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The Global ETD Search service is a free service for researchers
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Showing 1 to 4 of 4 (0.029 seconds)Spelling suggestions: "subject:"goethean"" "subject:"goetheana""
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Mountain Dance: A Transdisciplinary Exploration of Environmental Dance as an Autopoietic Expression of Ecological Connectivity and SynthesisEno, Dianne E. 24 August 2018 (has links)
No description available.
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A teoria das cores de Goethe hoje / Goethe´s theory of colours todayPossebon, Ennio Lamoglia 08 May 2009 (has links)
Este trabalho investiga os pressupostos e fundamentos da Teoria das Cores de Goethe (Farbenlehre) como parte dos seus empenhos enquanto cientista da natureza. Apresenta a tradução de um texto seu sobre o método científico (Kautelen des Beobachters) e de um segundo texto sobre experimentos prismáticos (Beitrag zur Optik), no qual ele lança as bases do seu trabalho de mais de 30 anos sobre as cores. Estes textos, até então inexistentes em português, fornecem os subsídios para um entendimento mais amplo da Farbenlehre. E a pesquisa como um todo se orienta no sentido de contribuir para um resgate da fenomenologia goetheana para o ambiente cultural da atualidade. / This work investigates the principles and bases of Goethe\'s Theory of Colours (Farbenlehre\") as part of his studies as a Natures scientist. A translation of Goethe\'s essay on scientific methods (\"Kautelen des Beobachters\") and another on prismatic experiments (\"Beitrag zur Optik\"), where he sets the bases of his 30 years work on colours studies, are presented in this work too. The papers translated here were never before available in Portuguese, and they represent relevant subsidies for a comprehensive understanding of the \"Farbenlehre\". This research aims to contribute to the recovery of the Goethean\'s Phenomenology for the cultural enviroment of our days.
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A teoria das cores de Goethe hoje / Goethe´s theory of colours todayEnnio Lamoglia Possebon 08 May 2009 (has links)
Este trabalho investiga os pressupostos e fundamentos da Teoria das Cores de Goethe (Farbenlehre) como parte dos seus empenhos enquanto cientista da natureza. Apresenta a tradução de um texto seu sobre o método científico (Kautelen des Beobachters) e de um segundo texto sobre experimentos prismáticos (Beitrag zur Optik), no qual ele lança as bases do seu trabalho de mais de 30 anos sobre as cores. Estes textos, até então inexistentes em português, fornecem os subsídios para um entendimento mais amplo da Farbenlehre. E a pesquisa como um todo se orienta no sentido de contribuir para um resgate da fenomenologia goetheana para o ambiente cultural da atualidade. / This work investigates the principles and bases of Goethe\'s Theory of Colours (Farbenlehre\") as part of his studies as a Natures scientist. A translation of Goethe\'s essay on scientific methods (\"Kautelen des Beobachters\") and another on prismatic experiments (\"Beitrag zur Optik\"), where he sets the bases of his 30 years work on colours studies, are presented in this work too. The papers translated here were never before available in Portuguese, and they represent relevant subsidies for a comprehensive understanding of the \"Farbenlehre\". This research aims to contribute to the recovery of the Goethean\'s Phenomenology for the cultural enviroment of our days.
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Walter Benjamin und die Kunst des GraphischenMatsui, Takaoki 16 June 2008 (has links)
Als Bild- und Medientheoretiker hinterließ Walter Benjamin nicht nur die berühmte „materialistische“ Auratheorie, sondern auch scheinbar esoterische Theorien der bildenden Kunst. Der Zusammenhang und Inhalt der beiden Theorien können erhellt werden, wenn wir genauer sehen, wie er sich dort mit der Beschreibung der Kindheit beschäftigte. Der Ursprung seiner Auratheorie liegt in seiner „Tagebuch“-Literatur, wo er in die melancholisch gefärbten Visionen der „Jugend“ zu versinken pflegte. Der topologische Aufbau dieser Visionen – ihre eigenartig „photo-graphische“ Struktur – soll mithilfe der Zweiten Topik Freuds analysiert werden. Und aufgrund dieser Analyse werden wir eine Revision der üblichen (übersimplifizierten) Gegenüberstellung von seinem historischen Materislismus und dem „apolitischen Formalismus“ Clement Greenbergs vornehmen. Greenbergs Kunstkritik dient aber auch zur Entschlüsselung der „esoterischen“ Bildtheorien Benjamins. Die letzteren verwirren uns vor allem deshalb, weil dort das Sehen der Kinder zuerst (um 1915) irreführender Weise nach den üblichen Dichotomien der Romantik (Linie / Farbe; männlich / weiblich; erwachsen / kindlich…) beschrieben worden war; ihren eigentlichen Inhalt konnte Benjamin erst präzisieren, als er – anhand seiner Betrachtungen der graphischen „Horizontalität“ und nach seinen Spekulationen über das magische Wesen von „Zeichen“ und „Mal“ (1917) – eine Trichotomie der Bildgattungen (Malerei / Graphik / getuschtes Bild) aufgestellt hatte. Wir rekonstruieren diese Theorieentwicklungen nicht nur durch detaillierte Bild- und Textanalysen, sondern auch unter Heranziehung seines „materialistischen“ Spätwerks (der Passagenarbeit und der „Berliner Kindheit“), da erst im letzteren der einzigartige Zusammenhang zwischen seinen frühen Bildtheorien und seiner Geldtheorie als „Konstellation“ sichtbar werden sollte. / Walter Benjamin’s writings on visual arts include not only the famous „materialistic“ essays on aura but also seemingly esoteric notes on painting and the graphic arts. The content and correlation of all these writings become clear once we grasp how they perform the task of describing childhood experience. His theory of aura was prefigured in his philosophical „Diaries“ where his struggle with his depression was often followed (or interrupted) by dreamlike visions of "youth". The discursive structure of these visions – which will prove to be a strangely „photo-graphic“ one – is to be analyzed by using the second Freudian topology as a comparison. Through this analysis we will be able to reconsider the well-known (oversimplified) antagonism between his historical materialism and the „apolitical formalism“ of Clement Greenberg from a new viewpoint. Greenberg’s criticism helps us also to decipher the „esoteric“ texts of Benjamin. They puzzled scholars especially because they described children’s vision at first (about 1915) misleadingly in accordance with the conventional dichotomies of Romanticism (line / color; masculine / feminine; adult / child…); Benjamin could specify their original implication only after he had set up – based on his reflexions on the „horizontality“ of the graphic arts, and by speculating further on the magic nature of „Zeichen“ and „Mal“ (1917) – a trichotomy of genres (painting / the graphic arts / ink and watercolor illustrations). We will reconstruct this development of his theory not only through detailed analyses of related works of art but also in view of his „materialistic“ late writings (the Arcades Project and „Berlin Childhood“), for it is only there that we find out an essential relation – a singular „constellation“ – of his early art theory and his theory of money.
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