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1
Heintzsch, Sabrina. "“O Mother / how must you have felt?” Mary in Spiritual Poetry of the Baroque Era as Exemplified by Johann Rist and Friedrich Spee (“O Mutter/ wie war Dir zumuht?” Maria in der geistlichen Dichtung der Barockzeit am Beispiel von Johann Rist und Friedrich Spee)." Daphnis 45, no. 1-2 (2017): 58–82. http://dx.doi.org/10.1163/18796583-04502005.
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The Virgin Mary is important for both Catholic and Lutheran seventeenth century religious poetry. However, spiritual poetry differs significantly regarding the role attributed to Mary. In Catholic poems, first and foremost, Mary is a moral example of her faith and compassion for Jesus Christ. This is exemplified by Mary’s agony juxtaposed to the suffering of Christ on the Cross. In comparison, Lutheran poets describe Mary as an example of the promise that God chooses the inferior so that the sinners may trust in God’s grace. This article shows the confessional similarities as well as the differences regarding the interpretation of Mary by analyzing religious poetry of Johann Rist and Friedrich Spee. Die Jungfrau Maria ist für die katholische wie lutherische geistliche Dichtung des 17. Jahrhunderts von Bedeutung. Die Konfessionen weisen aber deutliche Unterschiede auf, was die Deutung der Rolle Marias betrifft. In der katholischen Dichtung wird Maria vornehmlich als moralisches Vorbild hinsichtlich ihres Glaubens und ihres Mitleidens mit Christus dargestellt. Dies zeigt sich etwa, wenn Marias Leid mit dem Leiden Christi am Kreuz parallelisiert wird. Dagegen deuten lutherische Dichter Maria vor allem als ein Vorbild für die Zusage, dass Gott das Niedrige erwählt und so der Sünder wie sie auf Gottes Gnade vertrauen darf. Der Beitrag zeigt sowohl die konfessionellen Analogien als auch Differenzen in der Deutung Marias exemplarisch anhand der geistlichen Dichtung Johann Rists und Friedrich Spees.
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Wiermann, Barbara. "Carl Philipp Emanuel Bach und Adam Friedrich Oeser." Bach-Jahrbuch 94 (March 13, 2018): 334–36. http://dx.doi.org/10.13141/bjb.v20081914.
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In Ergänzung zu Arbeiten zu Johann Sebastian Bach d. J., Carl Philipp Emanuel Bach und Adam Friedrich Oeser wird ein bisher unbekannter Brief des letztgenannten ausgewertet, aus dem sich auf eine persönliche Begegnung mit C. P. E. Bach schließen lässt.
 
 Vergleiche auch: Maria Hübner: Der Zeichner Johann Sebastian Bach d. J. (1748 bis 1778). Zu seinem 250. Geburtstag. BJ 1998, S. 187-200
 Maria Hübner: Ein Brief von Carl Philipp Emanuel Bach an Adam Friedrich Oeser. BJ 2007, S. 243-254
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Hübner, Maria. "Neues zu Johann Sebastian Bachs Reisen nach Karlsbad." Bach-Jahrbuch 92 (March 12, 2018): 93–107. http://dx.doi.org/10.13141/bjb.v20061797.
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Der Artikel widmet sich den in J. S. Bachs Köthener Zeit vorgenommenen Reisen Fürst Leopolds nach Karlsbad 1718 und 1720, auf denen der Kapellmeister ihn begleitete. Zu beiden Reisen werden Quellen vorgestellt und weiterhin das musikalische und gesellschaftliche Leben in Karlsbad zu dieser Zeit skizziert.
 Erwähnte Artikel: Alois Plichta: Johann Sebastian Bach und Johann Adam Graf von Questenberg. BJ 1981, S. 23-28
 Eva-Maria Ranft: Ein unbekannter Aufenthalt Johann Sebastian Bachs in Gotha? BJ 1985, S. 165-166
 Hans-Joachim Schulze: Johann Sebastian Bach und Zerbst 1722: Randnotizen zu einer verlorenen Gastmusik. BJ 2004, S. 209-213
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Hlavac, Christian. "Verschönerung der Landschaft durch Graf Johann Philipp Cobenzl und Fürst Johann I. von Liechtenstein in Niederösterreich." AHA! Miszellen zur Gartengeschichte und Gartendenkmalpflege, no. 9 (March 1, 2024): 114–29. http://dx.doi.org/10.25531/aha.vol9.p114-129.
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Der Autor berichtet zunächst über ein – im kontinentaleuropäischen Vergleich – frühes Beispiel der Verschönerung einer Landschaft: die etwa ab 1776 geschaffenen Anlagen des Grafen Johann Philipp Cobenzl (1741–1810) am Reisenberg bei Wien. Anschließend nimmt er die überaus raumgreifenden (circa 700 Hektar) Verschönerungsmaßnahmen unter Fürst Johann I. von Liechtenstein (1760–1836) im Gebiet der heutigen Gemeinden Mödling, Maria Enzersdorf und Hinterbrühl in Niederösterreich, aber auch in Loosdorf (Gemeinde Fallbach) in den Blick. Die Bedeutung der Landwirtschaft als Element einer verschönerten Landschaft sowie die angestrebte Balance zwischen Ästhetik und Ökonomie in einer solchen werden im Beitrag besonders hervorgehoben.
 
 The author first reports an early example of landscape embellishment – by continental European standards: the grounds created by Count Johann Philipp Cobenzl (1741–1810) on Reisenberg near Vienna around 1776. He then looks at the extremely expansive (around 700 hectares) embellishment measures under Prince Johann I of Liechtenstein (1760–1836) in what are today the municipalities of Mödling, Maria Enzersdorf and Hinterbrühl in Lower Austria, but also in Loosdorf (municipality of Fallbach). The importance of agriculture as an element of an embellished landscape and the desired balance between aesthetics and economy in such a landscape is particularly emphasised in the article.
