Contents
Academic literature on the topic 'Autograph albums – Germany – History'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Autograph albums – Germany – History.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Autograph albums – Germany – History"
1
Llano, Manuel. "‘Magnetic Virtue’." Early Modern Low Countries 6, no. 1 (June 29, 2022): 127–44. http://dx.doi.org/10.51750/emlc12174.
Full textAbstract:
While autograph alba originally appeared as memorabilia of student life, it is often argued that the possibility of boosting their owner’s reputation by association with leading scholars led to their careerist exploitation during the seventeenth century. In German universities, aspiring academics would seek out the most renowned luminaries in the world of learning, and even established scholars would on occasion keep an album with signatures of eminent peers. This article assesses the influence of this practice in Dutch universities and considers whether a careerist use of autograph alba existed in the Dutch Republic, through an exploration of some quantitative trends in the Dutch National Library’s (KB) inventory of autograph alba and the union catalogue Repertorium Alborum Amicorum (RAA).
2
Petrova, Aleksandra V. "Study of Handwritten Albums in the National Science in the 19th — Early 21st Century." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 3 (August 27, 2020): 271–80. http://dx.doi.org/10.25281/0869-608x-2020-69-3-271-280.
Full textAbstract:
The article considers bibliography of study of Russian albums of the 19th — early 21th century. Development of Russian historiography of this topic was uneven. The author consistently describes three main stages in the study of handwritten album: response of contemporaries and public discussions of this phenomenon; the beginning of publication of album texts; introduction of albums to science. The article presents the main directions of academic research. The author considers domestic publications about Russian albums, starting from the first quarter of the 19th century through the beginning of the 21st century. The analysis of the literature on albums was carried out from the point of view of the author’s area of interests (study of the history of autograph albums, their typology and functions), the nature and scope of the objects studied, the main tasks of these works and their methodological principles. The main problem in historiography is development of typology of handwritten albums. The choice of typology as the main subject of analysis is explained by the fact that in general this phenomenon of Russian culture of the late 18th — first quarter of the 20th century was not studied systematically. The author notes that in order to create the full picture of Russian album culture, it is necessary, first of all, to build the typological system. The result of the author’s research is the complete review of publications on Russian handwritten albums published from 1820 to 2016. The author highlights the main typological principles of albums that are typical for different approaches, research schools and directions of study. The article notes that many issues have not been considered until the present moment. The approach to album as a source of history of individual writing and sociocultural behaviour is beyond the study, while the comprehensive analysis of Russian album, writing and signature in it is one of the promising directions of research of the culture of everyday life of the 18th — 20th centuries. The general conclusion of the article focuses on the absence of universal typology in historiography, which the author suggests to present in the following works.
3
Knapp, Éva. "Palingenius Zodiacus vitae-je a magyarországi Album Amicorumokban." Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 115–36. http://dx.doi.org/10.14232/antikren.2018.2.115-136.
Full textAbstract:
The reception history of the Zodiacus vitae is an independent research topic long ago outside Hungary, researchers have been analyzing the various levels and forms of reception for decades. However, the peculiarities of the Palingenius-reception in Hungary have not been systematically studied. Although full edition of the entire Zodiacus vitae printed in Hungary is not known, several copies of different printed editions arrived to Hungary. The popularity of this epic philosophical poem is indicated by several entries in the autograph albums of peregrine students. These Hungarianrelated entries mostly accurately quote the details of the work in gnomes. The conscious, customized combination and re-functioning of quotations follows the international practice of the era.
4
Ūsaitytė, Jurgita. "The News in Album Studies (Two Case Reviews)." Tautosakos darbai 52 (December 30, 2016): 231–44. http://dx.doi.org/10.51554/td.2016.28875.
