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  • Author or Editor: Petra maria Meyer x
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In: Skulptur lehren
In: Intuition
In: Intuition
In: Intuition
In: Intuition
In: Intuition
In: Bild und Stimme

Dreams as the medium of a different memory, of memory of the Other or as the experience of a transcending, are the centre of interest in this excursion. Recall, as a medium of the stuff of experience and thoughts experienced and thought, cannot itself be represented, so any reflection upon it can only take place via discourses on recall; likewise any contemplation of dreaming can only subsist if related to variations of dream discourse through history. Thence ‚what is known of dreams‘, dream discourses, are regular points of reference. These references only become interesting, however, where they emerge as a precipitate in the arts and their media. Analysing extant examples thus forms a major strategy of approach

The conditions pertaining to the staging of dreams in Calderón de la Barca’s La vida es suen (Life is a dream) of 1634/5 and Catharina von Georgien (1657) by Andreas Gryphius, two archetype seventeenth-century dramatic scripts, are examined with respect to the terms of discourse of that time.To highlight what is eratranscending in this subject-matter, the excursion concludes with a view onto the twentieth century in the instance of a film production from the Hollywood dream factory – Paul Verhoeven’s Total Recall (1990)

The study has a double perspective. One, through media theory, looks at the position of the drama in early post-Renaissance times and of the film in the twentieth century; the other, through analysis of discourse, takes in philosophy and the arts

In: Signatur und Phantastik in den schönen Künsten und in den Kulturwissenschaften der frühen Neuzeit
In: Fassaden?