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In einer vergleichenden Untersuchung zu zwei Autoren aus der zweiten Hälfte des 19. Jahrhunderts mit unterschiedlicher Rezeptionsgeschichte - Wilhelm Raabe und Paul Heyse - nimmt Christoph Grube detailliert die vielfältigen Entscheidungen in den Blick, die zur Kanonisierung bzw. Dekanonisierung des jeweiligen Autors führten. Über die konkreten Fälle hinaus validiert er bisherige Kanontheorien und entwirft anhand verallgemeinerbarer Mechanismen eine durch weitere Forschung zu überprüfende Theorie literarischer Kanonisierungsprozesse. »Die Leistung der Studie besteht damit vor allem darin, aufgezeigt zu haben, dass die Identitätsbildungsfunktion der Literaturgeschichtsschreibung des 19. Jahrhunderts von quasi eigendynamischen Topoibildungen mitgeprägt ist, die nur noch wenig mit genuin ästhetischen Kriterienmengen zu tun haben.« Madleen Podewski, Jahrbuch der Raabe-Gesellschaft (2017) Besprochen in: Year's Work in Modern Language, 76 (2016), Dagmar Paulus Deutschunterricht, 1 (2015), Kai Aghte
Wilhelm Raabe; Paul Heyse; Kanon; Literaturgeschichte; Ästhetik; Wissenschaftsgeschichte; Kultur; Bürgertum; Imagologie; Stereotyp; Literaturkritik; Literaturwissenschaft; Literatur; Allgemeine Literaturwissenschaft; Germanistik; Canon; History of Literature; Aesthetics; History of Science; Culture; Imagology; Cultural Construction; Literary Criticism; Literary Studies; Literature; General Literature Studies; German Literature --- Heyse, Paul, --- Raabe, Wilhelm, --- Criticism and interpretation. --- Criticism and appreciation. --- Aesthetics. --- Canon. --- Cultural Construction. --- Culture. --- General Literature Studies. --- German Literature. --- History of Literature. --- History of Science. --- Imagology. --- Literary Criticism. --- Literary Studies. --- Literature. --- Paul Heyse.
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Painting landscapes was very much a private activity for Peter Paul Rubens. Whilst the majority of his other works were commissioned, the landscapes seem to have been painted for his own pleasure and delight and stayed in the artist’ s possession until his death. Most of them were painted in the last decade of his life; a happy period, in which Rubens retired from public duties and spent most of his free time studying the antique and enjoying sojourns on his country estate, castle Het Steen.0To grasp this profoundly personal character of Rubens’ s landscapes, this book considers the artist’ s highly complex method of pictorial invention to illuminate the perception, implementation, dissemination, and posthumous reception of views on nature and landscape as depicted in Rubens’ s landscape art.
Nature --- landscapes [representations] --- Rubens, Peter Paul --- Painters --- Landscape painting, Flemish --- Landscape prints, Flemish --- Peintres --- Peinture de paysages flamande --- Estampe de paysages flamande --- Attitudes --- Rubens, Peter Paul, --- Painting, Flemish --- Landscape prints, Dutch --- Nature in art. --- Nature (Aesthetics) --- Landscapes in art. --- History --- Criticism and interpretation. --- Themes, motives. --- Nature in art --- Landscapes in art --- Criticism and interpretation --- Themes, motives --- Painting, Flemish - 17th century --- Landscape painting, Flemish - 17th century --- Landscape prints, Dutch - 17th century --- Nature (Aesthetics) - History - 17th century --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640 - Themes, motives --- Rubens, Peter Paul, - 1577-1640
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