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The cultural milieu in the “Age of Goethe” of eighteenth-century Germany is given fresh context in this art historical study of the noted writers’ patroness: Anna Amalia, Duchess of Weimar-Sachsen-Eisenach. An important noblewoman and patron of the arts, Anna Amalia transformed her court into one of the most intellectually and culturally brilliant in Europe; this book reveals the full scope of her impact on the history of art of this time and place. More than just biography or a patronage study, this book closely examines the art produced by German-speaking artists and the figure of Anna Amalia herself. Her portraits demonstrate the importance of social networks that enabled her to construct scholarly, intellectual identities not only for herself, but for the region she represented. By investigating ways in which the duchess navigated within male-dominated institutions as a means of advancing her own self-cultivation – or Bildung – this book demonstrates the role accorded to women in the public sphere, cultural politics, and historical memory. Cumulatively, Christina K. Lindeman traces how Anna Amalia, a woman from a small German principality, was represented as an active participant in enlightened discourses. The author presents a novel and original argument concerned with how a powerful woman used art to shape her identity, how that identity changed over time, and how people around her shaped it – an approach that elucidates the power of portraiture in eighteenth- and early nineteenth-century Europe.
The mood of systemic crisis that has marked the early 21st century has been accompanied by an upsurge in Marxist thought in a whole range of domains and extends to art history. In this volume 19 scholars from different generations, different national contexts and with different relationships to Marxism reflect on the status of 18 "keywords" with special pertinence to Marxist art-historical inquiry today. Starting point of the researches was the knowledge that while certain keywords have been crucial to recent developments in Marxist art history and cultural theory more broadly, others seem to have slipped out of view. The scholars are not so much interested in the "historical semantics" of words – although that plays some role in the essays – as in the present state of Marxist art history.
How do gender and power relationships affect the expression of family, House and dynastic identities? The present study explores this question using a case study of the House of Orange-Nassau, whose extensive visual, material and archival sources from both male and female members enable the authors to trace their complex attempts to express, gain and maintain power: in texts, material culture, and spaces, as well as rituals, acts and practices. The book adopts several innovative approaches to the history of the Orange-Nassau family, and to familial and dynastic studies generally. Firstly, the authors analyse in detail a vast body of previously unexplored sources, including correspondence, artwork, architectural, horticultural and textual commissions, ceremonies, practices and individual actions that have, surprisingly, received little attention to date individually, and consider these as the collective practices of a key early modern dynastic family. They investigate new avenues about the meanings and practices of family and dynasty in the early modern period, extending current research that focuses on dominant men to ask how women and subordinate men understood 'family' and 'dynasty', in what respects such notions were shared among members, and how it might have been fractured and fashioned by individual experiences. Adopting a transnational approach to the Nassau family, the authors explore the family's self-presentation across a range of languages, cultures and historiographical traditions, situating their representation of themselves as an influential House within an international context and offering a new vision of power as a gendered concept.
Leuthen (1757) is one of the best-known battles of the Seven Years' War, the most consequential conflict in continental Europe between the Thirty Years' War and the wars of Revolutionary and then Napoleonic France. It was a victory against the odds, over a vastly superior Austrian enemy who held the initiative in the war. Leuthen confirmed the reputation of Frederick II ('the Great') of Prussia as one of history's greatest military commanders. His victory rested on superior drill and firepower, intelligent use of the terrain, and his perfecting of the 'oblique battle order'. But faulty intelligence and flawed decision-making on the Austrian side were no less important, as T.G. Otte shows in this reappraisal of events. Leuthen was of profound significance for the war and for the future course of European history. Frederick's victory reversed the military dynamic of the current conflict. It kept Prussia in the war, preserved the existence of the Prussian state, and laid the foundations of its further rise with consequences beyond Frederick's own times. It also ensured Britain's final commitment to what was becoming a global conflict. The significance of Prussia's victory extended beyond the military sphere. The 'Leuthen myth', encapsulated in the evocative image of Frederick's exhausted grenadiers intoning the church hymn 'Now thank ye all our Lord', shaped political and historical disputes in nineteenth- and twentieth-century Germany. It also influenced the intellectual assumptions that underpinned Prusso-German war planning before the First World War. The 'Chorale of Leuthen' provided the accompanying chords of German cultural developments up to the collapse of the Third Reich in the burning ruins of Berlin. But even to the present day its echo can still be heard. As with other great battles, Leuthen is constantly reassessed and rewritten as an element of national culture and identity.
