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Brian B. Schmidt präsentiert fünf Fallstudien, in denen architektonische Räume, Artefakte, Inschriften und biblische Handschriften die Existenz eines kraftvollen daimonischen Reichs im späten vorexilischen Israel bestätigen.
Jewish magic. --- Magic --- Jews --- Jews --- Biblical teaching. --- Social life and customs --- Social life and customs. --- Palestine --- Antiquities. --- Demonology --- Apotropaism --- Pandemonium --- Iconism --- Aniconism --- Antike Religionsgeschichte --- Religionswissenschaft --- Antike --- Altes Testament
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Bringing together recent scholarship on Islamic art, architecture, and archaeology being conducted in Canada and by Canadian scholars, Made for the Eye of One Who Sees provides the first survey of the Canadian contributions to this developing field. It covers topics from across the Islamic world dating from the eighth century to the present.
Museums. --- Africa. --- Central Asia. --- Charles Trick Currelly. --- Egypt. --- Fatimid. --- Henri Bergson. --- Henri Matisse. --- Indian Subcontinent. --- Iran. --- Islam. --- Mamluk. --- Middle East. --- Mughal. --- Royal Ontario Museum. --- Safavid. --- Syria. --- Timurid. --- Umayyad. --- aesthetics. --- amulet. --- aniconism. --- architecture. --- art history. --- calligraphy. --- ceramics. --- collecting. --- drainpipes. --- epigraphy. --- exhibition design. --- giraffe. --- iconography. --- lustre. --- manuscript painting. --- mosque. --- new media. --- palace. --- paper. --- writing. --- Islamic countries. --- Ontario
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Béla Bartók, who died in New York fifty years ago this September, is one of the most frequently performed twentieth-century composers. He is also the subject of a rapidly growing critical and analytical literature. Bartók was born in Hungary and made his home there for all but his last five years, when he resided in the United States. As a result, many aspects of his life and work have been accessible only to readers of Hungarian. The main goal of this volume is to provide English-speaking audiences with new insights into the life and reception of this musician, especially in Hungary. Part I begins with an essay by Leon Botstein that places Bartók in a large historical and cultural context. László Somfai reports on the catalog of Bartók's works that is currently in progress. Peter Laki shows the extremes of the composer's reception in Hungary, while Tibor Tallián surveys the often mixed reviews from the American years. The essays of Carl Leafstedt and Vera Lampert deal with his librettists Béla Balázs and Melchior Lengyel respectively. David Schneider addresses the artistic relationship between Bartók and Stravinsky. Most of the letters and interviews in Part II concern Bartók's travels and emigration as they reflected on his personal life and artistic evolution. Part III presents early critical assessments of Bartók's work as well as literary and poetic responses to his music and personality.
Bartók, Béla, --- Ashikaga. --- Barthes, Roland. --- Bassui Tokusho. --- Bishamon. --- Bodhisattva Precepts. --- Chanyuan qinggui. --- Daijōji. --- Denkdroku. --- Eiheiji. --- Eikan. --- Ejō. --- Famensi. --- Four Gates. --- Gien. --- Gunabhadra. --- Gyōki. --- Han Yu. --- Hanshan Dequing. --- Hirata Atsutane. --- Jakuen. --- Jōjin. --- Kakunyo. --- Kohō Kakumyō. --- Le Goff, Jacques. --- Mauss, Marcel. --- Mujaku Dochu. --- Nāgārjuna. --- Prasenajit (King). --- Qingyuan (Xingsi). --- Rujing. --- Ryōan Emyōp. --- Shasekishū. --- Shenhui. --- Tambiah, Stanley. --- abhiseka. --- aniconism. --- double. --- honji suijaku. --- iconoclasm. --- imaginaire. --- kechimyaku. --- manjala. --- okibumi. --- samädhi. --- warrior-monks.
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In the first comprehensive study of Jewish identity and its meaning for the history of art, eleven influential scholars illuminate the formative role of Jews as subjects of art historical discourse. At the same time, these essays introduce to art history an understanding of the place of cultural identity in the production of scholarship. Contributors explore the meaning of Jewishness to writers and artists alike through such topics as exile, iconoclasm, and anti-Semitism. Included are essays on Anselm Kiefer and Theodor Adorno; the effects of the Enlightenment; the rise of the nation-state; Nazi policies on art history; the criticism of Meyer Schapiro, Clement Greenberg, and Aby Warburg; the art of Judy Chicago, Eleanor Antin, and Morris Gottlieb; and Jewish patronage of German Expressionist art. Offering a new approach to the history of art in which the cultural identities of the makers and interpreters play a constitutive role, this collection begins an important and overdue dialogue that will have a significant impact on the fields of art history, Jewish studies, and cultural studies.
Arts, Modern --- Jewish arts. --- Jews in art. --- Jews --- HISTORY / Medieval. --- Identity, Jewish --- Jewish identity --- Jewishness --- Jewish law --- Jewish nationalism --- Jewish way of life in art --- Arts, Jewish --- Arts --- 20th century. --- Identity. --- Ethnic identity --- Race identity --- Legal status, laws, etc. --- abstract art. --- aby warburg. --- aesthetic. --- aniconism. --- anselm kiefer. --- anti semitism. --- art history. --- art. --- assimilation. --- berlin. --- clement greenberg. --- cultural identity. --- cultural studies. --- eleanor antin. --- enlightenment. --- exile. --- german expressionism. --- german expressionist art. --- iconoclasm. --- jewish art. --- jewish identity. --- jewish patronage. --- jewish studies. --- jewishness. --- judaism. --- judy chicago. --- meyer schapiro. --- modern art. --- morris gottlieb. --- nazi germany. --- nazis. --- religion. --- theodor adorno.
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