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Valentim, Jorge Vicente. "Quando a literatura encontra a música: reflexões em torno dos diálogos intertextuais em "Lisboaleipzig 2: o ensaio de música", de Maria Gabriela Llansol." Terra Roxa e Outras Terras: Revista de Estudos Literários 30 (December 5, 2015): 42. http://dx.doi.org/10.5433/1678-2054.2015v30p42.
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Apresenta-se, aqui, uma proposta de leitura da obra Lisboaleipzig 2: o ensaio de música (1994), da escritora portuguesa Maria Gabriela Llansol, procurando observar os diálogos intertextuais estabelecidos entre a sua efabulação ficcional e as técnicas composicionais do músico alemão Johann Sebastian Bach. A partir da observação de elos ordenados entre estas duas instâncias discursivas, objetiva-se uma reflexão que contemple o fenômeno da intertextualidade como recurso criador.We present here a reading proposal for Lisboaleipzig 2: O ensaio de música (1994), by the Portuguese writer Maria Gabriela Llansol, trying to observe the intertextual dialogue established between his fictional work and the compositional techniques of the German musician Johan Sebastian Bach. From the observation of sorted links between these two discursive instances, the objective is a reflection that addresses the phenomenon of intertextuality as a creator feature.
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Wiermann, Barbara. "Altnickol, Faber, Fulde - drei Breslauer Choralisten im Umfeld Johann Sebastian Bachs." Bach-Jahrbuch 89 (March 12, 2018): 259–66. http://dx.doi.org/10.13141/bjb.v20031772.
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Der Beitrag schildert die kirchenmusikalischen Bedingungen in Breslau insbesondere in den Jahren 1740-1743, in denen Johann Christoph Altnickol an der dasigen Maria-Magdalenen-Kirche als Chorsänger nachzuweisen ist. Über seine Person hinaus werden Johann Gottfried Fulde und Benjamin Gottlieb Faber erwähnt, die zeitgleich mit Altnickol dort wirkten und denen anhand neuerer Quellenfunde erstmals eine tiefergehende Verbindung nachzuweisen ist. Bezugnehmend darauf werden auch mögliche Verbindungen der beiden letztgenannten zum Hause Bach neu bewertet.
 Erwähnte Artikel:
 Ein Brief von Johann Christoph Altnikol, mitgeteilt von Amalie Arnheim. BJ 1912, S. 147-148
 Hans-Joachim Schulze: Frühe Schriftzeugnisse der beiden jüngsten Bach-Söhne. BJ 1963, S. 61-69
 Hans-Joachim Schulze: Johann Sebastian Bachs Kanonwidmungen. BJ 1967, S. 82-92
 Peter Wollny: Zur Überlieferung der Instrumentalwerke Johann Sebastian Bachs: Der Quellenbesitz Carl Philipp Emanuel Bachs. BJ 1996, S. 7-21
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Maul, Michael. ""Die große catholische Messe". Bach, Graf Questenberg und die "Musicalische Congregation" in Wien." Bach-Jahrbuch 95 (March 13, 2018): 153–75. http://dx.doi.org/10.13141/bjb.v20091864.
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Unter Berücksichtigung neuerer Widersprüche gegen das Verständnis der h-moll-Messe BWV 232 als Vermächtniswerk ohne eigentlichen Anlass wird im vorliegenden Artikel, der im Wesentlichen ein Referat des Autors auf dem Symposium „Understanding Bach’s B-minor Mass 2007 in Belfast wiedergibt, eine weitere neue Erklärungsgrundlage für die Vervollständigung der Messe eingeführt. Dazu wird die Person Graf Johann Adam von Questenbergs mit seiner Hofhaltung im mährischen Jarmeritz und ihren Beziehungen zum kaiserlichen Hof in Wien in den Mittelpunkt gestellt. Über die Frage eines möglichen Kontakts zu Johann Sebastian Bach wird die Möglichkeit eröffnet, die Messe könnte durch Vermittlung Graf Questenbergs für Wien entstanden sein.
 
 Erwähnte Artikel: Friedrich Wilhelm Riedel: Aloys Fuchs als Sammler Bachscher Werke. BJ 1960, S. 83-99
 Alois Plichta: Johann Sebastian Bach und Johann Adam Graf von Questenberg. BJ 1981, S. 23-30
 Peter Wollny: Neue Bach-Funde. BJ 1997, S. 7-50
 Maria Hübner: Neues zu Johann Sebastian Bachs Reisen nach Karlsbad. BJ 2006, S. 93-108
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Hübner, Maria. "Ein Brief von Carl Philipp Emanuel Bach an Adam Friedrich Oeser." Bach-Jahrbuch 93 (March 12, 2018): 243–54. http://dx.doi.org/10.13141/bjb.v20071826.
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Ein kürzlich aufgefundener Brief C. P. E. Bachs an den Direktor der Leipziger Kunstakademie gibt Anlass, dessen Rolle im Umfeld von Bach und Breitkopf zu beleuchten. Dabei wird auch die Rolle von C. P. E. Bachs jüngstem Sohn, Johann Sebastian (1748-1778) thematisiert.
 
 Erwähnte Artikel: Maria Hübner: Der Zeichner Johann Sebastian Bach d. J. (1748 bis 1778). Zu seinem 250. Geburtstag. BJ 1998, S. 187-200
 Barbara Wiermann: Carl Philipp Emanuel Bach und Adam Friedrich Oeser - Eine Ergänzung. BJ 2008, S. 334-336
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Gubergrits, N. B. "The last note in the notebook." Herald of Pancreatic Club 53, no. 4 (2022): 36–37. http://dx.doi.org/10.33149/vkp.2021.04.05.
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René Karl Wilhelm Johann Josef Maria Rilke (4 December 1875 — 29 December 1926), better known as Rainer Maria Rilke, was one of the most influential modernist poets in the 20th century. He wrote both verse and prose. His writings were greatly influenced by the philosophy of existentialism.
