Humorvolle Schilderung einer Alltagsszene im Dresdener Museum vor Rembrandts Bild „Ganymed in den Fängen des Adlers“ mit geistreichem Brückenschlag zu Langbehns „Rembrandt als Erzieher“ (1890).

This thesis aims to challenge a number of critical assumptions that have unnecessarily restricted the way we read Paul Celan's work, and poetry in general, by reading an unfinished cycle of poems called 'Eingedunkelt.' The poems were written during the Spring of 1966, when Celan was incarcerated in a psychiatric hospital in Paris, and have received little critical attention since their initial partial publication in 1968, their more extensive publication in 1991, and the exhaustive publication of the transcription of all genetic documents in 2006. The thesis consists of three chapters, the last two of which are divided into two parts. The opening chapter confronts the poems in 'Eingedunkelt' as they are now available to us as genetic documents, and engages with current theories of genetic criticism to explore new ways of reading and creating meaning within the avant-texte. Although studies of Celan's work have proliferated since his death in 1970, very few critics have been willing to look beyond the formulation of the poetics Celan defines in his 1960 Büchner prize speech 'Der Meridian.' Chapters Two and Three therefore seek to identify the presence in 'Eingedunkelt' of alternative ways of thinking about poetry that do not necessarily conform to the poetics most explicitly outlined in 1960, and that allow for the very real possibility that Celan's conception of his poetic task was often challenged and maybe even transformed. Through Celan's engagement with Stéphane Mallarmé and Jean-Paul Sartre, Chapter Two identifies the development of a poetics of suicide, according to which each poem rehearses the poet's final and greatest creative act in his or her own self-destruction. Chapter Three recognizes the existence of a counter-poetics of life through Celan's lifelong interaction with the paintings of Rembrandt van Rijn, in which the material qualities of dried oil paint, which mimic the organic qualities of human skin, offer a way to create a living, breathing, but also decaying memorial to those who died in the Shoah. This provides the platform for Celan's poetic critique of both the 1963 - 1965 Frankfurt Auschwitz Trial, and Peter Weiss's 1965 dramatization of the Trial, 'Die Ermittlung.'

Thesis (Ph. D.)--Utrecht University, 2007. / Vita. Includes bibliographical references (p. 197-209).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references (leaves 56-62).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references (leaves 56-62).

Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin, 1909. / Vita. Includes bibliographical references (p. [5]).

Zugl.: Bochum, Univ., Diss., 2005

After the Council of Trent, Catholic Spain in the seventeenth century increasingly turned to the arts to articulate their identity and mission as a church. Writing for the Spanish Court in the early 1630s, Pedro Calderón de la Barca uses La cena del rey Baltasar to portray the Church as an essential mediator for the relationship between the congregant and the divine, specifically through the use of didactic imagery and authoritative interpretation of God’s word. This essay reviews elements in the play that support this message and articulates the eucharistic and allegorical elements therein. The action of the Biblical narrative and the play culminates in the divine manifestation of the hand of God, a moment also captured in paint by the Catholic Spanish painter Jusepe de Ribera and the Protestant Dutch painter Rembrandt van Rijn. These painted works serve as visual hermeneutics articulating the contrasting views of Catholics and Protestants in post-Tridentine Europe.

