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11	Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing Leonard, Charles C. 12 January 2006 (has links) This thesis reviews the circumstances that led to what Paul Renner called “the inflation of historicism,” places his response to that problem in the context of the Weimar Republic, details how the German attributes with which he began the project were displaced from the typeface that emerged in 1927, demonstrates that Futura belongs to a new category of serif-less roman fonts rooted in Arts and Crafts lettering, and considers why the specifically German aspects of the project have gone unrecognized for over seventy years. Renner’s writing is compared to ideas prevalent in early twentieth-century German cultural discourse, and Futura’s design process is placed in the context of Renner’s personal experience of Weimar’s social and economic crises. Objective measurements are employed to establish the relationship between drawings attributed to Renner and are used to compare features of Futura with other fonts of the period. Type-founding Typography Neue Sachlichkeit Fraktur Blackletter Bruchschrift Gothic lettering Carolingian minuscule Roman capital Edgar Dacquè Twentieth-century graphic design Bauer foundry Culture of inflation Panose Gill Sans Kabel Grotesk Grotesque Semper Riegl Schrift unserer zeit Evolution of European scripts Art and Design
12	MIMO-LIDSKÉ: proměny obrazu člověka v malířství druhé poloviny čtyřicátých až šedesátých let 20. století. Teoretická a metodologická východiska. / BEYOND THE MAN: Transformations of the image of the man in painting from the mid-1940s until the 1960s. Theoretical and methodological principles. Murár, Tomáš January 2019 (has links) The dissertation thesis deals with the interpretation of the "beyond-the-man" concept, which is being interpreted, on one hand, as a part of the art-theoretical and art-historical European modernity of the end of the 19th and beginning of the 20th century, on the other hand, as a theoretical and methodological starting point for an interpretation of the transformation of the human image in the painting of the second half of the 1940s until the beginning of the 1960s. The foundation for such an interpretation is an assumption of the necessary transformation of the intellectual concepts after the World War II, as it was postulated by Theodor W. Adorno and how it was researched by Giorgio Agamben and Miroslav Petříček in the political-philosophical discourse. The thesis thus researches the "beyond-the-man" concept in the theory and history of art of the end of the 19th and beginning of the 20th century in a way of it being as re-formulated art-creative concept after 1945, evident especially in abstract painting. The interpretation of the "beyond-the-man" concept is developed on reading of Fritz Novotny's interpretation of Paul Cézanne's art from the beginning of the 1930s. Novotny in Cézanne's painting described the concept of "beyond-the-man" (Außermenschlichkeit) as a breaking point of the...
13	「平和記念」の造営と展示1915-1964 : 広島の陳列館/資料館/公園の50年 / ヘイワキネンノゾウエイトテンジ 1915 1964 : ヒロシマノチンレツカンシリョウカンコウエンノ 50ネン / 平和記念の造営と展示19151964 : 広島の陳列館資料館公園の50年越前俊也, Toshiya Echizen 05 March 2020 (has links) 本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。 / In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again. / 博士(芸術学) / Doctor of Philosophy in Art Theory / 同志社大学 / Doshisha University 広島平和記念公園広島平和記念資料館原爆ドーム慰霊碑広島県物産陳列館丹下健三イサム・ノグチ長岡省吾アロイス・リーグル近代の記念碑崇拝 Hiroshima Peace Memorial Park Hiroshima Peace Memorial Museum Atomic Bomb Dome Cenotaph Hiroshima Product Display Hall Tange Kenzo Isamu Noguchi Nagaoka Shogo Allois Riegl The Modern Cult of Monuments

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Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing