This thesis explores the reception history of Antinous, favourite to the roman emperor Hadrian. Using Michel Foucault's genealogical method, the aim of the thesis is to examine and conclude that Antinous is still, albeit at times hidden, the archetype of the young beautifulman in Western visual culture by examining the expressions of the representation and reception of Antinous as a male ideal of beauty and its change over time. The thesis also poses the question whether it is possible, with the employment of Foucault’s concept of genealogy, to approach the development over time of Antinous’s discourse, and to establish that its core is a male ideal of beauty that can at any time be linked, explicitly or implicitly, to Antinous. Furthermore, in order to answer the research questions and thus, be able to trace Antinous's reception, this essay uses material that lies outside a purely art historical discipline. In addition to artistic and visual images of Antinous från antiquity to the late nineteen-eighties, widespread fiction from authors such as Oscar Wilde, Thomas Mann and Herman Bang alongwith the feature films The Wings and Death in Venice have been thoroughly investigated in search of an Antinous type, along with the art historical writings of Johan Joachim Winckelmann and Viktor Rydberg. Lastly, the study succeeds in conveying that Antinous's distinctive traits, which arose from an apotheosis nearly two thousand years ago and which began when the historical figure Antinous ended his days in the Nile, have survived both a disappearance from the public consciousness and a coding as a homosexual icon and, for that specific reason, a concealment during different succeeding historical periods. Nevertheless, as this thesis establishes, the image and myth of Antinous has still operated whilst remaining in a hidden existence, and in spite of all the above, these traits have re-emerged as universal male traits in a typology of beauty whose overall significance for the male ideal is conspicuously provable.

Le présent travail de thèse portant sur la vie et l’œuvre de Carl Ludwig Fernow a pour principal objectif de présenter sous un jour nouveau la genèse de ses idées sur la théorie de l’art, aussi à l’égard des aspects socioculturels et anthropologiques de son temps. Pour ce qui est des principaux axes de recherche, on tentera, dans un premier temps, de reconstruire les sources philosophiques ayant nourri sa pensée esthétique et surtout les écrits de Kant, de Schiller et de Winckelmann, tout en opérant une sélection des textes les plus importants. Puis, nous nous demanderons, dans un deuxième temps, dans quelle mesure les monographies d’artistes de Fernow comportent des élans sociocritiques, se dirigeant non seulement contre la politique de formation des académies, mais également contre l’hétéronomie de la production artistique de son temps. Cet aspect sera envisagé sous la forme d’une comparaison de la monographie d’Arioste à celles d’Antonio Canova et d’Asmus Jakob Carstens. La troisième partie sera consacrée à une présentation synthétique des idées esthétiques de Fernow, afin d’évaluer, de façon cohérente et sous un nouveau jour, de l’originalité de sa conception de l’art autonome. / AThe main target of the present study is to reconstruct the genesis of the esthetical ideas of the German art theoretician and writer Carl Ludwig Fernow (1763-1808), whose work and intellectual importance has been recently rediscovered and revalued by several researches. Carl Ludwig Fernow’s name is particularly related to the art discussion of the so called “Weimarian art friends”, the circle of amateurs of beauty who assembled very famous members and personalities such as Goethe, Schiller and Meyer. However, Fernow has always acted in the shadow of these main actors, trying to make him known as an author. Thus, quite a number of his publications and articles in German appeared in German well known revues such as “The Propylees”, “The new Mercury” or “The journal of fashion and luxury” have never been touched a large public, but still would merit a closer look, based on a reexamination of the role he played for the formation of the movement of art’s autonomy, in order to show his art theory, resuming his main ideas and concepts concerning the character, the ideal of beauty and the enthusiasm of the artiste, which he personally considered as the principal components of genuine art expression representing the key to real artistic creation.

<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>

Cette thèse en histoire de l’art propose une relecture anthropologique des deux principaux écrits de J.-J. Winckelmann (1717-1768), Réflexions sur l’imitation des œuvres grecques en peinture et en sculpture (1755) et Histoire de l’art dans l’Antiquité (1764). Elle cherche à déplacer les centres de gravité théoriques (le beau, l’imitation, le sublime, « la grandeur sereine »…) retenus par l’historiographie classique afin de mettre en évidence les finalités imaginaires de l'entreprise winckelmanienne. Celles-ci vont transformer l'art grec en objet de désir et le soumettre à une double appropriation : l'appropriation du corps charnel de l'éphèbe grec et l'appropriation d'une culture antique offrant à la Kultur allemande la possibilité de rivaliser avec la civilisation française. Si l’Apollon du Belvédère vérifie le désir d’un corps fantasmé, le Laocoon devient le manifeste d'un désir de « culture ». Il s'agira de montrer que ces visées imaginaires de Winckelmann ne relèvent pas du seul désir idiosyncrasique. Non seulement elles mettent en forme les attentes de toute une génération (celle de Herder, Lessing, Goethe...) mais en plus elle convoque cette science propre au XVIIIe siècle, que l’on appelle déjà l’anthropologie, qui prétend étudier l'être humain aussi bien dans ses aspects physiques (anatomie, pathologie, physiologie...) que culturels (l’histoire des origines, la climatologie, la philosophie politique...). Ainsi les références scientifiques s'engouffrent dans la description de la nudité des corps, dans laquelle Winckelmann fait palpiter les chairs de marbre, relève les mutilations, les points délicieux ou obscènes dans un regard à la fois clinique et amoureux. De même, son exploration de la Grèce antique, qui vise la fondation d'une mémoire culturelle, mêle étroitement un sentiment de tragique et une érudition d'archéologue et d'antiquaire sans pareil. Au-delà du corpus winckelmannien, cette relecture pose des questions à la pratique de l’« anthropologie visuelle » (A. Warburg, G. Didi-Huberman, H. Belting…) qui tout en prétendant renouveler en profondeur les objets et les méthodes de l'histoire de l’art classique laisse intact le fondateur de la discipline et sa définition apollinienne de l'art grec. Il s'agira pour nous, au contraire, de montrer qu'un métissage de contenus traverse de part en part les écrits de Winckelmann et se trouve au fondement de son esthétique. Sa conception du temps et de l’histoire, par exemple, à mille lieux de la thèse humaniste de l’historia magistra, est hantée par le deuil d’un « passé antique mort à tout jamais » et ne cesse de différer le présent d'avec lui-même. Cette lecture mélancolique de l'antiquité, qui multiplie les représentations spectrales, offre une réconciliation inattendue entre l’histoire de l’art et l’anthropologie visuelle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Winckelmann, art, histoire, historiographie, anthropologie, antiquité, Grèce, visuel.

Inaug.-diss.--Leipzig. / Lebenslauf.

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.

This work is focused on the work The Birth of Tragedy by Friedrich Nietzsche. The aim of this work is an attempt to reveal the origin of the concept of the apollinian and dionysian principle. We assume that Nietzsche conceals his true sources in the Birth of Tragedy from the reader. However, in this work, based on numerous clues from the primary text, we show that both the Dionysian and the Apollonian principle derives from the German Romantic tradition of the first half of the 19th century. In this thesis we prove this statement on many examples of authentic sources which Nietzsche has demonstrably worked with. The main "discovery" of the work lies in the historical contextualization of the formation of both principles within the conflict between Romanticism and Classicism concerning the true nature of Greek culture.

