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391	Violência e tragédia : a arte na marem do dizível Godoy, Vinícius Oliveira January 2004 (has links) A arte conheceu durante o século XX algumas mudanças cruciais que tocaram os limites do que até então era considerado como artístico. Partindo da mímesis tradicional, buscou sua negação e voltou a ela através de uma busca cada vez mais radical da própria realidade, no limite de uma ruptura com as categorias tradicionais de mímesis/representação. Examinando o trabalho de Duane Hanson, Damien Hirst, Gunther von Hagens e Rudolf Schwarzkogler, o presente trabalho procura investigar este apelo ao real, por meio da apresentação cada vez mais evidente do corpo e do uso da violência a este corpo como operação para alcançar o real. Paralela a este encontro com o real através da violência ao corpo, mostra-se através da obra de Iberê Camargo, uma segunda alternativa, que aqui é interpretada como trágica. A tragédia surge nesta dissertação como contraponto à busca de um real que, em seu excesso violento e traumático, perde as características representativas e enunciativas (em seu modo particular de enunciação, ou seja, a criação de metáforas através da representação artística) que até então haviam caracterizado a arte. Como conceito eminentemente artístico, e dentro dos limites da representação, a tragédia apresenta-se como metáfora da última fase do trabalho de Iberê Camargo, produzida a partir da década de 1980 e tendo como singularidade o retorno à representação figurativa. / Art has known during the 20th century some crucial changes that touched the boundaries of what until then was considered as artistic. Starting from the traditional mimesis, it sought for its denial and came back to it through a search more and more radical of the Real at the limit of a rupture with the traditional categories of mimesis/representation. The Real is defined according to Lacan, through its reading by Hal Foster in the art field. Assessing the works of Duane Hanson, Damien Hirst, Gunther von Hagens and Rudolf Schwarzkogler, the present work attempts to investigate this appeal to the real by means of the presentation more and more evident of the body as well as the use of violence against this body. As a opposite to those works which put in scene the real by means of the violence against the body, through the works of Iberê Camargo, a second alternative is provided, construed here as a tragic one. Tragedy arises in this dissertation as a counterpoint to the search of a reality, which through its violent, traumatic excess, is deprived of both its enunciative and representative features (in this particular mode of enunciation, i.e., the creation of metaphors through the artistic representation), which until then has been characterizing the art. As an eminently artistic concept, and within the boundaries of representation, the tragedy presents itself as a metaphor of the former phase of Iberê Camargo’s works, produced from the 80’s on, and having as singularity, the return to the figurative representation. Arte : Corpo Arte : Violência Arte : Tragédia Arte : Representação Camargo, Iberê, 1914-1994 Duane Hanson Damien Hirst Gunther von Hagens Rudolf Schwarzkogler Iberê Camargo Mimesis Representation Metaphor Super realism Sensation Real Art Body Violence Tragedy
392	Violência e tragédia : a arte na margem do dizível Godoy, Vinícius Oliveira January 2004 (has links) A arte conheceu durante o século XX algumas mudanças cruciais que tocaram os limites do que até então era considerado como artístico. Partindo da mímesis tradicional, buscou sua negação e voltou a ela através de uma busca cada vez mais radical da própria realidade, no limite de uma ruptura com as categorias tradicionais de mímesis/representação. Examinando o trabalho de Duane Hanson, Damien Hirst, Gunther von Hagens e Rudolf Schwarzkogler, o presente trabalho procura investigar este apelo ao real, por meio da apresentação cada vez mais evidente do corpo e do uso da violência a este corpo como operação para alcançar o real. Paralela a este encontro com o real através da violência ao corpo, mostra-se através da obra de Iberê Camargo, uma segunda alternativa, que aqui é interpretada como trágica. A tragédia surge nesta dissertação como contraponto à busca de um real