Management of water resources is afflicted with uncertainties. Nowadays it is facing more and new uncertainties since pace and dimension of changes (e.g. climatic, demographic) are accelerating and are likely to increase even more in the future. Hence it is crucial to find pragmatic ways to deal with these uncertainties in water management. This thesis argues for an analytical yet pragmatic approach to enable decision-makers to deal with uncertainties in a more explicit and systematic way and allow for better informed decisions. The approach is based on the concept of framing and mental models, referring to different ways in which people make sense of the world and of uncertainties. It is analysed how uncertainties are framed and dealt with in water management practice and strategies are elaborated how dealing with uncertainties can be improved in water management practice. The research for this thesis has been closely linked to the EU research project NeWater (New Approaches to Adaptive Water Management under Uncertainty, www.newater.uos.de) (2005-2009). It draws on practical experiences of water managers at local and regional level in river basin management in three case studies, i.e. the German Wupper, the Dutch Kromme Rijn, both sub basins of the river Rhine, and the Doñana region located in the Guadalquivir Estuary in Spain. For the assessment of framing of uncertainty two different methods were developed and applied in the three river basins. Both aim at identifying parameters of importance in the process of framing uncertainty in order to understand how uncertainties get framed. The empirical research confirmed that indeed water managers are faced with a range of uncertainties and that so far no systematic approaches are applied for dealing with those in management practice. The results in the case studies suggest that there are no universal findings as to how actors frame uncertainties but rather that framings are dependent on the respective uncertainty situation, on roles (e.g. project leader, public administration, scientist etc.), and most often on personal traits. The case study findings moreover suggest that there are no universally valid parameters of influence in the framing of uncertainties. Neither could a clear superiority of one approach over the other be discerned. Nonetheless, the parameters of framing of uncertainty proved to be a supportive tool for preparing and structuring decision-making in the case studies and developing improvement options for dealing with uncertainty. Beyond the results of the development of approaches for the assessment of framing of uncertainty in water management practice, processes of communication and learning turned out to be of major importance. Making framings of uncertainties explicit by help of parameters of framing proved to be useful in the case studies for revealing different points of views on the uncertainties and with regard to the strategies to deal with them. This is a first step in enabling dialogue among opposed framers and an important precondition for reframing and learning which is crucial for the long-term performance in management of natural resources.

