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Thesis (doctoral)--Universität, Trier, 2006.

Der vorliegende Band beschäftigt sich mit dem Verhältnis von Ordnung und Wandel mit Blick auf verschiedene der vorgenannten Facetten. Es nimmt damit ein Thema auf, das für Gert-Joachim Glaeßners wissenschaftliches Wirken prägend ist. Glaeßner hat sich immer wieder aus unterschiedlicher Perspektive mit der Frage beschäftigt, wie politische Ordnungen mit gesellschaftlichem Wandel umgehen, ob politische Systeme zu Reformen fähig sind, diese vielleicht sogar anstoßen können, oder ob sie Veränderungen behindern.

La Ferme des Coteaux, située dans la paroisse de St-Joachim, sur la Côte de Beaupré, a été créée en 1818 par le Séminaire de Québec; elle en est toujours sa propriété. À partir d'archives manuscrites, comme des rapports d'inspection et les livres de comptes, ce mémoire explore le passé de cette ferme institutionnelle, en s'attardant particulièrement aux années 1850 à 1900. Pendant cette période, c'est le fermier Hugh Brown, un immigrant écossais, et sa famille, qui assument la production à la Ferme des Coteaux. Après avoir décrit le contexte général de l'agriculture dans la seconde moitié du XIXe siècle, nous présentons la situation de l'agriculture sur la Côte de Beaupré ainsi qu'un bref historique des activités agricoles du Séminaire de Québec. La seconde partie du mémoire s'attarde à la Ferme des Coteaux elle-même, c'est-à-dire à son histoire, à ses habitants, ainsi qu'à sa culture matérielle. Enfin, la troisième partie, le coeur même du mémoire, explore les différentes productions de la ferme: les animaux, les céréales, les légumes et surtout, l'arboriculture fruitière. / Québec Université Laval, Bibliothèque 2013

Zugl.: Bonn, Univ., Diss., 2004

Zugleich: Marburg, Universiẗat, Philos. Fak., Habil.-Schr. 1970.

Der vorliegende Band beschäftigt sich mit dem Verhältnis von Ordnung und Wandel mit Blick auf verschiedene der vorgenannten Facetten. Es nimmt damit ein Thema auf, das für Gert-Joachim Glaeßners wissenschaftliches Wirken prägend ist. Glaeßner hat sich immer wieder aus unterschiedlicher Perspektive mit der Frage beschäftigt, wie politische Ordnungen mit gesellschaftlichem Wandel umgehen, ob politische Systeme zu Reformen fähig sind, diese vielleicht sogar anstoßen können, oder ob sie Veränderungen behindern.

Wer den Maler Joachim Heuer (1900‐1994) in seinem Atelier in Dresden besuchte, dem offenbarte sich im philosophierenden Gespräch mit ihm wie auch in dessen Werken der heuersche Kosmos. All die Gegenstände, die in seinen Zeichnungen und Gemälden zu entdecken sind, fanden sich als reale Objekte im unmittelbaren Lebensumfeld des Künstlers wieder. Heuer griff die Büsten und Bilder, die Stühle wie den Tisch als Motive auf, reduzierte sie auf Formen und verwandelte sie in seine eigene Bilderwelt.

<p>The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.</p>

The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.