que, em seu excesso violento e traumático, perde as características representativas e enunciativas (em seu modo particular de enunciação, ou seja, a criação de metáforas através da representação artística) que até então haviam caracterizado a arte. Como conceito eminentemente artístico, e dentro dos limites da representação, a tragédia apresenta-se como metáfora da última fase do trabalho de Iberê Camargo, produzida a partir da década de 1980 e tendo como singularidade o retorno à representação figurativa. / Art has known during the 20th century some crucial changes that touched the boundaries of what until then was considered as artistic. Starting from the traditional mimesis, it sought for its denial and came back to it through a search more and more radical of the Real at the limit of a rupture with the traditional categories of mimesis/representation. The Real is defined according to Lacan, through its reading by Hal Foster in the art field. Assessing the works of Duane Hanson, Damien Hirst, Gunther von Hagens and Rudolf Schwarzkogler, the present work attempts to investigate this appeal to the real by means of the presentation more and more evident of the body as well as the use of violence against this body. As a opposite to those works which put in scene the real by means of the violence against the body, through the works of Iberê Camargo, a second alternative is provided, construed here as a tragic one. Tragedy arises in this dissertation as a counterpoint to the search of a reality, which through its violent, traumatic excess, is deprived of both its enunciative and representative features (in this particular mode of enunciation, i.e., the creation of metaphors through the artistic representation), which until then has been characterizing the art. As an eminently artistic concept, and within the boundaries of representation, the tragedy presents itself as a metaphor of the former phase of Iberê Camargo’s works, produced from the 80’s on, and having as singularity, the return to the figurative representation. Arte : Corpo Arte : Violência Arte : Tragédia Arte : Representação Camargo, Iberê, 1914-1994 Duane Hanson Damien Hirst Gunther von Hagens Rudolf Schwarzkogler Iberê Camargo Mimesis Representation Metaphor Super realism Sensation Real Art Body Violence Tragedy
393	'n Analitiese oorsig van Stefans Grové se Dansrapsodie - 'n Afrika-stad en Jeanne Zaidel - Rudolph se Fanfare Festival Overture met spesifieke verwysing na die aanwending van Afrika-etniese elemente (Afrikaans) Van Graan, Carin 31 August 2010 (has links) Die hoofdoel van hierdie studie was om Dansrapsodie – ŉ Afrika-stad van Stefans Grové en Fanfare Festival Overture van Jeanne Zaidel-Rudolph ten opsigte van struktuur, melodie, ritme en instrumentasie te ontleed en sodoende vas te stel watter Afrika-etniese elemente gebruik word en hoe dit toegepas is. ŉ Vergelykende studie is gedoen om vas te stel of daar enige ooreenkomste of verskille tussen die twee werke is. Verskeie skripsies, verhandelings en proefskrifte oor werke van Grové en Zaidel- Rudolph is geraadpleeg. Die skrywer kon nie gepubliseerde weergawes van Dansrapsodie – ŉ Afrika-stad en Fanfare Festival Overture opspoor nie, daarom is die ontleding met behulp van afskrifte van die handgeskrewe manuskripte onderneem. Daar is gereeld na die CD-opnames van albei werke (op die Claremont GSE-etiket) geluister. Die verhandeling bestaan uit ses hoofstukke. In die eerste hoofstuk word die agtergrond en motivering vir die studie uiteengesit en Hoofstuk 2 bevat kort biografieë van Grové en Zaidel-Rudolph. Grové se Dansrapsodie – ŉ Afrika-stad word in Hoofstuk 3 ontleed en verskillende Afrika-etniese elemente word beskryf soos wat dit van toepassing op die analise is. Zaidel-Rudolph se Fanfare Festival Overture word in Hoofstuk 4 op dieselfde wyse as Dansrapsodie – ŉ Afrika-stad ontleed. Die laaste twee hoofstukke (Hoofstuk 5 en 6) bevat ŉ vergelyking tussen die aanwending van Afrika-etniese elemente in die twee komposisies, asook gevolgtrekkings en voorstelle vir verdere studie. Die belangrikste gevolgtrekkings is die volgende: <ul> <li> Afrika-etniese elemente word in albei werke op só ŉ manier aangewend dat die komposisie vir ŉ Westerse orkes toeganklik is.