 Born in Prague, had Austrian citizenship, wrote in German. Lived and worked in Trieste, Paris, Switzerland. At the end of his life, suffering from pancreatic cancer, he described his torment in verse.
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Heilandová, Lucie. "Christoph Augustynowicz - Johannes Frimmek (Hrsg.): Der Buchdrucker Maria Theresias: Johann Thomas Trattner (1719-1798) und sein Medienimperium." Knihy a dějiny 27, no. 1-2 (2020): 277–78. http://dx.doi.org/10.23852/kad.2020.27.10.
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Bahlcke, Joachim. "Christoph Augustynowicz / Johannes Frimmel (Hg.): Der Buchdrucker Maria Theresias. Johann Thomas Trattner (1719 – 1798) und sein Medienimperium." Das Historisch-Politische Buch (HPB): Volume 68, Issue 1 68, no. 1 (2020): 62. http://dx.doi.org/10.3790/hpb.68.1.62.
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Slouka, Petr. "Johann Heinrich Schmelzer's serenata for the celebrations of Maria Antonia Habsburg's birthday." Musicologica Brunensia, no. 2 (2017): 243–51. http://dx.doi.org/10.5817/mb2017-2-19.
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Bagdonė, Karolina. "World Literature and Mythology: Guarantees of Freedom of Man and Nation in Sigitas Geda’s Poetry." Interlitteraria 28, no. 2 (2023): 273–90. http://dx.doi.org/10.12697/il.2023.28.2.7.
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In this article, the author uses the theory of intertextuality (Julia Kristeva, Gérard Genette, Marco Juvan) to analyse reflections on the openness of cultural identity and Europeanness in Sigitas Geda’s (1943–2008) poetry and his commentaries. The objective is to discuss how resistance to Soviet ideology could be constructed in mythological and world-literary contexts. Johann Wolfgang von Goethe’s vision of the universality of World Literature has remained important in Geda’s work. The Lithuanian poet adopted and applied it in his work by creating a mythological foundation as a unifying universal, a synthesis of Lithuanian and various national cultures. In this way, he conveyed a deeper sense of European identity, coming from the intertexts of modern World Literature (especially the poetry of François Villon, Johannes Bobrowski, Rainer Maria Rilke, and Paul Celan). Geda freed the imagination of a reader constrained by the Soviet occupation and directed it towards the universal world.
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Ernst, Hans Peter. "Joh. Seb. Bachs Wirken am ehemaligen Mühlhäuser Augustinerinnenkloster und das Schicksal seiner Wender-Orgel." Bach-Jahrbuch 73 (May 9, 2018): 75–83. http://dx.doi.org/10.13141/bjb.v19872558.
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Wie seine Vorgänger und Nachfolger als Organist an der Kirche Divi Blasii in Mühlhausen, versah Bach nebenamtlich den Organistendienst auch an verschiedenen kleineren Kirchen in der Stadt. Eine dieser Kirchen war die Maria-Magdalena-Kirche, die 1884 abgerissen wurde. Von der von Johann Friedrich Wender gebauten Orgel sind nur noch das Gehäuse, die Windlade, die manuelle Tastatur und einige andere Teile erhalten. Alle diese Teile wurden 1985 in die Kirche in Dörna bei Mühlhausen verlegt; eine Restaurierung des Instruments ist geplant. (Übertragung des englischen Resümees am Ende des Bandes)
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Flood, John L. "Der Buchdrucker Maria Theresias. Johann Thomas Trattner (1719–1798) und sein Mediumimperium. Ed. by Christoph Augustynowicz and Johannes Frimmel." Library 21, no. 3 (2020): 398–400. http://dx.doi.org/10.1093/library/21.3.398.
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Fischbacher, Thomas. "Ein Werk zweier Künstler? Paul Egell, Johann Peter Benckert und der Kruzifixus mit Maria Magdalena in der Propsteikirche St. Peter und Paul zu Potsdam." Zeitschrift für Kunstgeschichte 81, no. 2 (2018): 268–81. http://dx.doi.org/10.1515/zkg-2018-0019.
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Abstract The author suggests an attribution for two largely unknown Baroque sculptures inside the Church of St. Peter and Paul at Potsdam. The crucifixus, which has so far not been attributed to an artist, is shown to exhibit parallels to a 1716 work by Paul Egell. It remains unclear, however, whether the Potsdam crucifixus was also created by Egell himself or by Johann Peter Benckert, who congenially completed it in 1763 with a statue of the kneeling Maria Magdalena. The appealing depiction of the saint as an elegant sinner and penitent offers believers various possibilities for identification.
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Gaasland, Rolf. "Retorikk og romskapelse." Nordlit 51, no. 1 (2023): 56–66. http://dx.doi.org/10.7557/13.7121.
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Denne artikkelen er opptatt av hvordan den som taler i Johann Wolfgang von Goethes «Wandrers Nachtlied II» og Rainer Maria Rilkes «Herbst» best kan forstås. Den tar sitt utgangspunkt i observasjonen av at utsigelseshandlingene i de to diktene kombinerer en retorisk funksjon med en romskapende funksjon, og at begge funksjonene deltar i diktenes organisering som kommunikativ handling på avgjørende måter. Min konklusjon er at forventningene om det følsomme lyriske jeget og den sublime naturen som vi ofte møter romantiske dikt med, motsies av måten utsigelseshandlingen er utformet på i disse to diktene som begge er forbundne med nettopp den romantiske litterære tradisjonen.
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Reznicek, Matthew L. "Absurd Speculations." Nineteenth-Century Literature 71, no. 3 (2016): 291–314. http://dx.doi.org/10.1525/ncl.2016.71.3.291.
