國立高雄大學圖資館 |

語系: 繁體中文

說明(常見問題)

圖資館首頁

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Style in motion: A dialogue between ...

Guillemin, Anna Claire.

Style in motion: A dialogue between art history and literature, 1890--1935 (Germany).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Style in motion: A dialogue between art history and literature, 1890--1935 (Germany).
作者:	Guillemin, Anna Claire.
面頁冊數:	338 p.
附註:	Director: Sandra Bermann.
附註:	Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3293.
Contained By:	Dissertation Abstracts International66-09A.
標題:	Literature, Germanic.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3188651
ISBN:	9780542306389

Style in motion: A dialogue between art history and literature, 1890--1935 (Germany).
Guillemin, Anna Claire.

Style in motion: A dialogue between art history and literature, 1890--1935 (Germany). - 338 p.

Director: Sandra Bermann.

Thesis (Ph.D.)--Princeton University, 2005.

Style meant different things in art history and literature at the end of the nineteenth century. The German art historian Aby Warburg was one of the first to reject his field's formalist approach and examine the figurative, literary implications of Botticelli's wind-swept, styled nymphs. Thinking about style, even more radically, as a subcategory of linguistics, both Aby Warburg and the German Romanist Karl Vossler independently examined the tension between individual stylistic expression and artistic norms and conventions. Art history and Romanistik also focused on national styles and cultural differences---the theme of a conservative talk given by Austrian poet Hugo von Hofmannsthal at Munich University in 1927. Munich Rector Karl Vossler's speeches of the same year took issue with his invitee's nationalistic use of style. Vossler and two younger Romanists, Spitzer and Auerbach, concentrated instead on the reserve and decorum of French Classicism's Jean Racine. Leo Spitzer, in a monumental essay, analyzed the playwright's individual linguistic tics, refocusing style on the particular artist rather than the culture. In art history the Vienna-based Julius von Schlosser argued for a similar redefinition of style, but neither of these skilled close readers nor Erich Auerbach in his soon-to-be influential Mimesis could refrain from using the stylistic detail to illuminate a larger cultural history. The disciplinarily fluid investigative concept of style would dictate a practice of reading still familiar today.

ISBN: 9780542306389Subjects--Topical Terms:

212424
Literature, Germanic.

Style in motion: A dialogue between art history and literature, 1890--1935 (Germany).
LDR:03287nmm _2200289 _450 001 170856
005 20061228142304.5
008 090528s2005 eng d
020 $a 9780542306389
035 $a 00242886
040 $a UnM $c UnM
100 0 $a Guillemin, Anna Claire. $3 244887
245 1 0 $a Style in motion: A dialogue between art history and literature, 1890--1935 (Germany).
300 $a 338 p.
500 $a Director: Sandra Bermann.
500 $a Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3293.
502 $a Thesis (Ph.D.)--Princeton University, 2005.
520 # $a Style meant different things in art history and literature at the end of the nineteenth century. The German art historian Aby Warburg was one of the first to reject his field's formalist approach and examine the figurative, literary implications of Botticelli's wind-swept, styled nymphs. Thinking about style, even more radically, as a subcategory of linguistics, both Aby Warburg and the German Romanist Karl Vossler independently examined the tension between individual stylistic expression and artistic norms and conventions. Art history and Romanistik also focused on national styles and cultural differences---the theme of a conservative talk given by Austrian poet Hugo von Hofmannsthal at Munich University in 1927. Munich Rector Karl Vossler's speeches of the same year took issue with his invitee's nationalistic use of style. Vossler and two younger Romanists, Spitzer and Auerbach, concentrated instead on the reserve and decorum of French Classicism's Jean Racine. Leo Spitzer, in a monumental essay, analyzed the playwright's individual linguistic tics, refocusing style on the particular artist rather than the culture. In art history the Vienna-based Julius von Schlosser argued for a similar redefinition of style, but neither of these skilled close readers nor Erich Auerbach in his soon-to-be influential Mimesis could refrain from using the stylistic detail to illuminate a larger cultural history. The disciplinarily fluid investigative concept of style would dictate a practice of reading still familiar today.
520 # $a The following study shows how a handful of late-nineteenth and early-twentieth-century German-speaking critics relied on the interpretive term style in their research. It argues that through an interdisciplinary dialogue a number of art historians and Romance language scholars developed a new stylistic strategy of reading. Their writing---not feuilletonist cultural criticism but specialized university scholarship at its most powerful---combined philology, linguistics, and artifact-bound museum work. Nonetheless, the politics of the 1920s and 30s changed German universities and when highly trained critics like Leo Spitzer and Erich Auerbach immigrated to the United States, stylistic analysis became the backbone of modern comparative literature.
590 $a School code: 0181.
650 # 0 $a Literature, Germanic. $3 212424
650 # 0 $a Art History. $3 212490
650 # 0 $a Literature, Comparative. $3 178247
690 $a 0295
690 $a 0311
690 $a 0377
710 0 # $a Princeton University. $3 212488
773 0 # $g 66-09A. $t Dissertation Abstracts International
790 $a 0181
790 1 0 $a Bermann, Sandra, $e advisor
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://libsw.nuk.edu.tw:81/login?url=http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3188651 $z http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3188651