Thesis--University of California, Davis. / Summary in German. Includes bibliographical references.

Zugl.: Jena, Univ., Diss., 2001 u.d.T.: Kochs, Susanne: Untersuchungen zu Johann Joachim Winckelmanns Studien der antiken griechischen Literatur

Thesis--Bonn. / Vita. Includes bibliographical references (p. 183-188).

The following work deals with the idea of Beauty as seen in the work of Winckelmann and its influence on Walter Pater, the English critic. The concept of Beauty is to be analyzed chronologically. First of all, the concept of Beauty in Winckelmann’s work will be analysed and its particularities will be described. Further, the concept of Beauty will be analyzed in so far as it changes throughout time and influences the further development of aesthetic theory. Hegel takes up Winckelmann’s idea of Beauty and uses this idea in his own aesthetic theory. Walter Pater takes up and develops the idea of Beauty not only from Winckelmann, but also from Hegel. The influence of both art critics, Winckelmann and Hegel, on Walter Pater will be shown in this thesis. The latter, as this thesis shows, was to develop his own aesthetic theory, which is supported by the concept of Beauty in Winckelmann and Hegel.

Thesis (Ph. D.)--Columbia University, 1942. / Published also without thesis note. Vita. Bibliography: p. [155]-163.

Diss.--Köln--Universität, 1990. / Bibliogr. p. 192-208.

O presente trabalho busca apresentar a obra de Winckelmann num amplo recorte de textos que contribuem para que vejamos a unidade de seus trabalhos; indicando os avanços dados pelo autor desde os primeiros escritos até a sua obra mais acabada, a História da arte da antiguidade (Geschichte der Kunst des Altertums). A abordagem dos textos aqui selecionados visa apresentar a estruturação do pensamento de Winckelmann desde suas obras seminais até o seu ponto de maior contração conceitual. Esse caminho, a despeito de mudanças e progressos, nos mostra um crescimento, em boa parte coerente, da visão das artes e dos conceitos que dela são extraídos, na medida em que crescem os objetos contemplados. Visamos apresentar a formação de uma história que é, em grande parte, estética e que transfere a carga conceitual daquilo que se pode pensar como a ideia para o modelo plasmado da arte grega. Dos primeiros textos do autor à sua principal obra, o trajeto em direção à antiguidade vai trazer à tona questões que foram fundamentais para a disciplina filosófica da estética. Vemos formarem-se estruturas de abordagem da arte e de sua história que serão sempre subsidiárias da relação direta com o objeto. É na leitura de textos que melhor apresentam esse trajeto que se expõe a formação de um modo de operar que consegue extrair conceitos da obra de arte e suas consequências que baseamos o todo desse trabalho. Sua história, em sendo uma estética, teve desdobramentos dos mais diversos e marcou o debate que relacionava as artes com a filosofia e a história no século XVIII. / This thesis is an enquiry of Winckelmanns works that aims to the presentation of the structures of seeing that had arose as an approach to the works of art and that became the conceptual basis of a history of art that is in fact an aesthetical construction. From his first works, that had been written when the author was a librarian at Nöthnitz to the main works of the roman period, we tried to show a path that is to be thought as attached to the work of art, a contemplation of the arts that does not make great moves without the direct experience of beauty. Beauty comes from the transcendence of a norm to be embodied in the immanence of some works of ancient art that have reached the conceptual beauty in the materiality of the earthly world. The way of doing that, has been constructed, with a surprisingly coherence of some aspects of his theory and with some paradigm changes around the possibilities of seeing. In the major work History of the art of antiquity the tools that were to be acquired in a sort of relationship with the arts of the past that allows the spectator to see towards the embodied surface of the work of art are linked to a dynamics of historical possibilities that arose in the internal movements of societies but the criteria that elects the works is always to be thought as an aesthetic movement. Winckelmann, as an art thinker, established some movements of seeing and concepts that were in the basis of the newborn discipline of aesthetics. His history is as an aesthetics in form of history, and the consequences of that were proliferous, as can be seen in the flourishing debates of the binding of art, philosophy and history in the end of the eighteenth century.