</li> <li> In albei werke se struktuur word die roep-en-antwoord-beginsel en herhalende melodieë wat tydens elke herhaling effens gewysig word (permutasie) aangewend. Die melodiese inhoud word deur die mineur terts (ŉ interval van die pentatoniese toonleer) en twyfelagtige tonaliteite oorheers. Ritmiese ostinaatpatrone, die 12/8-metrum en poliritmiek in die Afrika-deel van Zaidel-Rudolph se komposisie bewerkstellig onmiddellik Afrika-etniese assosiasies. Die bongo-tromme en marimba kom in albei komposisies as Afrika-instrumente voor.</li> <li>Grové en Zaidel-Rudolph benader die aanwending van Afrika-etniese elemente in Westerse musiek op verskillende maniere.</li></ul> ENGLISH : The main objective of this study was to analyse the structure, melody, rhythm and instrumentation of Stefans Grové’s Dansrapsodie – ŉ Afrika-stad and Jeanne Zaidel- Rudolph’s Fanfare Festival Overture in order to determine which African ethnic elements are used in the two compositions and how these elements are applied. A comparative study was done to determine what the similarities and differences are between the two works. Several mini-dissertations, dissertations and theses about works by Grové and Zaidel-Rudolph were consulted. The author could not find published versions of Dansrapsodie – ŉ Afrika-stad and Fanfare Festival Overture, therefore the analysis was done with copies of the hand-written manuscripts. The author frequently listened to CD recordings (Claremont GSE label) of both works. The dissertation consists of six chapters. In the first chapter the author explains the background and motivation for the study and Chapter 2 contains short biographies of Grové and Zaidel-Rudolph. Grové’s Dansrapsodie – ŉ Afrika-stad is analysed in Chapter 3 and the different African ethnic elements that apply to this work are described. Zaidel-Rudolph’s Fanfare Festival Overture is analysed in Chapter 4, in the same way as Grové’s Dansrapsodie – ŉ Afrika-stad. The last two chapters (Chapter 5 and 6) include a comparison between the application of African ethnic elements in the two compositions, as well as conclusions and suggestions of topics for future studies. The most important conclusions are the following: <ul> <li> African ethnic elements are applied in such a way that both compositions are accessible for Western (“art music”) orchestras.</li> <li> In both compositions’ structure the call-and-response principle and repeated melodies (that are modified during each repeat) are applied. Both works’melodic content is dominated by the interval of a minor 3rd (an interval from the pentatonic scale) and an ambiguous tonality. Rhythmic ostinatos, the 12/8 metre and polyrhythm in the African part of Zaidel-Rudolph’s Fanfare Festival Overture immediately bring about African ethnic associations. The bongos and marimba as African instruments can be found in both works.</li> <li> Grové and Zaidel-Rudolph approach the application of African ethnic elements in Western art music in different ways.</li></ul> Copyright / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted Fanfare festival overture Analysis Orchestration South african composers South african orchestral works African instruments Afrika-etniese elemente Orkestrasie Analise Suid-afrikaanse orkeswerke Afrika-instrumente Suid-afrikaanse komponiste Dansrapsodie - 'n afrika-stad African ethnic elements Jeanne zaidel-rudolf Stefans grové UCTD
394	Schopnost bonitních a bankrotní modelů předpovědět problémy v podniku / Ability of creditworthy and bankruptcy models to predict problems in the enterprise Hrušková, Veronika January 2014 (has links) This thesis deals with analysis of creditworthy and bankruptcy models. The aim is to analyze how are individual creditworthy and bankruptcy models able to predict problems in the company. Creditworthy and bankruptcy models are applied to 25 companies, which were facing problems during their life. These are mainly limited liability companies, but also there are joint-stock companies. A total of five sectors is analyzed. Manufacturing industry, construction, wholesale and retail trade, transportation and warehousing and professional, scientific and technical activities. Five creditworthy and bankruptcy models are analyzed: Altman model, model IN05, Taffler model, Springate analysis and balance analysis system according to Rudolf Doucha, which is used in two variants.
