Texte remanié de: Diss., 1988. Titre de soutenance : Voreheliche Sexualität und Heiratsverhalten im Gebiet der Abtei St. Lambrecht 1600-1849.

Zugl.: Graz, University, Diss., 1988 u.d.T.: Becker, Peter: Voreheliche Sexualität und Heiratsverhalten im Gebiet der Abtei St. Lambrecht 1600-1849. / Teilw. zugl.: Diss., 1988 u.d.T.: Becker, Peter: Voreheliche Sexualität und Heiratsverhalten im Gebiet der Abtei St. Lambrecht.

Este estudo aborda aspectos do campo da pintura, analisados através dos diferenciados procedimentos realizados por Karin Lambrecht nos trabalhos da série Registros de sangue. / This study approaches the field of painting, as analyzed through the different procedures performed by Karin Lambrecht in the Registros de sangue (Records of blood) series.

Este estudo aborda aspectos do campo da pintura, analisados através dos diferenciados procedimentos realizados por Karin Lambrecht nos trabalhos da série Registros de sangue. / This study approaches the field of painting, as analyzed through the different procedures performed by Karin Lambrecht in the Registros de sangue (Records of blood) series.

Este estudo aborda aspectos do campo da pintura, analisados através dos diferenciados procedimentos realizados por Karin Lambrecht nos trabalhos da série Registros de sangue. / This study approaches the field of painting, as analyzed through the different procedures performed by Karin Lambrecht in the Registros de sangue (Records of blood) series.

A presente tese investiga a obra de pinturas de Karin Lambrecht a partir de sua cronologia e da constituição de um arquivo particular organizados pela própria artista e a autora. A obra e as análises construídas sobre ela são percebidas a partir das memórias familiares, seu período de estudos e formação acadêmica, incluindo o aprendizado em pintura na atual Universität der Künste, em Berlim.Foi destacada a formação de um imaginário artístico que se constituiu a partir das inúmeras leituras da Bíblia Luterana, da formação artística obtida por meio de estudos com professores que propunham grande rigor técnico e a pintura de cunho abstrato.Analisa-se, igualmente, os frequentes anacronismos que permeiam as obras e se revelam por meio da temática das pinturas, observadas sob o ponto de vista das afinidades artísticas, da história da arte, do corpo e do sacrifício.Os anacronismos constituem a obra de Lambrecht criando relações entre o passado e o presente que se revelam nos temas, materiais e procedimentos na realização da pintura. Observa-se da mesma forma que, as memórias da artista se expressam igualmente por meio das diferentes representações do corpo e do humano por meio do corpo da obra, da cruz, do corpo sagrado e do sacrifício. / This thesis investigates the painting works of Karin Lambrecht from its chronology and the constitution of a private file organized by the own artist and the author. The work and analyzes which are built are perceived considering family memoriesfrom the period of study and academic training, including the apprenticeship in painting in the current Universität der Künste in Berlin.The formation of an artistic imaginary that was formed from the numerous Lutheran Bible readings, from the artistic training obtained through studies with teachers who proposed a great technical rigor and the paintings of an abstract nature were highlighted.The frequent anachronisms that permeate the work and reveal themselves through the theme of the paintings have also been analyzed, observed from the point of view of artistic affinities, of the history of the art, the body and sacrifice.The anachronisms constitute the work of Lambrecht creating relationships between the past and the present that are revealed in the theme, materials and procedures for the making of the painting.The prominence of symbolic representations of the body and of the human in the work is observed through a selection of works which discuss the work corpus, the interaction of the body of the artist with the painting and the sacred body.

A presente tese investiga a obra de pinturas de Karin Lambrecht a partir de sua cronologia e da constituição de um arquivo particular organizados pela própria artista e a autora. A obra e as análises construídas sobre ela são percebidas a partir das memórias familiares, seu período de estudos e formação acadêmica, incluindo o aprendizado em pintura na atual Universität der Künste, em Berlim.Foi destacada a formação de um imaginário artístico que se constituiu a partir das inúmeras leituras da Bíblia Luterana, da formação artística obtida por meio de estudos com professores que propunham grande rigor técnico e a pintura de cunho abstrato.Analisa-se, igualmente, os frequentes anacronismos que permeiam as obras e se revelam por meio da temática das pinturas, observadas sob o ponto de vista das afinidades artísticas, da história da arte, do corpo e do sacrifício.Os anacronismos constituem a obra de Lambrecht criando relações entre o passado e o presente que se revelam nos temas, materiais e procedimentos na realização da pintura. Observa-se da mesma forma que, as memórias da artista se expressam igualmente por meio das diferentes representações do corpo e do humano por meio do corpo da obra, da cruz, do corpo sagrado e do sacrifício. / This thesis investigates the painting works of Karin Lambrecht from its chronology and the constitution of a private file organized by the own artist and the author. The work and analyzes which are built are perceived considering family memoriesfrom the period of study and academic training, including the apprenticeship in painting in the current Universität der Künste in Berlin.The formation of an artistic imaginary that was formed from the numerous Lutheran Bible readings, from the artistic training obtained through studies with teachers who proposed a great technical rigor and the paintings of an abstract nature were highlighted.The frequent anachronisms that permeate the work and reveal themselves through the theme of the paintings have also been analyzed, observed from the point of view of artistic affinities, of the history of the art, the body and sacrifice.The anachronisms constitute the work of Lambrecht creating relationships between the past and the present that are revealed in the theme, materials and procedures for the making of the painting.The prominence of symbolic representations of the body and of the human in the work is observed through a selection of works which discuss the work corpus, the interaction of the body of the artist with the painting and the sacred body.

