo uma situação de alienação, sendo o texto feito em sala de aula, mesmo contendo incorreções, de maior aproveitamento.

Die Region um Zwickau wird als Zeitsprungland bezeichnet. Die Kinderbroschüre informiert spielerisch über Attraktionen für Kinder in der Region, gibt Tipps und stellt Rätsel.

In der vorliegenden Examensarbeit geht es um eine eingehende Analyse der Figur des Evangelisten in der Johannes-Passion von J. S. Bach. Mit Hilfe eines interdisziplinären und intermedialen Ansatzes soll der Frage nachgegangen werden, welche Bedeutung er als Erzählfigur für das Werk allgemein und für den Rezipienten im Besonderen hat. Wie wichtig sein Erzählbewusstsein im Hinblick auf ein zunehmend medialisiertes und säkularisiertes Publikum ist, soll dabei ebenso beleuchtet werden, wie die Kraft seiner Performativität - sein Potential als theatrale Figur. Der Blick auf eine aktuelle Inszenierung, in diesem Fall die gestreamte Fassung der Johannes-Passion von Peter Sellars in Zusammenarbeit mit den Berliner Philharmonikern aus dem Jahr 2019 sowie den Libretto-Text des Evangelisten ermöglicht das Untersuchen von Erzählweise, Kommunikationsstrategie und Spielart dieser spannenden und komplexen ErzählerFigur. Der Fokus auf das epische Moment und die strukturell/dramaturgische Bedeutung des Evangelisten ist dabei bewusst gewählt, da sie mir für die praktische Vermittlung und Darstellung des Evangelisten als relevant erscheinen. / This degree thesis entails a thorough analysis of the Evangelist-character in the St. John Passion from J. S. Bach. With the help of an interdisciplinary and intermedial approach, the question to be investigated is: which meaning does he have as a narrative figure for the work in general and for the recipient in particular? How important his narrative consciousness is in view of an increasingly medialized and secularized audience should also be illuminated, as well as the power of his performativity - his potential as a theatrical character. The look at a current production, in this case the streamed version of the St. John Passion from Peter Sellars in collaboration with the Berlin Philharmonic from 2019 as well as the libretto of the Evangelist, enables the exploration of narrative style, communication strategy and way of acting of this exciting and complex narrator figure. The focus on the epic moment and the structural/dramaturgical meaning of the Evangelist is deliberately chosen, because I deem them relevant to the practical mediation and presentation of the Evangelist.

The present work attempts to highlight the difference in perception among the audience in digital and analog arenas by comparing the play Offending the Audience by Peter Handke, the filmed staged version thereof, directed by Claus Peymann in 1966 and the video performance #allesdichtmachen (2021). The aim is to discern in what respects these works are similar, where they diverge and whether there is a lowest common denominator, which makes a particular aesthetic representation of the content relevant to the audience. Furthermore the question is raised whether, and how, a new sense of responsibility for the creators and audiences arises from new habits of reception. Can the digital consumer provide a significant opportunity for live theatre, struggling in the shadow of the Covid-19 crises, by helping it regain its role as a brilliant entertainer, important custodian and mediator of arts and culture? / Die vorliegende Arbeit versucht mittels Gegenüberstellung der Publikumsbeschimpfung von Peter Handke bzw. dessen szenischer Umsetzung durch Claus Peymann aus dem Jahre 1966 und der Video-Kunstaktion #allesdichtmachen (2021) aufzuzeigen, welche Erlebnisräume der analogen und digitalen Rezeption entspringen. Hierbei gilt es herauszuarbeiten, wie sich diese unterscheiden, worin sie sich gleichen und ob es einen kleinsten gemeinsamen Nenner gibt, der die ästhetische Spiegelung des Inhalts/Contents zu einem Auftritt von Relevanz werden lässt. Im Zuge dessen soll auch erörtert werden, inwiefern oder ob den Rezipienten bzw. Theatermachern aus veränderten Rezeptionsgewohnheiten eine Verantwortlichkeit erwächst und ob der digitalisierte Teilnehmer in weiterer Konsequenz eine Chance für das Live-Theater darstellt, das im Schatten der Covid-19-Krise versuchen muss, die von ihm verlorene Pole-Position als kultureller Verwalter, pädagogischer Vermittler und genialer Unterhalter zurückzuerobern.