395	Katechetické aspekty v díle Rudolfa Horského / Catechetical Aspects in the Work of Rudolf Horský Chottová, Eliška January 2020 (has links) Katechetické aspekty v díle Rudolfa Horského Catechetical Aspects in the Work of Rudolf Horský Bc. Eliška Chottová Rudolf Horský, a theologian, catechist, bishop of the Czechoslovak Church, professor and dean of the Hus Czechoslovak Theological Faculty in Prague left behind, among other things, his works on catechetical themes. These works, which include, for example, How to Work with Children (Handbook for Religious Teachers and Volunteer Lay Preachers), How to Work with Youth, and A Child in the Living Church, can still be beneficial for working in the church today, especially in religious education of children and youth. The central point of Rudolf Horský's catechetical activities were the Sunday Schools and the Youth Union, that is the institutions aimed at religious education for children and youth. Horský, of course, emphasized the methods that should be used not only in religious teaching, which is also related to the character of the preacher, or a religious educator, i.e. a teacher, who should be properly educated not only in the given issue, but also in the child's soul, in order for the teaching to be as effective as possible. 1
396	Die Menschenwürde als Herausforderung für Staat und Gesellschaft: 12. Februar 2012 Baum, Gerhart Rudolf 24 May 2022 (has links) Gerhart Rudolf Baum (Bundesinnenminister a. D.) setzt sich als streitbarer Vordenker mit den Themen Extremismus und der Gefährdung der Demokratie auseinander. info:eu-repo/classification/ddc/306 ddc:306 info:eu-repo/classification/ddc/320 ddc:320
397	Enseigner au corps de l'acteur : le développement d'une pédagogie du mouvement dans les écoles de jeu au Royaume-Uni comme synthèse des pratiques de théâtre corporel en Europe Clavet, Samantha 15 November 2019 (has links) Ce mémoire s’intéresse à la combinaison possible de principes liés à la méthode pédagogique de Rudolf von Laban et à celle de Jacques Lecoq dans la conception d’une méthode de préparation physique de l’acteur. L’objectif principal de la recherche est de poser les bases une pédagogie issue de ces deux conceptions du corps théâtral visant le développement de la conscience corporelle de l’interprète de théâtre. En posant d’abord le cadre historique de l’émergence des pédagogies de ces deux praticiens par une étude de l’évolution de la formation de l’acteur en Occident au courant du XXe siècle, il m’a été possible de retracer leur chemin jusque dans les institutions de formation de l’acteur au Royaume-Uni, où certains principes développés par chacun d’eux se côtoient. Un approfondissement des éléments centraux des enseignements de Laban et Lecoq m’a permis de dégager les principes pédagogiques qui allaient guider les prémices du développement de ma propre méthode d’enseignement. Celle-ci a été validée au travers de la préparation et de l’enseignement d’ateliers de mouvement destiné à l’acteur de théâtre. En annexe du présent document se trouvent les plans de leçon desdits ateliers, de même qu’un retour sur l’enseignement de chacun d’entre eux. PN 1995.1 UL 2018 Laban, Rudolf von, 1879-1958 Lecoq, Jacques Direction d'acteur
398	Walter Benjamin und die Kunst des Graphischen Matsui, Takaoki 16 June 2008 (has links) Als Bild- und Medientheoretiker hinterließ Walter Benjamin nicht nur die berühmte „materialistische“ Auratheorie, sondern auch scheinbar esoterische Theorien der bildenden Kunst. Der Zusammenhang und Inhalt der beiden Theorien können erhellt werden, wenn wir genauer sehen, wie er sich dort mit der Beschreibung der Kindheit beschäftigte. Der Ursprung seiner Auratheorie liegt in seiner „Tagebuch“-Literatur, wo er in die melancholisch gefärbten Visionen der „Jugend“ zu versinken pflegte. Der topologische Aufbau dieser Visionen – ihre eigenartig „photo-graphische“ Struktur – soll mithilfe der Zweiten Topik Freuds analysiert werden. Und aufgrund dieser Analyse werden wir eine Revision der üblichen (übersimplifizierten) Gegenüberstellung von seinem historischen Materislismus und dem „apolitischen Formalismus“ Clement Greenbergs vornehmen. Greenbergs Kunstkritik dient aber auch zur Entschlüsselung der „esoterischen“ Bildtheorien Benjamins. Die