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Matthew L. Reznicek, “Absurd Speculations: The Tragedy of Development in Maria Edgeworth’s Ormond” (pp. 291–314) This essay explores shared concerns regarding the representation of economic development that occurs in Maria Edgeworth’s Irish bildungsromanOrmond (1817) and in Johann Wolfang von Goethe’s two-part tragic retelling of the Faust myth (1808, 1832), building on recent interest in the representation of money in literature from the romantic period. While these two literary works are often seen as foundational texts in their respective national literatures, they both also explore the damning effects of economic and social development, especially through the medium of paper money. To this end, I examine the representation of paper money in Goethe’s Faust Part Two and of the capitalist ventures of Sir Ulick O’Shane in Ormond in order to situate more firmly Edgeworth’s writing within the broad European literary and social landscape. By focusing on the tragic representation of modernizing economics in these two works, it becomes obvious that Edgeworth, like Goethe, participates in and advances the formation of a modern world.
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Lubis, Sofni Indah Arifa. "THE ROLE OF SCHOOL AND TEACHING METHOD THROUGH MARIA MONTESSORI AND JOHANN HEINRICH PESTALOZZI`S VIEW." International Journal of Economic, Technology and Social Sciences (Injects) 2, no. 1 (2021): 87–92. http://dx.doi.org/10.53695/injects.v2i1.238.
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The development of each child must be observed. The education and teaching methods need to be adjusted to the child’s development. Montessori and Pestalozzi are early childhood education experts who opened-up the eyes to a new way of teaching method in the golden age stages in children. This study examined Montessori’s and Pestalozzi`s concepts on early childhood education. Pestalozzi believed empowering individual skills can improve the society, capable of knowing what is right and what is wrong and of acting according to this knowledge. On the other hand, Montessori believed that children have power to learn naturally and challenge themselves to do something big and to live independently. This research used library approach. The results showed that both experts agreed on (1) the cognitive, affective, and psycho-motoric aspects of a child needs to be stimulate, (2) learning environment should be structured in a so the children can learn naturally, and (3) teachers are required to become observers. These patterns of education put children as the subject of teaching method. Both methods are applicable and expected to be able to maximize in shaping the children`s character at their golden ages.
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Markova, Yekaterina A. "After Rilke": revisiting the question of the genre of Derek Mahon’s poem "Night Drive"." Vestnik of Kostroma State University, no. 4 (2019): 126–29. http://dx.doi.org/10.34216/1998-0817-2019-25-4-126-129.
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The present article approaches the issue of the genre definition of Derek Mahon’s poem "Night Drive", which was written "after Rilke". Possible definitions of the genre are as follows – "(loose) translation", "adaptation", "version", "pastiche". Mahon’s concept of translation implies that it is essential to adapt the original to the literary tradition of the language of translation. This concept is linked with Mahon’s use of Byzantium image in imitation of William Butler Yeats in his poem. In addition, a hypothesis is suggested about Mahon’s interpretation of the poem by Rainer Maria Rilke: the parallel between Rilke’s image of "granite", which goes back to Johann Wolfgang von Goethe, and Mahon’s image of Byzantium, which is traced to Yeats, may be explained by the urge to overcome German and Irish national literary traditions.
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Matzerath, Josef. "Residenz - Festung - Zentralort : Dresdner Spezifika des 17. Jahrhunderts." Schütz-Jahrbuch 29 (August 25, 2017): 7–16. http://dx.doi.org/10.13141/sjb.v2007976.
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Das Wirken von Heinrich Schütz in Dresden fällt in die Zeit des sächsischen Kurfürsten Johann Georgs I., unter dessen Herrschaft die Residenzstadt eine hohe soziale Dynamik erlebte. Neben Hof und staatlicher Zentralverwaltung entwickelte sich residenzspezifisch ein auf Luxusprodukte spezialisiertes Handwerk. In Dresden lebten aber auch Menschen ohne Bürgerrecht: Tagelöhner, Söldner und böhmische Exulanten. Kursächsische Landtage brachten im Abstand von einigen Jahren mehrere hundert Mitglieder der gesellschaftlichen Führungsformationen auf einige Monate in die Stadt. Ästhetisch hatte der Dresdner Hof schon vor der Ankunft von Heinrich Schütz durch die Kunst Giovanni Maria Nossenis zum Standard der europäischen Kunstentwicklung aufgeschlossen. Schütz schuf durch seine Musik ein neues ästhetisches Programm der Herrscherrepräsentation, das hinausging über Nossenis Synthese handwerklicher Hofkünste zu einem ikonographischen Programm fürstlicher Selbstdarstellung. (Autor)
 Quelle: Bibliographie des Musikschrifttums online
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Puchalski, Lucjan. "Preußisch, modern – und doch österreichisch? Österreichische Reminiszenzen und Bezüge in Johann Gottlieb Schummels "Reise durch Schlesien"." Germanica Wratislaviensia 144 (November 20, 2019): 13–27. http://dx.doi.org/10.19195/0435-5865.144.1.