Seit der zweiten Hälfte des 20. Jahrhunderts wächst das Interesse in der Klassischen Archäologie an einer wissenschaftsgeschichtlichen Beschäftigung mit dem eigenen Fach. Standen zunächst die Arbeiten und Biographien einzelner herausragender Forscherpersönlichkeiten im Fokus, so trat bald die Frage nach der Genese archäologischer Techniken oder Begrifflichkeiten neben diese. In der Klassischen Archäologie, wie auch in den Nachbardisziplinen Althistorie und Altphilologie, entstanden in der Folge einige Arbeiten zu diesen Fragestellungen. Zumeist wurde die Wissenschaftsgeschichte der Archäologie im Allgemeinen oder der Klassischen Archäologie im Besonderen behandelt, einzelne Abhandlungen befassen sich auch mit den Epochenbegriffen Klassik oder Hellenismus. Nur verhältnismäßig wenige Arbeiten thematisieren wissenschaftsgeschichtlich die Begriffe „archaisch“ / „Archaik“ und in diesen wird überwiegend auf allgemeinere kulturhistorische Aspekte abgehoben. Eine gründliche Untersuchung der Entwicklung des vielschichtigen Begriffs Archaik in der Klassischen Archäologie stellt bislang ein Desiderat der Forschung dar. Die allmähliche Einengung des Begriffs „archaisch“ auf einen Stilbegriff für die frühgriechischen Kunstwerke der Zeit von ca. 700 bis 480 v. Chr. im Wissenschaftsdiskurs der Zeit sowie die Rezeption der archaischen Denkmäler durch die jeweiligen Forscher wird daher eingehend betrachtet. Die Untersuchung erfolgt vor der Folie der fortlaufenden Entdeckung und Erforschung der archaisch-griechischen Kunst von den Anfängen bis in das letzte Drittel des 19. Jahrhunderts. Dabei wird das zeitliche Verhältnis der Herausbildung des Stilbegriffs „archaisch“ im Sinne von „alt“, „ursprünglich“, frei von einer pejorativen Konnotation und schließlich des Epochenbegriffs dargelegt, wobei „Epoche“ hier nicht nur eine Zeitperiode, sondern eine zeitlich umrissene Kulturstufe bedeutet. / Since the second half of the 20th century the interest grows in the classical archaeology in a science-historical employment of own field. If the works and biographies of single important researcher’s personalities stood first in the focus, the question soon stepped after the genesis of archaeological technologies or concepts beside this. In the classical archeology, as well as in the neighbouring disciplines old history and classics, some works originated subsequently to these questions. Mostly the science history of the archeology was treated generally or the classical archeology in particular, single treatises also deal with the epoch concepts Classical period or Hellenism. Only relatively few works pick out as a central theme science-historically the concepts “archaically” / “Archaic” and in this it is removed predominantly on more general cultural-historical aspects. A thorough investigation of the development of the multilayered concept Archaic in the classical archeology shows up to now a desiderat of the research. Hence, the gradual constriction of the concept “archaically” on a style concept for the early-greek pieces of art of the time of approx. 700 to 480 B. C. in the science discourse of the time as well as the adoption of the archaic monuments by the respective researchers is looked thoroughly. The investigation occurs against the backdrop of the sequential discovery and investigation of the archaic-greek art from the beginnings till the last third of the 19th century. Besides, the temporal relation of the formation of the style concept is demonstrated “archaically” in terms of “old”, “originally”, freely by a pejorative connotation and, finally, of the epoch concept and “epoch” means here not only a time period, but a chronologically outlined cultural step.

Im Februar 2017 hatte die SLUB das große Glück, einen bisher verschollen geglaubten Teil der Korrespondenz zwischen dem Altertumsforscher und Kunsthistoriker Johann Joachim Winckelmann (1717–1768) und dem Grafen Joseph Anton Gabaleon von Wackerbarth-Salmour (1685–1761), Erzieher und Oberhofmeister des sächsischen Kurprinzen Friedrich Christian (1722-1763), mit großzügiger finanzieller Unterstützung der Ernst von Siemens Kunststiftung (EvS) und der Kulturstiftung der Länder (KSL) erwerben zu können. Am 25. September 2017 wurde die außergewöhnliche Erwerbung im Beisein der Staatsministerin für Wissenschaft und Kunst Dr. Eva-Maria Stange, des Generalsekretärs der EvS Dr. Martin Hoernes, des kommissarischen Generalsekretärs der KSL Prof. Dr. Frank Druffner und des Herausgebers der Winckelmann-Gesamtausgabe Prof. Dr. Max Kunze offiziell vorgestellt.

Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau id&eacute;al' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau id&eacute;al' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau id&eacute;al' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.