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Das Verhaltnis christlicher Missionare und Missionsgesellschaften gegenuber den politischen Machthabern und Bewegungen im 19. und 20. Jahrhundert steht im Mittelpunkt des Sammelbandes. Die Beitrage analysieren sowohl die wechselseitigen Beziehungen der Leitungen von Missionsgesellschaften zu den jeweiligen Regierungen in Europa als auch das Verhaltnis ihrer Missionare - Manner und Frauen - auf den Arbeitsfeldern in Asien und Afrika zu den lokal bzw. regional maageblichen politischen Kraften (Kolonialmachte eigener oder fremder Nationalitat, souverane Staaten, lokale politische Systeme und Unabhangigkeitsbewegungen) in den einzelnen Facetten. Aus dem Inhalt C. Auffarth: aWeltreligiono als ein Leitbegriff der Religionswissenschaft im Imperialismus T. de Souza: D. Jose da Costa Nunes - a Patriarch who Cared for More than Souls: a Case of Caesaro-papism in Portuguese India, 1942-1953 R. Elphick: Dutch Reformed Missions and the Roots of the Apartheid Ideology W. Ustorf: Kairos 1933 - Occidentosis, Christofascism, and Mission K. Poewe: Liberalism, German Missionaries, and National Socialism u.a.
Die Studie eröffnet einen neuen Blick auf den Entstehungsprozess kommunaler Schriftkultur in einer europäischen Großstadt des Spätmittelalters. Dabei zeigt die Geschichte der umfangreichen Überlieferung Augsburgs, wie mehrere Generationen städtischer Autoritäten im Zuge wachsender Emanzipation zunehmend auf Schriftlichkeit angewiesen waren und eigene Bedürfnisse der Archivierung ausprägten. Die Verschriftlichung war ein komplexer Prozess, der wichtige Lebensbereiche und Teile der städtischen Gesellschaft in unterschiedlicher Zeit und Intensität erfasste. Weniger als bisher angenommen ging es dabei um die pragmatische Effektivierung des Regierungshandelns. Die Antriebskraft der Verschriftlichung im Spätmittelalter entsprang einem wachsenden Bedürfnis nach Kontrolle und Überprüfbarkeit.
According to a longstanding interpretation, book religions are agents of textuality and logocentrism. This volume inverts the traditional perspective: its focus is on the strong dependency between scripture and aesthetics, holy books and material artworks, sacred texts and ritual performances. The contributions, written by a group of international specialists in Western, Byzantine, Islamic and Jewish Art, are committed to a comparative and transcultural approach. The authors reflect upon the different strategies of »clothing« sacred texts with precious materials and elaborate forms. They show how the pretypographic cultures of the Middle Ages used book ornaments as media for building a close relation between the divine words and their human audience. By exploring how art shapes the religious practice of books, and how the religious use of books shapes the evolution of artistic practices this book contributes to a new understanding of the deep nexus between sacred scripture and art.
Antonio Vivaldi's rediscovery after World War II quickly led him from obscurity to his present renown as one of the most popular 18th-century composers. Heller's biography presents the important facets of his life, his works, and his influence on music history.
Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviors worthy of psychoanalysis? Why are the legendary grands operas - much celebrated in their time - so seldom performed today?
This book collects designs for 21 locations in the Stuttgart region, results of an international workshop.
Television is the most powerful system of images in the late 20th and early 21st centuries. Nonetheless, TV has attained only little philosophical attention so far, especially compared to other (visual) media such as film. This book looks at TV as what happens on the screen and beyond it; which is mainly the operation of switching images. It therefore proposes a new definition of TV as the first picture that can be switched on, off, and over, which stresses that TV is more tactile than visual. Through the operation of switching, TV figures the world from within and as the course of its figuration. This is grasped here by the term of “ontography”. Through the ongoing interlacing and bridging of “TV 1.0” (the image is being switched) and “TV 2.0” (the image is a switch), TV exponentially increases the production and circulation of images. It transforms the world and itself from an analogue state to a digital one and from central perspectivism to pluri-perspective. In terms of time, through switching and the switch, it develops and reworks new temporal orderings, such as instantaneity, synchronicity, flow, and seriality. TV makes its own history. In space, it creates a mediasphere as its habitat and hence new forms of being-in-the-world, of proximity and distance, and scale. Anthropologically, it works on what a subject and an object is, on what makes the human being, and ontographically, how it is possible that there is something at all instead of nothing: through switch-images.