letzteren verwirren uns vor allem deshalb, weil dort das Sehen der Kinder zuerst (um 1915) irreführender Weise nach den üblichen Dichotomien der Romantik (Linie / Farbe; männlich / weiblich; erwachsen / kindlich…) beschrieben worden war; ihren eigentlichen Inhalt konnte Benjamin erst präzisieren, als er – anhand seiner Betrachtungen der graphischen „Horizontalität“ und nach seinen Spekulationen über das magische Wesen von „Zeichen“ und „Mal“ (1917) – eine Trichotomie der Bildgattungen (Malerei / Graphik / getuschtes Bild) aufgestellt hatte. Wir rekonstruieren diese Theorieentwicklungen nicht nur durch detaillierte Bild- und Textanalysen, sondern auch unter Heranziehung seines „materialistischen“ Spätwerks (der Passagenarbeit und der „Berliner Kindheit“), da erst im letzteren der einzigartige Zusammenhang zwischen seinen frühen Bildtheorien und seiner Geldtheorie als „Konstellation“ sichtbar werden sollte. / Walter Benjamin’s writings on visual arts include not only the famous „materialistic“ essays on aura but also seemingly esoteric notes on painting and the graphic arts. The content and correlation of all these writings become clear once we grasp how they perform the task of describing childhood experience. His theory of aura was prefigured in his philosophical „Diaries“ where his struggle with his depression was often followed (or interrupted) by dreamlike visions of "youth". The discursive structure of these visions – which will prove to be a strangely „photo-graphic“ one – is to be analyzed by using the second Freudian topology as a comparison. Through this analysis we will be able to reconsider the well-known (oversimplified) antagonism between his historical materialism and the „apolitical formalism“ of Clement Greenberg from a new viewpoint. Greenberg’s criticism helps us also to decipher the „esoteric“ texts of Benjamin. They puzzled scholars especially because they described children’s vision at first (about 1915) misleadingly in accordance with the conventional dichotomies of Romanticism (line / color; masculine / feminine; adult / child…); Benjamin could specify their original implication only after he had set up – based on his reflexions on the „horizontality“ of the graphic arts, and by speculating further on the magic nature of „Zeichen“ and „Mal“ (1917) – a trichotomy of genres (painting / the graphic arts / ink and watercolor illustrations). We will reconstruct this development of his theory not only through detailed analyses of related works of art but also in view of his „materialistic“ late writings (the Arcades Project and „Berlin Childhood“), for it is only there that we find out an essential relation – a singular „constellation“ – of his early art theory and his theory of money. Aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Paul Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raffael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer Antinomie des Geschmacks ästhetische Idee Drogen Farbkonstanz Geldschleierthese Horizontalität Humor Mal Melancholie Tiergarten Todestrieb Urphänomen aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raphael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer aesthetic idea antinomy of taste color constancy death drive drugs goethean phenomenology horizontality humour „Mal“ melancholy veil of money zoo 750 Malerei 47 Photographie CI 1397 ddc:750
399	O espaço sagrado e o religioso na obra de claudio Pastro Sartorelli, Cesar Augusto 25 November 2005 (has links) Made available in DSpace on 2016-04-25T19:20:27Z (GMT). No. of bitstreams: 1 CesarSartorelli.pdf: 82712403 bytes, checksum: 53117bf040d047558c5f13fe79e7bff9 (MD5) Previous issue date: 2005-11-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Overall this sciences of religions essay is about architecture and art, but mainly its object is to treat specifically the fields wich refer to both the construction of religious spaces, and the hole art contained inside them and rised from them as well. These fields encircle painting, sculpture and, in addition, furniture and special pieces designed for the indoor spaces. More specifically, this essay also builts and reports its reflections based on the contemporary christian artwork and architectural spaces, produced and projected by artist