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Übersetzen ist in einem fundamentalen Sinne hermeneutisch: Jede Übersetzung ist das Ergebnis eines jeweils anderen Verstehens und Auslegens des Originals durch den Übersetzer. Das vorliegende Buch beschäftigt sich mit dieser Grunderkenntnis der Übersetzungspraxis und reflektiert sie auf übersetzungstheoretischer Ebene. So wird anschaulich gezeigt, wie die unumgängliche human-, d.h. übersetzungsbedingte Dimension des Übersetzungsprozesses mit den wissenschafltichen Anforderungen der Übersetzungsforschung vereinbart werden kann. Das Buch plädiert für eine konstruktive Artikulation der hermeneutischen Tradition und der neuen Übersetzungstheorie in einer interdisziplinären Perspektive und zeigt Wege zur Konstitution einer Übersetzungswissenschaft auf hermeneutischer Basis auf.
Despite the efforts of modern scholars to explain the origins of science communication as a social, rhetorical, and aesthetic phenomenon, most researchers approach the popularization of science from the perspective of present issues, thus ignoring its historical roots in classical culture along with its continuities, disruptions, and transformations. This volume fills this research gap with a genealogically reflected introduction into the popularization of science as a recurrent cultural technique. The category »popular science« is elucidated in interdisciplinary and diachronic dialogue, discussing case studies from all historical periods. Classicists, archaeologists, medievalists, art historians, sociologists, and historians of science provide the first diachronic and multi-layered approach to the rhetoric techniques, aesthetics, and societal conditions that have shaped the dissemination and reception of scientific knowledge.
This volume examines the early Church's methods of theological argumentation concerning the metaphorical texts of the Bible. Ps 45 presents some of the oldest biblical evidence for the divinity of Christ and was often cited in christological and trinitarian controversies. In the 4th century the conflict between the traditional interpretation of the Church and linguistic methods erupted. In the course of the debate with Arian exegesis the significance of metaphor and the possibility of speaking of God were conceived anew. This study is based on dogmatic, exegetical and spiritual texts ranging from Justin to Cyril of Alexandria and Theodoret of Cyrus. It shows how the various forms of argumentation interact: how scholarly theology was mediated through preaching, and pastoral and catechetical interests affected christological reflection.
This book offers a new, theoretically informed framework for the interpretation of ancient visual culture.
This handbook explores key aspects of art and architecture in ancient Greece and Rome. Drawing on the perspectives of scholars of various generations, nationalities, and backgrounds, it discusses Greek and Roman ideas about art and architecture, as expressed in both texts and images, along with the production of art and architecture in the Greek and Roman world.
Athenian Potters and Painters III presents a rich mass of new material on Greek vases, including finds from excavations at the Kerameikos in Athens and Despotiko in the Cyclades. Some contributions focus on painters or workshops – Paseas, the Robinson Group, and the structure of the figured pottery industry in Athens; others on vase forms – plates, phialai, cups, and the change in shapes at the end of the sixth century BC. Context, trade, kalos inscriptions, reception, the fabrication of inscribed painters’ names to create a fictitious biography, and the reconstruction of the contents of an Etruscan tomb are also explored. The iconography and iconology of various types of figured scenes on Attic pottery serve as the subject of a wide range of papers – chariots, dogs, baskets, heads, departures, an Amazonomachy, Menelaus and Helen, red-figure komasts, symposia, and scenes of pursuit. Among the special vases presented are a black spotlight stamnos and a column krater by the Suessula Painter. Athenian Potters and Painters III, the proceedings of an international conference held at the College of William and Mary in Virginia in 2012, will, like the previous two volumes, become a standard reference work in the study of Greek pottery.
Contributions on a variety of topics, e.g. mantle-figures on Athenian late classical red-figure, white-ground cups in fifth-century graves, late 'Apulian' red-figure vases, an overview of Athenian pottery in Southern Italy and Sicily, the Panathenaic amphora shape in Southern Italian red-figure production and Achilles and Troilos in Athens and Etruria. Contributions by Martin Langner, Annie Verbanck-Pierard, Adrienne Lezzi-Hafter, Athena Tsingarida, Maurizio Gualtieri, Helena Fracchia, Victoria Sabetai, Martin Bentz, Thomas Mannack, Stine Scierup and Guy Hedreen.
This book provides an enquiry into the distinguishing traits of Greek and Roman figural imagery. A detailed analysis of a wide range of material conveys an understanding of the figural imagery of classical antiquity as a whole, counterbalancing studies conducted on single genres. Through in-depth studies of six major production categories—Greek painted pottery, Roman decorated walls, Greek gravestones, Roman sarcophagi, Greek and Roman official sculpture, and Greek and Roman coins—the reader gains insights into the making of classical figural imagery. The images are explored within their contextual frameworks, paying attention to both functional purposes and pictorial traditions. Image–viewer relations offer a perspective that is maintained across the chapters. The bottom-up approach and the many genres of imagery discussed provide the basis for an extensive synthesis. Lavishly illustrated with over 100 images, Excursions into Greek and Roman Imagery provides a valuable resource for students of classical antiquity and history of art. The book also offers classical scholars, museum curators and others interested in classical art a fresh approach to the figural imagery of antiquity.