Full textAbstract:
The author reviews two publications in album studies. The stimulus to write this review was primarily the personal impression induced by the scope of scientific and cultural information combined with professional one, and equally attractive way of its presentation. The two books in question address different readership and apply different methods, yet they deal with the same cultural phenomenon and in a certain way continue and supplement each other. The first subject of the review is the beautiful, amply illustrated publication of the Wroblewski Library of the Lithuanian Academy of Sciences, entitled The Garden of Remembrances (2016) and consisting of two separate parts. Reda Griškaitė, the author of the first part called „Essays in Album Studies“, gradually reveals the stages of shaping the album canon, the reasons and ways of its change, the meaning that individual inscriptions or drawings had to the albums’ owners and their contemporaries. She discusses the close connections existing between the contents of these “books of friends” and the forms of the cultural life, the structure of the social relations, and the historical situation of the past epochs. The essay presents concise yet very informative cultural study, incorporating special knowledge from various disciplines, including literature studies, history, art, music, botany etc. Each fragment of this essay deals with separate feature of the album contents and aesthetics. To introduce the history and development of the album genre, the author of the essay analyses fifty albums stored at the Wroblewski Library (the first inscription in them dating as early as 1609, while the last coming from 1973). The author also discusses at least thirty unique manuscripts, preserved at other libraries both in Lithuania and abroad, or in private keeping. The second part of the book presents the catalogue of the albums stored at the Wroblewski Library, compiled by the book researcher Rima Cicėnienė following the international practice in this field. This catalogue is the first register of album amicorum accumulated in a single institution of the Lithuanian cultural heritage.Unlike the previously reviewed publication, focusing mostly on the old, classic albums, the second book discussed in this review deals with the late kind of albums that thrived in the 20th century. This is the monograph The Tradition of Autograph Albums in the Culture of Latvian Schoolchildren (2013) by the Latvian folklorist Baiba Krogzeme-Mosgorda. Using the contextual method of analysis, this author focuses on the social environment of the albums, which she highlights by discussing the influences that institutions (like school), family, community, various subcultures and other social factors (including age groups, gender, and social status) had on this kind of written culture, its contents and expression. Among the schoolchildren, the albums played not only an important socializing role. The analysis of the textual repertoire and decorations used in them enables recognizing the schoolchildren’s albums of remembrances as an educational activity that also enhances creativity
5
Khachaturian, Liubov’ V. "The “Non-Euclidean Geometry” of the Manuscript: Mikhail Bulgakov’s Digital Archive." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 55–60. http://dx.doi.org/10.17223/15617793/460/6.
Full textAbstract:
The article examines the problem of access to archival sources, many of which are currently closed for research due to a number of reasons, including epidemiological ones. The author sees the solution to the problem in creating special unified electronic archives, in which all information about manuscripts is placed on the Internet site or portal, regardless of where they are located geographically. In the author’s opinion, electronic resources of the “second generation” meet the most complete tasks of scientific research: digital archives that allow not only quickly selecting sources, but also working with an electronic copy of the document identical to the original. Regardless of the scientific qualification of the researcher and the state of the original, any Internet user gets direct access to the electronic copy: they can study it, clarify it, quote it in their works and distribute links to the source. On the material of the “Autograph. The 20th-Century. Digital Archive of Russian Literature” portal, the author describes the process of creating a digital archive as a research work that is located at the junction of two Humanities disciplines: source studies and textual studies. In the course of the research, the author turns to the new materials of the portal – the digital archive of Mikhail Bulgakov. The author gives a detailed description of the history of the writer’s archival collections in various organizations (Institute of World Literature, RAS; Russian State Library; Russian State Archive of Literature and Arts), as well as a description of research works of the past decade on Bulgakov’s artistic heritage. During the writer’s lifetime, the archive was kept by Bulgakov himself, then by his widow, Elena Bulgakova, with a full understanding of the value that the collection as a whole represents. As a result, a huge, interconnected and actually commented complex of manuscripts, albums, correspondence, and visual materials was created. Then the archive was divided into two unequal parts (the Bulgakov-prose writer archive and the Bulgakov-playwright archive) and transferred to two different repositories: the Pushkin House (Fund 369) and the Lenin State library (Fund 562). The Bulgakov collection of the Pushkin House is “adjacent” to the Russian State Archive of Literature and Arts funds, which reflect the history of the text based on the materials of organizations (Glavrepertkom, archival funds of theaters, magazines and publishing houses). The author further describes the materials from the Mikhail Bulgakov Fund at the Institute of World Literature, RAS, presented on the “ Autograph. The 20th-Century” portal. The author cites unpublished (or published with notes) sources from the least studied part of the archive – the collection of theater albums. Comparing the theater album devoted to the stage history of the play The Days of the Turbins (The White Guard, The Brothers Turbins) and the text of Theatrical Novel (A Dead Man’s Memoir), the author infers that the album is a kind of a autodocumentary source of the novel, clarifying many controversial points in its interpretation. The genre nature of this type of album requires a separate study. In conclusion, the author emphasizes that the ideal material for such research can be the digital archive of Mikhail Bulgakov.
6
Gattei, Stefano. "The Wandering Scot Thomas Seget’s album amicorum." Nuncius 28, no. 2 (2013): 345–463. http://dx.doi.org/10.1163/18253911-02802026.