and vernacular architect Claudio Pastro. The analysis in this essay approaches Pastro's biography through his unique process of working and criating, as a painter, pictorial artist, architect and sacred art expert. The second chapter explores Pastro's conceptions between sacred art and religious art, which are indeed different: each conception is clearly refeared, explained, discussed, compared to the other ones, and looked over through the eyes of Mircea Eliade's and Rudolf Otto's fenomenology. Still in the field of the Teology of the Art, the thinking of Romano Guardini about the sacred and the religious is also shown. In the third chapter we have a timeline brief of the history of art and sacred architecture, the bases of Pastro's work; then, a comparative study between his conception about the modern project related to the architecture and the vanguard arts. We also comment some brazilian architects projects, wich he admire and influenced him. Furthermore we comment the II Council of the Vatican and its propositions of liturgical renewal, wich led to the renew of sacred architeture and art, home of Pastro's realm of inspiration and concepts. We end with the analysis and critical reviewing of nine of his chapels and churches already built. In the conclusion, we comment the repercussion of Claudio Pastro's works, and the importance of his figure within the brazilian artistic and architectural panorama, as well as the concerns and limits of his concepts. Alongside with these questions, we leave to open minds some other further questions to be treated, about the relationships between art and religion, and art and the sacred. / Este trabalho em ciências da religião trata de arte e arquitetura, num campo especializado de ambas, que é a construção de espaços religiosos e a arte que nele se insere, abrangendo pintura, escultura, e o design de peças e mobiliário de seu interior. Mais especificamente estaremos tratando de arte e arquitetura sacras cristãs, contemporâneas, através da obra do artista sacro e arquiteto vernacular Claudio Pastro. A análise se inicia através de sua biografia e desenvolvimento de processo de trabalho, como artista plástico, gráfico, arquiteto vernacular e estudioso de arte sacra e espaço litúrgico. A seguir suas concepções, que colocam uma diferenciação entre arte sacra e arte religiosa, serão explicadas e discutidas, observadas através da fenomenologia de Mircea Eliade e Rudolf Otto. No âmbito da Teologia da Arte também exporemos o pensamento de Romano Guardini, citado como fonte dos conceitos de Claudio Pastro sobre sagrado e religioso. No terceiro capítulo fazemos um breve histórico da história da arte e arquitetura sacras, sobre o qual se apoia seu trabalho, acrescido de um estudo comparativo de sua concepção de arquitetura em relação ao projeto moderno , e com as vanguardas artísticas em artes plásticas. Comentamos também alguns projetos de arquitetos brasileiros que o influenciaram e que admira. De dentro da Igreja trataremos do Concílio Vaticano II e suas propostas de renovação litúrgica, que implicaram em renovações na arte e arquitetura sacras, a qual se filia Claudio Pastro. Encerramos com a análise e crítica de nove projetos de capelas e igrejas por ele realizados. Na conclusão situamos a repercussão de seus trabalhos e seu papel dentro da arte e arquitetura sacras católicas brasileiras, na prática, assim como a pertinência e limites de suas concepções e conceitos. No questionamento destes conceitos e concepções situamos questões em aberto, pertinentes à relação entre arte e religião, arte e o sagrado. Arte Arte sacra - Brasil arte religiosa arquitetura arquitetura sacra ícone iconografia projeto moderno vanguardas artísticas arquitetura românica Romano Guardini Rudolf Otto Mircea Eliade Roy Rapapport Lina Bo Bardi Matisse beneditinos Beuron afresco Art Sacred art Architecture religious art religious architecture Sacred architecture Claudio Pastro icon iconography modern architecture Bauhaus artistic vanguard romanic architecture Romano Guardini Rudolf Otto Mircea Eliade Roy Rapapport Lina Bo Bardi Matisse benedictines Beuron fresco