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Johann Gottlieb Schummels 1792 veröffentlichte Reise durch Schlesien war eine wichtige Stimme in der Debatte um die Identität der vor einem halben Jahrhundert von Preußen annektierten Provinz. Der Verfasser machte sich auf den Weg mit einem klaren Programm. Er wollte die Erfolge der wirtschaftlichen Entwicklung und Fortschritte der Aufklärung verzeichnen und damit das Land an der Oder als vollwertigen Teil des modernen preußischen Staates präsentieren. Im Text und in der Haltung des Reisenden kann man aber immer wieder Inhalte und Wertungen finden, die an die vielfachen Bindungen Schlesiens an die alte Habsburgermonarchie und deren katholisch geprägte Kultur erinnern. Interessanterweise nahm Schummel in sein Reiseprogramm auch Österreichisch-Schlesien auf und distanzierte sich damit klar von dem staatspolitischen Geschehen seiner Gegenwart. Die josephinisch-theresianischen Reformen bildeten allerdings einen wichtigen Referenzrahmen für das ganze Reiseprojekt. Schummel war zwar bemüht, ein preußisch-modernes Gesicht der Provinz zu erschließen, aber in seiner Haltung und Argumentationsweise – so das Fazit der Überlegungen – wirkten Kräfte, Gewohnheiten und Denkmuster nach, die darauf hinweisen, dass er sich gleichzeitig immer noch in der kulturellen Umlaufbahn von Wien bewegte.Prussian, modern – and yet Austrian? Austrian reminiscences and references in Johann Gottlieb Schummel’s Reise durch SchlesienWritten by Johnann Gottlieb Schummel and published in 1792 Reise durch Schlesien Journey through Silesia was an important voice in the identity debates of the province conquered by Prussia half a century before. The author set out with a clear plan. He wanted to record economic developments and growth of enlightenment and, thereby, to present the country on the Oder-River as a fullvalue part of the modern Prussian state. However, in his text appear contents and valuations which suggest multiple connections of Silesia with the old Habsburg Monarchy and its Catholic-influenced culture. Interestingly, the itinerary of Schummel included Austrian Silesia – by virtue of which the author distanced himself from topical issues in current politics. Yet the political reforms undertaken by Maria Theresia and Joseph II provided an important frame of reference for the whole journey of Schummel. He was willing to render a Prussian-modern portrait of the province, but his approach and argumentation – it is the conclusion of the article – are informed by powers, habits and patterns of thinking which indicate that he still moved in the cultural orbit of Vienna.
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Hennig, Mareike. "Sulamith und Maria – Italia und Germania – Die Freundschaft: Ein Stich von Nikolaus Hoff nach Johann Friedrich Overbeck." Jahrbuch des Freien Deutschen Hochstifts 2016 (January 1, 2017): 349–56. http://dx.doi.org/10.46500/83531934-012.
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Piotrowska, Anna G. "The Gypsy Baron Operetta (1885) as a musical document of a certain age." Review of Nationalities 7, no. 1 (2017): 329–54. http://dx.doi.org/10.1515/pn-2017-0010.
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Abstract Considered a musical monument to the Austro- Hungarian Empire – The Gypsy Baron (originally Der Zigeunerbaron) of 1885 composed by Johann Strauss II (1825-1899) reveals how important position Maria Theresia had in the Empire in the long nineteenth century. It is also a great example of keeping, in Vienna at the end of the nineteenth century, hold of the memory of her politics. The Gypsy Baron is clearly the work inscribed into political situation as it constituted a specific response to a concrete need to stimulate civil attitudes (so desired within the Empire at that time). Treating the Gypsy Baron as a case study, the paper suggests that although the world of operetta might be overlooked or underestimated when discussing the role of political propaganda and the issues of collective memory. It should be recognized as one of the key sites employed to promote the Habsburgs’ vision of their Empire.
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Koloch, Sabine, Mitarbeit von, Frank Böhling, and Hermann Ehmer. "AKKUMULATION VON ANSEHENSKAPITAL." Daphnis 35, no. 1-2 (2006): 51–132. http://dx.doi.org/10.1163/18796583-90000971.
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Nach dem Tod Johann Valentin Andreaes (1586-1654) stellte sein Sohn Gottlieb (1622-1683) eine einzigartige Gedenkschrift zusammen: den Bonus odor suave olens nominis Andreani (�Duftender Wohlgeruch des Andreaeschen Namens�). Die Texte der Sammelschrift stammen u.a. von Mitgliedern der H�fe von Braunschweig- Wolfenb�ttel (darunter Herzog August) und W�rttemberg, von den Verlegern Stern aus L�neburg, von Freunden aus drei s�ddeutschen Reichsst�dten und � ein bemerkenswertes Faktum � von drei gelehrten Frauen: Herzogin Antonia von W�rttemberg, Herzogin Sibylla Ursula von Braunschweig-L�neburg und Freifr�ulein Margareta Maria Bouwinghausen von Wallmerode. Der Band gew�hrt Einblicke in Teile des noch verbleibenden ausgedehnten Netzwerkes, das J. V. Andreae im Laufe seines Lebens aufgebaut hatte. Die Beitr�ger/innen werden unter Ber�cksichtigung ihrer jeweiligen Beziehung zu J. V. Andreae in der Einleitung (I) zu der kritischen, annotierten Edition der Gedenkschrift (II) vorgestellt. Beigegeben ist (III) eine Bibliographie der Werke Gottlieb Andreaes.
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Gábor, Gaylhoffer-Kovács. "Johann Ignaz Cimbal „védjegye”, a VSG-monogram." Művészettörténeti Értesítő 69, no. 1 (2020): 57–70. http://dx.doi.org/10.1556/080.2020.00004.