Full textAbstract:
This paper presents the first complete edition of Thomas Seget’s album amicorum, held at the Vatican Library (Cod. Vat. Lat. 9385). A friend of Galileo and Kepler, Seget was a background figure who played an important role within the learned world of the late Renaissance. Largely invisible in modern scholarship, figures like Seget played significant functions as cultural intermediaries and international political agents, thus occupying a new and critical position within the learned world of early modern Europe. Seget’s album amicorum offers a unique collection of autograph notes (including Galileo, Sarpi, Lips, Ortels, Pinelli, Welser, De Put, Querenghi, Fabri de Peiresc, Pignoria and Possevino, to mention but a few) which allows us to reconstruct the web of connections Seget managed to weave on his way from Leuven to Padua, as well as during the years he spent in Italy within Pinelli’s circle. Although the album stops at the end of 1600, Seget’s networking activity continued, with ups and downs, throughout his life, and is reconstructed here by way of published and unpublished documents. The paper comprises an Introduction, with a biography of Seget; a Note to the text, providing key elements to understand the role of the album amicorum in the sixteenth and seventeenth centuries, as well as presenting the criteria of the present edition; a critical edition of Seget’s album; and three appendixes: a chronological table of the entries in the album; the transcription of entries by Seget in some of his friends’ albums; and the transcription of a few hitherto unpublished manuscript documents with information about Seget’s life and whereabouts.
7
Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
Full textAbstract:
Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
8
Mückler, Hermann. "Wilhelm Knappe’s photo album as an early testimony of German colonization of the Marshall Islands1." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 193–208. http://dx.doi.org/10.1386/nzps_00037_1.
Full textAbstract:
Wilhelm Knappe (1855–1910), the first German administrator (imperial commissioner) assigned to the newly acquired Marshall Islands in 1886, created a photo album with pictures, presumably taken by New Zealand photographer Thomas Andrew in the same year. There are at least three existing copies of these albums and a bundle of loose photographs identical to those in the album in question. At the time of Knappe’s arrival in the Marshall Islands, Germany was still in the process of consolidating its newest colonial acquisition. The photographs show both Marshall Islanders untouched by Christian missions and colonial influence, and already ‘civilized’ Indigenous people from various atoll islands of the Ralik- and Ratak-group. The importance of this album results from the fact that it is one of the earliest pictorial records of the Marshall Islands and it probably represents the first documentation of German activities on the eastern Micronesian archipelago. This article highlights the history of the album and the photographs as well as their importance for a reconstruction of Marshall Islands’ history in the late nineteenth century.
9
Davenport, Nancy. "Pater Desiderius Lenz at Beuron: History, Egyptology, and Modernism in Nineteenth-Century German Monastic Art." Religion and the Arts 13, no. 1 (2009): 14–80. http://dx.doi.org/10.1163/156852908x388359.
Full textAbstract:
AbstractThe text is an introduction to the art made by a Benedictine community of artist/monks in the village of Beuron in the state of Hohenzollern-Sigmaringen in southwestern Germany in the late nineteenth and early twentieth centuries. The founder of the school, Pater Desiderius Lenz, studied art in Munich, received a scholarship to work in Rome, but discovered the source for his work in the flat two-dimensional colored drawings and prints of Egyptian art in albums published by the German archaeologist, Richard Lepsius. The iconic and non-empathetic style of Beuron art inspired by Lenz's ideas and writings is discussed with respect to its source in the Benedictine experience, bonded as it is to the church walls and to the Gregorian chanting of the monastic choirs. But at the same time, because of its rejection of the form and expression of the three-dimensional world of man and nature, it is characterized as being Modernist as well, an early by-product of that twentieth century stylistic phenomenon. Through Lenz's first architectural project, the St. Maurus Chapel above the Danube near Beuron, and his evolving exploration of the subject of the Pieta, his Egypto-Modernist religious imagery is described.
10
Ustinov, Andrei B. "A Portrait of an Artist in Germany: Mstislav Dobuzhinsky and “Russian Berlin”. Part Two: “Aquilon” in Berlin." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 178–97. http://dx.doi.org/10.25205/2410-7883-2019-2-178-197.
Full textAbstract:
This essay continues the publication “From Petrograd to Europe” in the series “Portrait of an Artist in Germany: Mstislav Dobuzhinsky and ‘Russian Berlin’,” published in the previous issue of “Studies in Theory of Literary Plot and Narratology.” This installment focuses on Dobuzhinsky’s publishing activities, specifically his books “Reminiscences of Italy” and “Petersburg in the Year Twenty One,” which appeared during the artist’s stay in Germany. The author discusses the émigré press’ reception of the books and albums published by the “Aquilon” publishing house in Petrograd, which was led by Fёdor Notgaft, a close friend of Dobuzhinsky and his confidant. In turn, as an art editor for “Aquilon” Dobuzhinsky developed the publishing program together with Notgaft. The author presents a variety of reviews of Dobuzhinsky’s “Reminiscences of Italy” from the newspapers of “Russian Berlin,” and demonstrates how the critics’ opinions varied depending on their chosen ideological platform. The author discusses the “grattography” technique used by Dobuzhinsky to illustrate the book. This graphic technique was invented by him and applied in “Reminiscences of Italy” for the first time. By the end of 1923, a few copies of Dobuzhinsky’s “Petersburg in the Year Twenty One” reached Berlin. This album was published by the Committee for the Promotion of Artistic Publications of the Russian Academy of the History of Material Culture with an introductory essay by Stepan Yaremich, an art scholar and Dobuzhinsky’s colleague at the “World of Art” society. Yaremich’s introduction presented Dobuzhinsky as an incomparable visionary, who mastered different art techniques, especially graphics. Ironically, Petr Shutiakov’s review of “Petersburg in the Year Twenty One,” appeared in the Berlin newspaper “Rudder” at exactly the same time as the official announcement about Petrograd to be renamed Leningrad.
