Zugl.: Frankfurt (Main), Univ., Diss., 2006

Zugl.: Logan (Utah), Utah State Univ., Diss., 2005

Diss. phil. I Zürich, 2007 (Austausch beschränkt). / Im Buchh.: München : W. Fink. Literaturverz.

Zugl.: Göttingen, Univ., Habil.-Schr., 2006

Habiltation--Universität, Stuttgart. / Includes bibliographical references (p. 425-464).

No description available.

Das Umfeld des fürstbischöflich-bambergischen Jagd- und Sommerschlosses Seehof wurde im 18. Jahrhundert in ein System landschaftlich wirksamer Blickachsen und -schneisen eingebunden, die sich am Ende zu einem so nicht geplanten Fünfstrahl nach Süden, aufsitzend auf einer Ost-West-Basisachse zusammenfügten. Diente die erste Achse noch der fürstlichen Repräsentation im Rahmen einer Blickverbindung zwischen Sommerschloss und Stadtresidenz auf dem Domberg in Bamberg, so wurden unter Fürstbischof Adam Friedrich von Seinsheim Achsen in den Hauptsmoorwald im Sinne eines Jagdquartiers hineingetrieben. Heute sind von diesem System nur wenige Relikte erhalten. / In the 18th century the grounds of Seehof, the summer residence and hunting lodge of the Prince-Bishop of Bamberg, were laid out in an interconnecting network of scenically impressive sight lines and forest aisles, which were connected along an East-West axis to a less meticulously planned series of five alleyways, which fanned out in a southerly direction through the forest. The first of these alleys formed a sight line between the summer palace and the city residence on the Domberg in Bamberg. Under Prince-Bishop Adam Friedrich von Seinsheim more axes were created for hunting purposes in the Hauptsmoorwald forest. Very little of this elaborate system can still be seen today.

In 1704 Hedvig Eleonora, the dowager queen of Sweden, commissioned a portrait of herself and her great-grandson, Karl Fredrik, the duke of Holstein-Gottorp, four years of age. The portrait by court portraitist David von Krafft is quite formal in style, and alludes to other royal portraits in a number of dynastic symbols and visual conventions although it is unusual in its composition and subject-matter. There are two very similar copies of this painting, one in the collections of the Swedish National Museum, and one in Schloss Eutin in Germany. The Swedish painting has attracted little interest from art historians and has not been exhibited for many years. The aim of this study is to analyse the paiting in its historical, political and dynastic context. What was the purpose of the painting and what message was it to convey? A comprehensive comparision of royal portraits, commissioned in the late 1600:s and early 1700:s, reveals that many have visual conventions and status-enhancing details in common. However, the double-portrait differs from them in some important aspects. The composition of the portrait was most probably carefully considered. Hedwig Eleonora was an experienced art commissioner after 60 years of shaping the dynastic image-building of her son Charles XI and grandson Charles XII. She was also well versed in the visual use of symbolism and dynastic symbols. When the portrait was painted the unmarried king Charles II had been away in war for several years. The question of succession was pressing and the double-portrait can be read as a visual opinion piece on behalf of one of two possible heirs to the throne, the young Karl Fredrik. The young boy was the current duke of of Holstein Gottorp and the dowager queen herself was born a princess of Holstein-Gottorp. The double-portrait testifies to her life-long efforts to forward the cause of the dukedom. Perhaps it is also a testament to her failure. The king fought a long, wrenching war and when he died, another regent was chosen.

Univ., Diss.--Regensburg, 2005. / Literaturverz. S. 201 - 217.

The aim of this comparative study of Novalis' Heinrich von Ofterdingen , Holderlin's Hyperion, and Schlegel's Lucinde is to develop a comprehensive overview of the role of woman in conceptions of male subjectivity in Early German Romanticism. The reading of the novels developed here examines the Early Romantic poetics with a specific view to the conceptualizations of woman contained therein. The Early Romantic 'Project' consists in the rewriting of the subject and the world in the medium of poetry. Tanscendental poetry, the fragment, allegory, and irony are intended to invoke the presence of an absence, that is the absolute. In the concrete praxis in the novels, these concepts of Early Romantic poetics imply conceptualizations of woman. They articulate a specific approach in the encounter of the male subject with the female object. At the center of Romantic poetics lies the encounter with woman. The unique situatedness of the romantic subject is, indeed, crystallized in this encounter. / Early Romanticism is situated between Kant and Hegel. The post-Kantian subject experiences a crisis of legitimation. Lacking an unmediated access to the object, it is fragmented and threatened. Early Romanticism, however, also prefigures Hegel, inasmuch as the crisis does not consist in the loss of the object, but rather in the encounter of two subjects. The three novels are juxtaposed here because this position between the loss of the object and the crisis of the encounter with the other as subject leads to a paradoxical conceptualization of woman as an uncanny object of desire. In all three novels, the constitution of the male subject and the possibility of poetry depend on the encounter with woman. However, the possibility of woman emerging, indeed, as subject represents an extreme threat. As a consequence, the constitution of the male poetic subject requires the simultaneous assimilation of femininity and the shielding against woman. Hence, the three novels are love stories that narrate the death of woman. However, woman is fundamentally uncanny because even the presence of the dead woman represents a threat. The constitution of the male subject and novel unfolds, therefore, in three stages; the encounter with woman, the assimilation of femininity and death of woman, and the removal of any traces of that death.