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Next to his signature, Viennese painter Johann Ignaz Cimbal often added a peculiar sign in his frescoes and oils. It is a combination of letters, appearing in a different form in each of the studied cases (Zalaegerszeg, Oberlaa, Zwettl, Peremarton, Tornyiszentmiklós, Nagykároly [ Carei]), which – and the poor state of the works – make the identification of the letters difficult. In most cases the sign reads VSG, so it is not the initials of the painter.In some Cimbal works the three letters also appear with iconographic meaning. On the picture of the King Saint Stephen side altar in the parish church of Tornyiszentmiklós the letters shining in the halo around the Holy Cross were identified as VSG earlier and decoded as “Vera Sacra Crux”. However, it is more likely that this abbreviation hides the same meaning as the monograms next to Cimbal’s signatures.Guidance to the elucidation of the monogram was provided by the ceiling fresco in the southern vestry-room of Székesfehérvár cathedral. The clearly readable VSG abbreviation appears in the corners of the triangle symbolizing the Holy Trinity, which leaves no doubt that it is in connection of the Holy Trinity. The most obvious explanation is the letters being the initials of the German words for the three divine entities, Vater, Sohn and [Heiliger] Geist.The attribution of the picture (Maria Immaculata) on the high altar of the parish church of Sárospatak to Cimbal was suggested on the basis of this motif, here in three corners of a triangular aureole around the Ark of Covenant. The attribution is also confirmed by style critical analyses. (Analogous are Cimbal’s Immaculata figures in Zalaeregszeg, Tornyiszentmiklós and Székesfehérvár.)The abbreviation alluding to the Holy Trinity, which is perfectly embedded in the iconographic fabric of some paintings, was also used by Cimbal independently of the theme, attached to his name. Inserting a sign referring to the Holy Trinity above his name must have been a religious gesture. Having completed a picture, the painter crossed himself, as it were, offering his work to God. He sealed his offering with the mysterious sign of God “in the name of the Father, the Son and the Holy Ghost”. (A similar religious gesture must underlie the signature 70 of an early Cimbal work, the Saint Anne altar picture in Vienna’s Barmherzigenkirche. The abbreviation “Zimbal i. VR” is traditionally interpreted as “In veneratione” with the explanation that the painter made the picture as a votive offering.) Cimbal always created a new composition out of the three letters, so it cannot have been his aim to make a recognizable constant “trade-mark”. (For this purpose he used his name with the customary addition “invenit et pinxit”.) The linking of the three letters is not just a customary formal solution as in monograms, but it has a meaning: it symbolizes the unity of the three divine persons, just as the circle in the triangle in Székesfehérvár.An extremely expressive iconographic solution needs special mention, applied almost to each of his depictions of the Holy Trinity in Hungary. It is the sceptre held by the three coeternal persons (hence it has extreme length). As it occurs so frequently, it cannot be part of an occasional client’s wish but much rather it is the painter’s invention. Perhaps a comprehensive examination of the entire oeuvre will discover further examples in support of the author’s hypothesis that the Holy Trinity was a particularly favourite theme of Cimbal. It was again his personal devotion that led him to use the Holy Trinity monogram.The motivation behind commissions for religious art works in the period was first of all the client’s personal religiosity. The religious motifs of the artists can usually only be inferred from indirect data and in connection with few works. One such sign is that for the duration of painting the frescoes Franz Anton Maulbertsch joined the Scapular Confraternity of Székesfehérvár, while the group portrait on the organ loft of Sümeg permits the assumption that he took part in the devotions of the Angelic Society founded by bishop Márton Padányi Biró. His pupil Johannes Pöckel who settled in Sümeg was a member of the local Confraternity of the Cord. Unfortunately, no information to this effect is known about Cimbal.His signature and Holy Trinity monogram testify that not only the client but also the painter offered his work to God.
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Gábor, Gaylhoffer-Kovács. "Johann Ignaz Cimbal „védjegye”, a VSG-monogram." Művészettörténeti Értesítő 69, no. 1 (2020): 57–70. http://dx.doi.org/10.1556/080.2020.00004.
Pełny tekst źródłaStreszczenie:
Next to his signature, Viennese painter Johann Ignaz Cimbal often added a peculiar sign in his frescoes and oils. It is a combination of letters, appearing in a different form in each of the studied cases (Zalaegerszeg, Oberlaa, Zwettl, Peremarton, Tornyiszentmiklós, Nagykároly [ Carei]), which – and the poor state of the works – make the identification of the letters difficult. In most cases the sign reads VSG, so it is not the initials of the painter.In some Cimbal works the three letters also appear with iconographic meaning. On the picture of the King Saint Stephen side altar in the parish church of Tornyiszentmiklós the letters shining in the halo around the Holy Cross were identified as VSG earlier and decoded as “Vera Sacra Crux”. However, it is more likely that this abbreviation hides the same meaning as the monograms next to Cimbal’s signatures.Guidance to the elucidation of the monogram was provided by the ceiling fresco in the southern vestry-room of Székesfehérvár cathedral. The clearly readable VSG abbreviation appears in the corners of the triangle symbolizing the Holy Trinity, which leaves no doubt that it is in connection of the Holy Trinity. The most obvious explanation is the letters being the initials of the German words for the three divine entities, Vater, Sohn and [Heiliger] Geist.The attribution of the picture (Maria Immaculata) on the high altar of the parish church of Sárospatak to Cimbal was suggested on the basis of this motif, here in three corners of a triangular aureole around the Ark of Covenant. The attribution is also confirmed by style critical analyses. (Analogous are Cimbal’s Immaculata figures in Zalaeregszeg, Tornyiszentmiklós and Székesfehérvár.)The abbreviation alluding to the Holy Trinity, which is perfectly embedded in the iconographic fabric of some paintings, was also used by Cimbal independently of the theme, attached to his name. Inserting a sign referring to the Holy Trinity above his name must have been a religious gesture. Having completed a picture, the painter crossed himself, as it were, offering his work to God. He sealed his offering with the mysterious sign of God “in the name of the Father, the Son and the Holy Ghost”. (A similar religious gesture must underlie the signature 70 of an early Cimbal work, the Saint Anne altar picture in Vienna’s Barmherzigenkirche. The abbreviation “Zimbal i. VR” is traditionally interpreted as “In veneratione” with the explanation that the painter made the picture as a votive offering.) Cimbal always created a new composition out of the three letters, so it cannot have been his aim to make a recognizable constant “trade-mark”. (For this purpose he used his name with the customary addition “invenit et pinxit”.) The linking of the three letters is not just a customary formal solution as in monograms, but it has a meaning: it symbolizes the unity of the three divine persons, just as the circle in the triangle in Székesfehérvár.An extremely expressive iconographic solution needs special mention, applied almost to each of his depictions of the Holy Trinity in Hungary. It is the sceptre held by the three coeternal persons (hence it has extreme length). As it occurs so frequently, it cannot be part of an occasional client’s wish but much rather it is the painter’s invention. Perhaps a comprehensive examination of the entire oeuvre will discover further examples in support of the author’s hypothesis that the Holy Trinity was a particularly favourite theme of Cimbal. It was again his personal devotion that led him to use the Holy Trinity monogram.The motivation behind commissions for religious art works in the period was first of all the client’s personal religiosity. The religious motifs of the artists can usually only be inferred from indirect data and in connection with few works. One such sign is that for the duration of painting the frescoes Franz Anton Maulbertsch joined the Scapular Confraternity of Székesfehérvár, while the group portrait on the organ loft of Sümeg permits the assumption that he took part in the devotions of the Angelic Society founded by bishop Márton Padányi Biró. His pupil Johannes Pöckel who settled in Sümeg was a member of the local Confraternity of the Cord. Unfortunately, no information to this effect is known about Cimbal.His signature and Holy Trinity monogram testify that not only the client but also the painter offered his work to God.
