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Traum und Inspiration
Transformationen eines Topos in Literatur, Kunst und Musik
Series: - Traum – Wissen – Erzählen, Volume: 2
Editors:
and
Christiane Solte-Gresser
Christiane Solte-Gresser
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Marlen Schneider
Marlen Schneider
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Contributors:
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Andrea Allerkamp
Andrea Allerkamp
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Joachim Harst
Joachim Harst
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Marlen Schneider
Marlen Schneider
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Magdalena Zorn
Magdalena Zorn
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Margot Dacheux
Margot Dacheux
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Linda Weiß
Linda Weiß
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David Zagoury
David Zagoury
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Giulio Boato
Giulio Boato
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Yulia Mevissen
Yulia Mevissen
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Anna Rick
Anna Rick
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Katina Baharova
Katina Baharova
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Janina Sara Klein
Janina Sara Klein
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Jennifer Owen
Jennifer Owen
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Christian Quintes
Christian Quintes
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Florence Fesneau
Florence Fesneau
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Martine Anderlini
Martine Anderlini
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Träume gelten schon seit der Antike als Quelle der Inspiration. Anhand medienübergreifender, interdisziplinärer Analysen entwirft dieser Band erstmals ein differenziertes Bild der Funktionen und Deutungen dieses zentralen Topos der europäischen Kulturgeschichte.
Insbesondere ab dem ausgehenden 18. Jahrhundert werden Träume zunehmend als Erfahrungsräume für künstlerische Kreativität nutzbar gemacht. Doch die Rede vom Träumer als Künstler beziehungsweise vom Künstler als Träumer durchzieht nicht nur den philosophischen und kunsttheoretischen Diskurs der Romantik und daran anknüpfender Künstler- und Schriftstellergenerationen. Sie findet sich bis heute in zahlreichen Werken der Literatur, Malerei und Grafik, ja selbst im Theater und in der Musik wieder. Dabei erscheint der Traum als produktiver Bewusstseinszustand, in dem der Kunstschaffende besonders empfänglich ist für die Regungen der eigenen Imaginationskraft oder auch für von außen herangetragene Eingebungen transzendenten Ursprungs.
Insbesondere ab dem ausgehenden 18. Jahrhundert werden Träume zunehmend als Erfahrungsräume für künstlerische Kreativität nutzbar gemacht. Doch die Rede vom Träumer als Künstler beziehungsweise vom Künstler als Träumer durchzieht nicht nur den philosophischen und kunsttheoretischen Diskurs der Romantik und daran anknüpfender Künstler- und Schriftstellergenerationen. Sie findet sich bis heute in zahlreichen Werken der Literatur, Malerei und Grafik, ja selbst im Theater und in der Musik wieder. Dabei erscheint der Traum als produktiver Bewusstseinszustand, in dem der Kunstschaffende besonders empfänglich ist für die Regungen der eigenen Imaginationskraft oder auch für von außen herangetragene Eingebungen transzendenten Ursprungs.
Dreams have been a source of inspiration since ancient times. On the basis of cross-media, interdisciplinary analyses, this volume for the first time presents a differentiated picture of the functions and interpretations of this central topos of European cultural history.
From the end of the 18th century in particular, dreams are increasingly being used as spaces of experience for artistic creativity. But the talk of the dreamer as an artist or of the artist as a dreamer not only pervades the philosophical and art-theoretical discourse of Romanticism and the generations of artists and writers who take up from it. It can still be found today in numerous works of literature, painting and graphic art, even in theatre and music. The dream appears as a productive state of consciousness, in which the artist is particularly receptive to the impulses of his or her own imaginative power or also to ideas of transcendent origin brought from outside.
From the end of the 18th century in particular, dreams are increasingly being used as spaces of experience for artistic creativity. But the talk of the dreamer as an artist or of the artist as a dreamer not only pervades the philosophical and art-theoretical discourse of Romanticism and the generations of artists and writers who take up from it. It can still be found today in numerous works of literature, painting and graphic art, even in theatre and music. The dream appears as a productive state of consciousness, in which the artist is particularly receptive to the impulses of his or her own imaginative power or also to ideas of transcendent origin brought from outside.
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Marlen Schneider ist wissenschaftliche Assistentin des Direktors am Deutschen Forum für Kunstgeschichte in Paris.
Christiane Solte-Gresser ist Professorin für Allgemeine und Vergleichende Literaturwissenschaft an der Universität des Saarlandes.
Christiane Solte-Gresser ist Professorin für Allgemeine und Vergleichende Literaturwissenschaft an der Universität des Saarlandes.