400	Mit dem Hörer ins Gespräch kommen : Situationsbezug der Predigt in der Epoche Johann Michael Sailers im Vergleich zur Gegenwart / Establishing a dialogue with the audience : the situational reference of the sermon in the epoch of Johann Michael Sailer in comparison to the present Richter, Klaus Max Erich 01 1900 (has links) Die kirchliche Verkündigung steht heute vor mannigfachen Herausforderungen. Das dynamische Beziehungsgeflecht von Prediger und Hörer, Text und Situation lässt sich nur schwer im Gleichgewicht halten. Prüft man die homiletischen Publikationen der Gegenwart und der jüngeren Vergangenheit, so wird deutlich, dass die Predigt sehr gründlich im Kontext der Hörersituation reflektiert wird. In diesem Zusammenhang ist auf einen möglichen Konflikt aufmerksam zu machen: die auf die Hörersituation bedachte Predigt kann versucht sein, den Anspruch des biblischen Textes zu vernachlässigen. Meine Dissertation will zur Frage der Hörerorientierung der Predigt einen klärenden Beitrag leisten, und zwar mithilfe eines homiletischen Vergleichs, der Epoche Johann Michaels Sailers mit der Gegenwart und jüngeren Vergangenheit. Bei aller kritischen Distanz zur geistesgeschichtlichen Bewegung der Aufklärung dürfen wir nicht übersehen, dass fruchtbare Impulse von ihr ausgegangen sind und zum Beispiel viele Anliegen der „katholischen Aufklärung“ im Zweiten Vatikanischen Konzil (1962-1965) wieder aufgegriffen wurden. Die weithin von anthropologischen Interessen geleiteten homiletischen Bemühungen während der Aufklärungsphase im 18. Jahrhundert stehen in einer erkennbaren Analogie zur gegenwärtigen Situation. In besonderer Weise wird die homiletische Konzeption des Pastoraltheologen und späteren Bischofs von Regensburg Johann Michael Sailer (1751-1832) dargestellt. Sein Entwurf einer christlichen Lebenslehre auf biblischem Fundament ist von bleibender Aktualität. Zum Vergleich, insbesondere im Blick auf die Hörererwartungen Situationsklärung, Solidarität und Zukunft, werden exemplarisch die homiletischen Entwürfe von Ernst Lange, Rudolf Bohren, Wilfried Engemann und Rolf Zerfaß herangezogen. / Preaching in the church today faces manifold challenges. The dynamic web of relationships between preacher and audience, text and situation is difficult to keep in balance. When analysing the homiletic publications of the present and recent past, it becomes apparent that the sermon is very thoroughly reflected with the context of the situation of the audience. In this connection, one has to draw attention to a possible conflict: a sermon designed with regard to the situation of the audience may be tempted to neglect the biblical text and its demands. Therefore, this thesis aims to make a clarifying contribution to the question of the audience orientation of sermons, namely by means of a homiletic comparison of the epoch of Johann Michael Sailer with the present and recent past. In spite of all critical distance to the history of thought of the Enlightenment Movement, we should not overlook the fact that fruitful impulses emanated from this time, and that, for example, many concerns of the “Catholic Enlightenment” were addressed again at the Second Vatican Council (1962-1965). The homiletic efforts of the Enlightenment period in the 18th century, which were widely led by anthropological interests, can be recognized as analogous to the current situation. The homiletic conception of the pastoral theologian and later Bishop of Regensburg, Johann Michael Sailer (1751-1832), will be described in particular. His conception of Christian ethical teaching on a biblical foundation is of timeless relevance. As comparison, the homiletic drafts of Ernst Lange, Rudolf Bohren, Wilfried Engemann and Rolf Zerfaß will be exemplarily analysed, particularly with regard to the expectation of the audience. / Philosophy, Practical and Systematic Theology / D. Th. (Practical Theology) Aufklärung Bohren Engemann Homiletik Kerygma Lange Moderne Postmoderne Praktische Theologie Predigt Predigthörer Sailer Verkündigung Zerfaß Enlightenment Period Homiletics Modernity Postmodernism Practical Theology Preacher Sermon Sermon audience Preaching 251.00943 Sailer, Johann Michael, 1751-1832 Lange, Ernst, 1927-1974 Bohren, Rudolf, 1920- Engemann, Wilfried Zerfass, Rolf Preaching -- Germany -- History Theology, Practical -- Germany Enlightenment -- Germany

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