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Rücker, Michaela, Peter Antes, Hans-Christof Kraus, et al. "Biografien." Das Historisch-Politische Buch (HPB) 65, no. 4-6 (2017): 386–407. http://dx.doi.org/10.3790/hpb.65.4-6.386.
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Hellmut Flashar: Hippokrates. Meister der Heilkunst (Michaela Rücker) Manfred Clauss: Athanasius der Große. Der unbeugsame Heilige (Peter Antes) Johannes Willms: Mirabeau oder die Morgenröte der Revolution. Eine Biografie (Hans-Christof Kraus) Stephanie Velten: Johann Julius Wilhelm Ritter von Planck. Leben und Werk (Dirk Blasius) Katharina Abermeth: Heinrich Schnee. Karriereweg und Erfahrungswelten eines deutschen Kolonialbeamten (Ulrich van der Heyden) Marianna Butenschön: Die Hessin auf dem Zarenthron. Maria. Kaiserin von Russland (Martin Malek) Henrik Meinander: Gustaf Mannerheim. Aristokrat i vadmal. [Gustaf Mannerheim. Aristokrat in Loden] (Michael Peters) Hubert Kiesewetter: Karl Marx und der Untergang des Kapitalismus (Ludger Heid) Jürgen Neffe: Marx. Der Unvollendete (Ludger Heid) Alexander Sperk, Daniel Bohse: Legende, Opportunist, Selbstdarsteller. Felix Graf Luckner und seine Zeit in Halle/Saale (1919-1945) (Wolfgang Kaufmann) Frederick Bacher: Friedrich Naumann und sein Kreis (Hans-Christof Kraus) Werner Plumpe: Carl Duisberg (1861-1935). Anatomie eines Industriellen (Werner Bührer) Olaf Jessen: Die Moltkes. Biografie einer Familie (Heinrich Walle) Wilhelm Hartmut Pantenius: Alfred Graf von Schlieffen. Stratege zwischen Befreiungskriegen und Stahlgewittern (Hans-Christof Kraus) Ingrid Wölk: Leo Baer. 100 Jahre deutsch jüdische Geschichte. Mit „Erinnerungssplittern eines deutschen Juden an zwei Weltkriege“ (Ludger Heid) Meike Hoffmann, Nicola Kühn: Hitlers Kunsthändler. Hildebrand Gurlitt (1895-1956). Die Biografie (Wolfgang Kaufmann) Victor Klemperer: Warum soll man nicht auf bessere Zeiten hoffen. Ein Leben in Briefen (Ludger Heid) Magnus Brechtken: Albert Speer. Eine deutsche Karriere (Ludger Tewes) Bernd Bonwetsch: Mit und ohne Russland. Eine familiengeschichtliche Spurensuche (Karl-Heinz Schlarp) Christoph Marx: Mugabe. Ein afrikanischer Tyrann (Ulrich van der Heyden)
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Hardinghaus, Christian. "Vom Marianischen Spital zum Prinzenkarneval." Der Klinikarzt 49, no. 03 (2020): 53. http://dx.doi.org/10.1055/a-1069-4404.
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Bevor der wohlhabende Kaufmann Johann von Wespien, ehemaliger Bürgermeister der Stadt Aachen, im Jahr 1759 kinderlos verstarb, verabredete er mit seiner Frau Anna Maria, was sie alles mit dem ihr vermachten, beträchtlichen Vermögen anzustellen habe. Unter anderem erhielt sie den Auftrag, eine eigene Klinik für 12 kranke und arme Männer aus beiderseitigen Familien zu eröffnen, die in vertrauter Umgebung nah ihrer Angehörigen behandelt werden sollten. Zu dieser Zeit existierte dort nämlich nur eines für arme Frauen: das bereits 1336 gegründete Elisabeth-Hospital. Anna von Wespien folgte den Wünschen ihres Mannes und konnte 1769 das Marianische Spital für Männer hundert Meter neben dem Elisabeth Hospital noch selbst einweihen. Einige sehen den gemeinnützigen Zweck der Wespiens als Gründungsmythos des Universitätsklinikums Aachens an. Aus 12 Betten für Arme sind inzwischen etwa 1500 für alle geworden. Mit seinen 34 Fachkliniken und 27 angegliederten Instituten gehört der in die Rheinisch-Westfälische Technische Hochschule Aachen eingegliederte medizinische Komplex zu den größten Europas. 7000 Mitarbeiter tun hier Dienst und folgen den Spuren dutzender namhafter Mediziner.
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Béhague, Emmanuel. "Mythification et démythification dans le théâtre contemporain. Ulrike Meinhof de Johann Kresnik et Ulrike Maria Stuart d’Elfriede Jelinek/ Nicolas Stemann." Cahiers d’études germaniques 54, no. 1 (2008): 155–73. http://dx.doi.org/10.3406/cetge.2008.1766.