Die Kasseler Gemäldegalerie Alte Meister hat ihren Schwerpunkt in der niederländischen, flämischen und deutschen Malerei des 17. und 18. Jahrhunderts. Dazu zählt eine der größten und bedeutendsten Sammlungen von Rembrandt. Die wichtigsten und umfangreichsten Erwerbungen fanden bis zur Mitte des 18. Jahrhunderts unter den Landgrafen von Hessen-Kassel statt. Die Firnisse zahlreicher Gemälde, darunter Hauptwerke der Galerie, sind dick, stark gegilbt und verschiedentlich borkenartig craqueliert. Diese Firnisse sind vielschichtig. Mehrheitlich stammen ihre Firnisschichten von historischen Restaurierungen. Vielfach erscheint eine Firnisabnahme als wünschenswert, in einigen Fällen erweist sie sich aber als riskant und außergewöhnlich schwierig oder aus konservatorischen Gründen als unmöglich. Die Arbeit ist in drei Hauptteile gegliedert. Im ersten Teil wird die Restaurierungsgeschichte der Kasseler Galerie von den 1750er bis zu den 1960er Jahren anhand von schriftlichen Quellen dargestellt. Bedeutende historische Persönlichkeiten der Restaurierung, Maltechnik und Kunsttechnologie waren in Kassel praktisch (Alois Hauser d. Ä. und d. J.) oder als Gutachter (Kurt Wehlte und Max Doerner) tätig. Die restauratorischen Maßnahmen und verwendeten Materialien waren vielfältig. Es fanden ganzflächige und partielle Abnahmen, Dünnungen und Trennungen von Firnissen statt. Firnisse wurden in verschiedener Weise regeneriert, Gemälde wurden neu gefirnisst oder aber überfirnisst. Vielfach kommt ein sensibler Umgang mit den Kunstwerken und ihren Erhaltungszuständen zum Ausdruck. Im zweiten Teil werden die Grundlagen und Methoden der Objektuntersuchung vorgestellt. Deformationen, Rissbildungen und Schichtenstörungen an Gemälden werden auf der Grundlage ausgewählter Literatur der Lack- und Anstrichwissenschaften, der Materialwissenschaften und Bruchmechanik neu betrachtet. Wesentliche Aspekte sind die innere Spannung von Schichten, der Einfluss von Löse- und Quellungsprozessen auf ihre mechanischen Eigenschaften sowie mehrschichtige Systeme und die Interaktion der einzelnen Schichten. Für die lichtmikroskopische Untersuchung der Gemäldeoberflächen und Querschliffe werden verschiedene Grundlagen geschaffen. Eine für diese Arbeit konzipierte grafische Strukturanalyse ermöglicht die Darstellung und Auswertung der Schichtenkonstellationen sowie der Rissbildungen und Deformationen der Bildoberflächen. Es wird ein Löseversuch am Querschliff entwickelt, mit dem sich Tendenzen des heutigen Löseverhaltens mehrschichtiger Firnisse darstellen und von Lösemitteln beeinflusste Schadensprozesse rekonstruieren lassen. Die koaxiale oder Hellfeld-Beleuchtung wird als ein wesentlicher Bestandteil der lichtmikroskopischen Untersuchung von Gemäldeoberflächen und Querschliffen etabliert. Zudem werden die Möglichkeiten einer Bestimmung von originalen Firnisschichten durch eine mikroskopische Untersuchung aufgezeigt. Die erstmalige Bestandaufnahme der Sammlung, die heute ca. 1600 Werke zählt, ergibt, dass 74 Gemälde eine erhebliche Firnisgilbung und gleichzeitig auffällige Firnisdeformationen aufweisen. Der dritte und umfangreichste Teil stellt die Untersuchung von vier Gemälden als Fallstudien dar. Die ausgewählten Werke sind Bartholomeus Frans Douven, Susanna und die beiden Alten, 1722, Rembrandt, Die Heilige Familie mit dem Vorhang, 1646, Jacob Jordaens (1593-1678), Das Bohnenfest (Der König trinkt) und Melchior de Hondecoeter (1636-1695), Die weiße Henne mit Küchlein. Auf der Grundlage des maltechnischen Aufbaus und der individuellen Restaurierungsgeschichte der Gemälde werden die Schichten und Schichtenfolgen sowie die Schäden und Veränderungen der Firnisse dargestellt. Zudem wird die Wirkung von Lösemitteln bei früheren Restaurierungen rekonstruiert. Die Fallstudien geben Einblick in die Möglichkeiten, Risiken und Grenzen einer Abnahme, Dünnung oder Trennung von Firnissen mit Lösemitteln. In einer Fallstudie wird zudem eine mechanische Firnisdünnung untersucht. In drei Fallstudien werden partielle Zwischenfirnisse festgestellt, in einem Fall kann ein originaler Firnis bestimmt werden. Die mehrschichtigen Firnisse weisen vielfältige Schichtenstörungen auf, die Folge von historischen Restaurierungen sind. Auffällige borkenartige Deformationen stehen in Zusammenhang mit Vertiefungen entlang ehemaliger Firnisrisse. Im Querschliff und insbesondere im Bereich des Craquelés erkennt man das partielle Anlösen und Auflösen der Schichtgrenzen sowie die Migration von Firnis und Farbe. Die zum Teil gravierende Lösemittelempfindlichkeit der Malschicht resultiert vor allem aus den partiellen Zwischenfirnissen. Ein zusätzliches Schadensrisiko stellt das ungleiche Löseverhalten des Firnisses dar. Der Firnis wird vorrangig entlang des aktuellen und ehemaligen Craquelés ausgeschwemmt, so dass das Lösemittel dort länger direkt auf die Malschicht einwirkt. Die Ursachen dafür liegen wiederum in den Deformationen und Schichtenstörungen des Firnisses. Die mechanische Dünnung durch Abschleifen mit Firnispulver bietet eine aus konservatorischer Sicht unbedenkliche Alternative. Es werden die Möglichkeiten, aber auch die engen Grenzen ihrer Anwendung aufgezeigt. Die vorliegende Arbeit leistet einen Beitrag zur Kunsttechnologie, zur Restaurierungsgeschichte, zu