Dynastic Colonialism analyses how women and men employed objects in particular places across the world during the early modern period in order to achieve the remarkable expansion of the House of Orange-Nassau. Susan Broomhall and Jacqueline Van Gent explore how the House emerged as a leading force during a period in which the Dutch accrued one of the greatest seaborne empires. Using the concept of dynastic colonialism, they explore strategic behaviours undertaken on behalf of the House of Orange-Nassau, through material culture in a variety of sites of interpretation from palaces and gardens to prints and teapots, in Europe and beyond. Using over 140 carefully selected images, the authors consider a wide range of visual, material and textual sources including portraits, glassware, tiles, letters, architecture and global spaces in order to rethink dynastic power and identity in gendered terms. Through the House of Orange-Nassau, Broomhall and Van Gent demonstrate how dynasties could assert status and power by enacting a range of colonising strategies. Dynastic Colonialism offers an exciting new interpretation of the complex story of the House of Orange-Nassau‘s rise to power in the early modern period through material means that will make fascinating reading for students and scholars of early modern European history, material culture, and gender. This book is highly illustrated throughout. The print edition features the images in black and white, whereas the eBook edition contains the illustrations in colour.
Providing new analysis, anthropologists, ethnomusicologists, sociologists, and philologists have developed a concept of hybridization that has exceeded the boundaries of their established disciplines. The authors, experts in Argentinian and Italian tango, Algerian rai, Catalonian sardana, Andalusian flamenco and Greek rebetika, focus on transcultural hybridization particularly from an ethnographic perspective. Additional contributors offer important epistemological and methodological interrogations and discuss the macro-structures of the music industry in the global markets.
In June 1722, three families from Moravia settled on the estate of Count Nikolaus Ludwig von Zinzendorf in Berthelsdorf, Saxony. Known as the community of Herrnhut, their settlement quickly grew to become the epicenter of a transatlantic religious movement, one that would attract thousands of Europeans, American Indians, and enslaved Africans: the Moravian Church. Written by one of the leading archivists of the Moravian Church, this book investigates the origins of Herrnhut. Paul Peucker argues that Herrnhut was intended to be a Philadelphian community, uniting “true Christians” from all denominations. It was a separatist movement, but it concealed its separatism behind the pretense of an affiliation with the Lutheran Church and behind a chosen historical identity, that of the renewed Unity of Brethren. Peucker’s analysis, based on hundreds of documents from archives in Germany and the United States, demonstrates how Herrnhut was able to grow and thrive despite existing regulations against new religious groups, uncovers Count Zinzendorf’s role in keeping Herrnhut outside the state church, and provides a new foundation from which to interpret the Moravian church’s later years. Three centuries after Herrnhut’s founding, this intriguing history brings to light new information about the early years of the Moravian church. Peucker’s work will be especially valuable to students and scholars of eighteenth-century religion, Pietism, and Moravian history.
In this original and thought-provoking Research Handbook, an international and interdisciplinary group of scholars, artists, lawyers, judges, and writers offer a range of perspectives on rethinking law by means of literary concepts. Presenting a comprehensive introduction to jurisliterary themes, it destabilises the traditional hierarchy that places law before literature and exposes the literary nature of the legal.
Poets, painters, philosophers, and scientists alike debated new ways of thinking about visual culture in the “long eighteenth century”. The essays in The Enlightened Eye: Goethe and Visual Culture demonstrate the extent to which Goethe advanced this discourse in virtually all disciplines. The concept of visuality becomes a constitutive moment in a productive relationship between the verbal and visual arts with far-reaching implications for the formation of bourgeois identity, pedagogy, and culture. From a variety of theoretical perspectives, the contributors to this volume examine the interconnections between aesthetic and scientific fields of inquiry involved in Goethe’s visual identity. By locating Goethe’s position in the examination of visual culture, both established and emerging scholars analyze the degree to which visual aesthetics determined the cultural production of both the German-speaking world and the broader European context. The contributions analyze the production, presentation, and consumption of visual culture defined broadly as painting, sculpture, theater, and scientific practice. The Enlightened Eye promises to invest new energy and insight into the discussion among literary scholars, art historians, and cultural theorists about many aspects of visual culture in the Age of Goethe.