Dissertations / Theses on the topic "Autograph albums – Germany – History"
1
LINDGREN, William. "Forget me not : alba amicorum and visual communication of friendship, belonging and emotional communities, 1763–1830s." Doctoral thesis, European University Institute, 2022. https://hdl.handle.net/1814/74190.
Full textAbstract:
Defence date: 21 February 2022Examining Board: Professor Ann Thomson (European University Institute) ; Professor Giorgio Riello (European University Institute) ; Professor Johanna Ilmakunnas (Åbo Akademi University) ; Associate Professor Samantha Matthews (University of Bristol)
Few materials have preserved so much of the visualisation and friendship-practice of the cult of friendship as the album amicorum (friendship album). The albums earned their name from their role in the practice of friendship, remembrance, networking, and the creation of social communities and identities, and above all the visualisation of the same. This thesis examines the social function of images in friendship albums in the latter part of the centuries-long practice of the genre. It focuses on the years between the end of the Seven Year's War and the period before the German Revolution (1763–1830s), a time period when the album practice became particularly pronounced in the material culture of friendship. The sources for this study are c. 7000 individual entries, from 282 German albums in three collections; the city archive (Stadtarchiv) in Göttingen (180 albums), the city library (Stadtbibliothek) in Nuremberg (67 albums) and the city museums (Städtische Museen) in Jena (35 albums). The aim of the thesis is to identify the shared visual literacy within album communities and explore how and in what way images have been employed to create, maintain and display friendships and social belonging. By analysing common themes, motifs and artistic techniques, the thesis discusses how artistic and thematic choices had the potential to visualise shared emotional ideals and visual literacy, social belonging and aspects of individual relationships and social identity. In addition to materiality, the chapters are divided by theme within which the social aspect of the album images are explored: nature and imagery relating to the natural landscape as a mediator of friendship and belonging; student circles, masculinity and depictions of memberships; the visualisation of the cult of friendship and the complexity of the friendship concept; and remembrance, friendship and the inclusion of mourning iconography.
Books on the topic "Autograph albums – Germany – History"
1
Wolff, Hanna. Poesie: Aus Stammbüchern und Alben von 1789 bis 1991. Bremen: Hauschild, 1991.
Find full text
2
Akademie der Wissenschaften in Göttingen. Philologisch-Historische Klasse., ed. Das Stammbuch als Bestandteil humanistischer Kultur: Das Album des Heinrich Carlhack Hermeling (1587-1592). Göttingen: Vandenhoeck & Ruprecht, 2006.
Find full text
3
Das Poesiealbum: Studien zu den Variationen einer stereotypen Textsorte. Frankfurt am Main: P. Lang, 1985.
Find full text
4
Schnabel, Werner Wilhelm. Das Stammbuch: Konstitution und Geschichte einer textsortenbezogenen Sammelform bis ins erste Drittel des 18. Jahrhunderts. Tübingen: M. Niemeyer, 2003.
Find full text
5
Wolfgang, Klose, ed. Stammbücher des 16. Jahrhunderts. Wiesbaden: Harrassowitz, 1989.
Find full text
6
Witzmann, Nora. Denk an mich!: Stammbücher und Poesiealben aus zwei Jahrhunderten. Wien: Österreichisches Museum für Volkskunde, 2015.
Find full text
7
Henriksson, Blanka. Var trogen i allt: Den goda kvinnan som konstruktion i svenska och finlandssvenska minnesböcker 1800-1980. Åbo: Åbo Akademi, 2007.
Find full text
8
Rastlose Weltgestaltung: Senecaische Kulturkritik in den Tragödien Gryphius' und Lohensteins. Tübingen: M. Niemeyer, 2003.
Find full text
9
Lili Frank, Memorandum: Ein Poesiealbum, 1901-1929 : Widmungen von Dozenten und Kommilitonen der Hochschule für die Wissenschaft des Judentums. Berlin :a: Hentrich & Hentrich, 2008.
Find full text
10
Helk, Vello. Stambogsskikken i det danske monarki indtil 1800: Med en fortegnelse over danske, norske, islandske og slevig-holstenske stambøger samt udlændinges stambøger med indførsler fra ophold i det danske monarki. Odense: Odense Universitetsforlag, 2001.
Find full text