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The German Renaissance artist Hans Wertinger (c. 1465/70-1533) was a prolific master who worked in a variety of artistic media and oversaw a large atelier during his mature years. In 1516, Wertinger completed his first commission for Ludwig X (1495-1545), Duke of Bavaria, newly resident in Landshut. Two years later, Wertinger was named Ludwig’s court painter. The artist’s interaction with the Wittelsbach court, including its scholars, during these and subsequent years inspired many of his most innovative artworks. Wertinger painted portraits of the duke that addressed Ludwig’s conceits and conveyed his political and religious authority. He also collaborated with one of Ludwig’s advisors, the humanist scholar Dietrich von Plieningen, on book illustrations and a history painting with themes related to the classical past. As befitted Wertinger’s position as court painter, he provided a wide variety of decorations for Ludwig’s palace at Burg Trausnitz; these illustrate and elucidate the space of rulership. Wertinger’s success as a court painter is a testament to his versatility and innovation, as he created diverse artworks that both reflected and contributed to the broader culture of the Landshut court. / text

The Harlem Renaissance was the most celebrated African American cultural movement throughout the history of the United States owing to the massive and remarkable literature output by African American artists. Yet, attention to the white participants is limited. One of the most significant white patrons and writers, Carl Van Vechten and his fifth novel Nigger Heaven (1926) have cast noteworthy influences on African Americans, the American society and the Harlem Renaissance. To examine Van Vechten and his most important work and their connection with the Harlem Renaissance in greater details, this thesis focuses heavily on the novel as well as the paper collections of Van Vechten at New York Public Library. Thus, the research method of this thesis is an archival one. Despite little attention to this novel and its author, this thesis argues that they both serve as an unprecedented experience towards literature on African Americans and racial complexity in the United States during the 1920s. The first chapter focuses on the change from his initial fascination towards the “exoticism” and “primitivism” of African Americans to a genuine appreciation of the talents of African American artists of the Harlem controversial text regarding its title and the fact that the author was a white man yet decided to write a story on African Americans. This novel is significant in a sense that it inspires discussions on issues such as the phenomenon of “passing”, the “color line” and the masculinity of white patronage in Harlem in the 1920s. Additionally, it facilitates examination on the historical complexity of the word “nigger”. Chapter three focuses on the mixed critiques towards the novel. Although the author insists that this is a work of irony about the contemporary racial complexity, such irony did not seem to work for everyone. The ambivalent responses from African American audiences are intriguing for in‐depth analysis. Moreover, the initial covers of Nigger Heaven contain important implications and stories to be told. This thesis aims to indicate that Van Vechten and Nigger Heaven deserve more attention while such insufficiency offers room for further studies. / published_or_final_version / Modern Languages and Cultures / Master / Master of Philosophy

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Thèse. / Contient l'éd. de la trad. latine du Nouveau Testament par Érasme. Bibliogr. p. 109-131.

Texte remanié de: th. doct.--philosophische Fakultät--Bonn--Friedrich-Wilhelms-Universität, 2002. / Notes bibliogr. Bibliogr. p. [203]-225. Index.

Inaug.-Diss.--Berlin. / Lebenslauf. "Mit Genehmigung der hohen Fakultät kommi hier nur Kap. I-IV der Arbeit zum Abdruck. Dad Ganze wird als Palaestra Bd. LXX erscheinen."

Inaug.-diss. - München. / Lebenslauf. "Literatur": p. 102-104.