A presente tese investiga a obra de pinturas de Karin Lambrecht a partir de sua cronologia e da constituição de um arquivo particular organizados pela própria artista e a autora. A obra e as análises construídas sobre ela são percebidas a partir das memórias familiares, seu período de estudos e formação acadêmica, incluindo o aprendizado em pintura na atual Universität der Künste, em Berlim.Foi destacada a formação de um imaginário artístico que se constituiu a partir das inúmeras leituras da Bíblia Luterana, da formação artística obtida por meio de estudos com professores que propunham grande rigor técnico e a pintura de cunho abstrato.Analisa-se, igualmente, os frequentes anacronismos que permeiam as obras e se revelam por meio da temática das pinturas, observadas sob o ponto de vista das afinidades artísticas, da história da arte, do corpo e do sacrifício.Os anacronismos constituem a obra de Lambrecht criando relações entre o passado e o presente que se revelam nos temas, materiais e procedimentos na realização da pintura. Observa-se da mesma forma que, as memórias da artista se expressam igualmente por meio das diferentes representações do corpo e do humano por meio do corpo da obra, da cruz, do corpo sagrado e do sacrifício. / This thesis investigates the painting works of Karin Lambrecht from its chronology and the constitution of a private file organized by the own artist and the author. The work and analyzes which are built are perceived considering family memoriesfrom the period of study and academic training, including the apprenticeship in painting in the current Universität der Künste in Berlin.The formation of an artistic imaginary that was formed from the numerous Lutheran Bible readings, from the artistic training obtained through studies with teachers who proposed a great technical rigor and the paintings of an abstract nature were highlighted.The frequent anachronisms that permeate the work and reveal themselves through the theme of the paintings have also been analyzed, observed from the point of view of artistic affinities, of the history of the art, the body and sacrifice.The anachronisms constitute the work of Lambrecht creating relationships between the past and the present that are revealed in the theme, materials and procedures for the making of the painting.The prominence of symbolic representations of the body and of the human in the work is observed through a selection of works which discuss the work corpus, the interaction of the body of the artist with the painting and the sacred body.

Ernst-Wolfgang Böckenförde und Carl Schmitt zählen zu den bedeutendsten Staatsrechtlern ihrer Zeit. Eine Verbindung zwischen beiden Staatstheoretikern bestand in einer engen persönlichen Beziehung. Die vorliegende Abhandlung geht der Forschungsfrage nach, ob sich hieraus auch Berührungspunkte zwischen den Staatstheorien der beiden Staatsrechtler ableiten lassen und arbeitet mit diesem Ziel Analogien, aber auch notwendigerweise Diskrepanzen zwischen dem Denken des liberalen Staatsrechtlers Ernst-Wolfgang Böckenförde in Bezug auf den konservativen Staatstheoretiker Carl Schmitt heraus. Am Ende soll die Frage beantwortet werden, ob es möglich ist, die von Carl Schmitt in seinem Hauptwerk ‚Der Begriff des Politischen‘ niedergelegten Ideen vom Staate (teilweise) liberal zu rezipieren. / Ernst-Wolfgang Böckenförde and Carl Schmitt count among the most prominent experts for constitutional law within their eras. The two theoreticians were connected by an intensive personal relation. Thus, the research issue of the present thesis consists on the exploration of the possibility to also deduce interrelations between the theories on the state of both scientists. For this reason analogies but also necessarily discrepancies within the ways of thinking of the liberal expert for constitutional law Ernst-Wolfgang Böckenförde in comparison to the conservative state theoretician Carl Schmitt are elaborated. In conclusion, the question shall be answered, whether it is possible to receive the ideas on the state of Carl Schmitt outlined in his major oeuvre ‘The Notion of Politics’ (partly) in a liberal way.

Ernst-Wolfgang Böckenförde und Carl Schmitt zählen zu den bedeutendsten Staatsrechtlern ihrer Zeit. Eine Verbindung zwischen beiden Staatstheoretikern bestand in einer engen persönlichen Beziehung. Die vorliegende Abhandlung geht der Forschungsfrage nach, ob sich hieraus auch Berührungspunkte zwischen den Staatstheorien der beiden Staatsrechtler ableiten lassen und arbeitet mit diesem Ziel Analogien, aber auch notwendigerweise Diskrepanzen zwischen dem Denken des liberalen Staatsrechtlers Ernst-Wolfgang Böckenförde in Bezug auf den konservativen Staatstheoretiker Carl Schmitt heraus. Am Ende soll die Frage beantwortet werden, ob es möglich ist, die von Carl Schmitt in seinem Hauptwerk ‚Der Begriff des Politischen‘ niedergelegten Ideen vom Staate (teilweise) liberal zu rezipieren. / Ernst-Wolfgang Böckenförde and Carl Schmitt count among the most prominent experts for constitutional law within their eras. The two theoreticians were connected by an intensive personal relation. Thus, the research issue of the present thesis consists on the exploration of the possibility to also deduce interrelations between the theories on the state of both scientists. For this reason analogies but also necessarily discrepancies within the ways of thinking of the liberal expert for constitutional law Ernst-Wolfgang Böckenförde in comparison to the conservative state theoretician Carl Schmitt are elaborated. In conclusion, the question shall be answered, whether it is possible to receive the ideas on the state of Carl Schmitt outlined in his major oeuvre ‘The Notion of Politics’ (partly) in a liberal way.