O presente trabalho busca apresentar a obra de Winckelmann num amplo recorte de textos que contribuem para que vejamos a unidade de seus trabalhos; indicando os avanços dados pelo autor desde os primeiros escritos até a sua obra mais acabada, a História da arte da antiguidade (Geschichte der Kunst des Altertums). A abordagem dos textos aqui selecionados visa apresentar a estruturação do pensamento de Winckelmann desde suas obras seminais até o seu ponto de maior contração conceitual. Esse caminho, a despeito de mudanças e progressos, nos mostra um crescimento, em boa parte coerente, da visão das artes e dos conceitos que dela são extraídos, na medida em que crescem os objetos contemplados. Visamos apresentar a formação de uma história que é, em grande parte, estética e que transfere a carga conceitual daquilo que se pode pensar como a ideia para o modelo plasmado da arte grega. Dos primeiros textos do autor à sua principal obra, o trajeto em direção à antiguidade vai trazer à tona questões que foram fundamentais para a disciplina filosófica da estética. Vemos formarem-se estruturas de abordagem da arte e de sua história que serão sempre subsidiárias da relação direta com o objeto. É na leitura de textos que melhor apresentam esse trajeto que se expõe a formação de um modo de operar que consegue extrair conceitos da obra de arte e suas consequências que baseamos o todo desse trabalho. Sua história, em sendo uma estética, teve desdobramentos dos mais diversos e marcou o debate que relacionava as artes com a filosofia e a história no século XVIII. / This thesis is an enquiry of Winckelmanns works that aims to the presentation of the structures of seeing that had arose as an approach to the works of art and that became the conceptual basis of a history of art that is in fact an aesthetical construction. From his first works, that had been written when the author was a librarian at Nöthnitz to the main works of the roman period, we tried to show a path that is to be thought as attached to the work of art, a contemplation of the arts that does not make great moves without the direct experience of beauty. Beauty comes from the transcendence of a norm to be embodied in the immanence of some works of ancient art that have reached the conceptual beauty in the materiality of the earthly world. The way of doing that, has been constructed, with a surprisingly coherence of some aspects of his theory and with some paradigm changes around the possibilities of seeing. In the major work History of the art of antiquity the tools that were to be acquired in a sort of relationship with the arts of the past that allows the spectator to see towards the embodied surface of the work of art are linked to a dynamics of historical possibilities that arose in the internal movements of societies but the criteria that elects the works is always to be thought as an aesthetic movement. Winckelmann, as an art thinker, established some movements of seeing and concepts that were in the basis of the newborn discipline of aesthetics. His history is as an aesthetics in form of history, and the consequences of that were proliferous, as can be seen in the flourishing debates of the binding of art, philosophy and history in the end of the eighteenth century.

Thesis (Ph. D.)--University of California, Santa Cruz, 1993. / Typescript. Includes bibliographical references (leaves 275-284).

Die Dissertationsschrift befasst sich mit drei der einflussreichsten Altertumswissenschaftler ihrer Zeit: Johann Joachim Winckelmann (1717-1768), Theodor Mommsen (1817-1903) und Helmut Berve (1896-1979). Alle drei prägten durch ihre Werke die Arbeit von Generationen von Historikern nach ihnen und alle drei verbindet eine gemeinsame Wirkungsstätte: Sachsen. Doch während die Werke Winckelmanns, Mommsens und Berves hinreichend rezipiert wurden, fand das Umfeld, in welchem sie sich bewegten, in der Wissenschaftsgeschichte bislang wenig oder gar keine Beachtung. Gleichwohl ist die Frage nach dem Einfluss, welche spezifischen Charakteristika der Umgebung, der politischen Situation oder der jeweiligen Kulturepoche auf die Sichtweise des Historikers auf seinen Untersuchungsgegenstand ausüben, von fundamentaler Bedeutung, will man eine vielfach eingeforderte Historisierung herbeiführen. Diese Einflüsse und Wechselwirkungen zu untersuchen hat die vorliegende Arbeit zum Ziel. Die Analyse der herangezogenen Quellen greift auf drei unterschiedliche methodische Ansätze zurück, die für den Kontext dieser geschichtswissenschaftlichen Fragestellung adaptiert werden: die Diskursanalyse Michel Foucaults, der Ansatz Hartmut Böhmes zur Untersuchung der Transformationsgeschichte sowie der historischen Netzwerkanalyse. Die Ergebnisse zeigen, dass das soziale Umfeld einen großen Einfluss auf die Arbeit von Historikern ausübt. Außerdem hat sich gezeigt, dass die weltanschaulichen Einstellungen, die politischen Überzeugungen und die sexuelle Orientierung einen weit massiveren und vor allem unmittelbareren Einfluss auf die inhaltliche Arbeit von Historikern ausüben können. Alle drei in der vorliegenden Dissertation untersuchten Historiker nutzten die Geschichtsschreibung als Mittel zum Zweck der Beschwörung eines von ihnen idealisierten Gesellschaftsmodelles.