Methoden und Techniken der Untersuchung und Dokumentation und schließlich zur Konzeption von praktischen Restaurierungen. / The main focus of the Old Masters Picture Gallery Kassel is on Dutch, Flemish and German paintings of the 17th and 18th centuries, including one of the largest and most significant Rembrandt collections. The most important and extensive acquisitions were made under the Landgraves of Hesse-Kassel until the mid-18th century. The varnishes of numerous paintings, among them the key works of the gallery, are thick, strongly yellowed and occasionally feature bark-like craquelures. These varnishes are multi-layered, with most layers stemming from historical conservation treatments. Quite often, varnish removal appears desirable, but in some cases it proves to be risky and extraordinarily difficult, or even impossible for conservation reasons. The paper is structured in three main sections. The first section describes the conservation history of the Old Masters Picture Gallery Kassel from the 1750s to the 1960s based on written sources. Prominent historical personalities dedicated to conservation, painting techniques and art technology were practitioners in Kassel (Alois Hauser the Elder and the Younger) or functioned as experts (Kurt Wehlte and Max Doerner). A wide variety of conservation measures and materials were applied. Complete and partial removals, thinnings and separations of varnish were conducted. Varnishes were regenerated in different ways, paintings were re-varnished or over-varnished. In many instances one can find a sensitive treatment of the artworks and their visibly aged conditions. The second section elaborates the basics and methods of object examination. Deformations, cracking and layer disruptions on paintings are reappraised based on selected literature dealing with organic coating sciences, material sciences and fracture mechanics. Crucial aspects include the internal stress of layers, the impact of dissolution and swelling processes on their mechanical qualities, as well as multi-layered systems and the interaction between individual layers. Different foundations are created for the light-microscopic examination of painting surfaces and cross-sections. A graphical structure analysis conceived for this work allows depicting and evaluating constellations of layers as well as cracking and deformations on the painting surfaces. A solubility test on the cross-section is developed, presenting tendencies of today’s solvent behaviour of multi-layered varnishes and reconstructing damage processes influenced by solvents. The coaxial or bright field illumination is established as a crucial component of the light-microscopic examination of painting surfaces and cross-sections. Furthermore, the possibilities of determining original varnish layers through light-microscopic examination are demonstrated. The first stocktaking of the collection that today comprises ca. 1.600 works comes to the result that 74 paintings reveal considerable varnish yellowing along with conspicuous varnish deformations. The third and longest section presents the examination of four paintings as case studies. The selected works are Bartholomeus Frans Douven, Susanna and the Elders, 1722, Rembrandt, The Holy Family with a Curtain, 1646, Jacob Jordaens (1593-1678), The Bean Festival (The King Drinks), and Melchior de Hondecoeter (1636-1695), The White Hen with Chicken. Based on the structure of the paintings and their individual conservation histories, the layers and layer sequences as well as damage and changes to the varnishes are described. Furthermore, the effect of solvents during earlier conservation treatments is reconstructed. The case studies give an insight into the possibilities, risks and limitations of removing, thinning and separating varnishes with solvents. In one case study, mechanical varnish thinning is also examined. In the case studies, partial intermediate varnishes are ascertained, and in one, an original varnish layer can be determined. The multi-layered varnishes reveal a range of layer defects resulting from historical conservation treatments. Conspicuous bark-like deformations are linked to depressions along former varnish cracks. In the cross-section and especially in the area of the craquelures, the partial solvating and dissolution of layer boundaries as well as the migration of varnish and paint are established. The extreme solvent sensitivity of the paint layer detected in some cases mainly results from the partial intermediate varnishes. The varying solubility of the varnish poses a further damage risk. The varnish is predominantly washed out along the current and former craquelures, so that the solvent directly affects the paint layer for a longer period of time. The reasons for this, in turn, lie in the deformations and layer defects of the varnish. Mechanical thinning by means of sanding with varnish powder offers a harmless alternative from a conservation point of view. The potentials but also strong limitations of its application are shown. This paper makes a contribution to art technology, to the history of conservation, to methods and techniques of examining and documenting, and finally to the conception of practical conservation treatments.