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Pinto, Nelson Guilherme Machado, Bruno Pereira Conte, Rodrigo Abbade da Silva, and Daniel Arruda Coronel. "A DISCUSSÃO ENTRE TEORIA E PRÁTICA NAS CIÊNCIAS ADMINISTRATIVAS: UMA ANÁLISE DAS DISSERTAÇÕES DO PROGRAMA DE PÓS-GRADUAÇÃO EM ADMINISTRAÇÃO DA UNIVERSIDADE FEDERAL DE SANTA MARIA." Revista de Administração de Roraima - RARR 5, no. 2 (2015): 285. http://dx.doi.org/10.18227/2237-8057rarr.v5i2.3072.
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Os debates entre o relacionamento de teóricos e práticos acabam levando a alguns conflitos entre estes. Essa discussão acaba acentuando-se dentro do contexto dos centros de ensino em Administração. Assim, o objetivo deste trabalho consiste em analisar as dissertações do mestrado acadêmico do Programa de Pós-Graduação em Administração (PPGA) da Universidade Federal de Santa Maria (UFSM), no período de 2008 a 2012, a fim de verificar se os trabalhos teóricos do curso possuem orientação para a prática organizacional. Para o atendimento deste objetivo, foi utilizado um roteiro de análise baseado nos modelos de Albach (1993) e Johann e Duclós (2013), para verificar se as dissertações selecionadas possuem as características que confirmam ou não sua orientação para a prática organizacional. De maneira geral, os trabalhos demonstraram certa orientação à prática, precisando realizar uma maior aproximação das empresas na elaboração dos seus estudos, além do aprimoramento das técnicas de análises estudadas para que essa orientação à prática possa vir a aumentar. É necessário haver um redirecionamento das pesquisas em Administração a fim demonstrar uma maior preocupação com os avanços que podem ser trazidos para o dia a dia das organizações.
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Szántay, Antal. "Cameralism in the Habsburg Monarchy and Hungary." History of Political Economy 53, no. 3 (2021): 551–69. http://dx.doi.org/10.1215/00182702-8993400.
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The article argues that Cameralism and the Habsburg Monarchy were in strong mutual interchange during the eighteenth century. After the Great Turkish War and the War of the Spanish Succession, the Habsburg Monarchy had to incorporate vast territories into the monarchy’s governmental system. Integration, unification, and centralization were on the agenda. Viennese government circles relied on Cameralism as the leading theory of state, economy, and society, while Cameralism rose, broadened, and became institutionalized in administration and higher education. The most important works of late-seventeenth-century Cameralism were formulated in the service of Emperor Leopold I. Cameralism with different branches of knowledge serviceable for the state became fully institutionalized in the higher education in the Habsburg Monarchy—including Hungary. Cameralism, specifically the ideas of Johann Heinrich Gottlob von Justi, can be linked to the fundamental administrative reforms of Count Friedrich Wilhelm von Haugwitz under Maria Theresa in the 1740s and of Emperor Joseph II in the 1780s. Justi developed an idea of government characterized by centralization, uniformity, and bureaucracy, which became a priority goal of Joseph II’s reforms. Finally, Cameralism was the backbone of policies in finances, taxation, and trade regulations though more openminded toward rising economic ideas.
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Reimer, Erich. "Friedelena Margaretha Bach (1675-1729)." Die Musikforschung 63, no. 3 (2021): 248–56. http://dx.doi.org/10.52412/mf.2010.h3.245.
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Vergegenwärtigt man sich, dass Friedelena Margaretha Bach von 1709 bis 1729 in der Familie ihres Schwagers Johann Sebastian Bach gelebt hat, und reflektiert man diese Tatsache vor dem Hintergrund bekannter Fakten der Bach-Biographie, wird deutlich, dass Friedelena Bach wegen des frühen Todes ihrer Schwester Maria Barbara für Bachs Familie eine Bedeutung gewonnen haben muss, die über die normale Rolle einer im Haushalt helfenden unverheirateten Schwägerin hinausgegangen ist. Ihre wichtigste Aufgabe dürfte darin bestanden haben, die vier Kinder nach dem Tod der Schwester (Juli 1720) und der Wiederverheiratung des Schwagers (Dezember 1721) zu betreuen und zu versorgen, und zwar nicht nur in Köthen, sondern auch in Leipzig. Die Position, die Friedelena Bach für die vier Kinder ihrer Schwester eingenommen hat, dürfte es der bei der Hochzeit zwanzigjährigen Hofsängerin Anna Magdalena Wilcke erschwert, wenn nicht unmöglich gemacht haben, für die Stiefkinder „eine zweite Mutter“ zu werden. Andererseits war Friedelena Bachs Wirken offensichtlich eine Voraussetzung dafür, dass Anna Magdalena Bach in Leipzig zwischen 1723 und 1729 nicht in der Hausfrauen- und Mutter-Rolle aufgehen musste, sondern ein musikalisch orientiertes Leben an der Seite ihres Ehemannes führen konnte.
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Bennett, Lawrence. "IGNAZ HOLZBAUER AND THE ORIGINS OF GERMAN OPERA IN VIENNA." Eighteenth Century Music 3, no. 1 (2006): 63–90. http://dx.doi.org/10.1017/s1478570606000492.
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Ignaz Holzbauer (1711–1783) is best known for his singspiel Günther von Schwarzburg (1777), a work that deeply impressed Mozart during his sojourn in Mannheim. A much earlier German opera by Holzbauer, however, has gone virtually unnoticed. In the summer or autumn of 1741 the composer’s full-length, three-act teutsche Opera entitled Hypermnestra was performed at the Kärntnertortheater in Vienna. Following the death of Emperor Charles VI and the accession of Maria Theresia, the Kärntnertortheater Intendant Joseph Selliers commissioned a German-language opera, selecting Holzbauer, who had recently returned to Vienna from Moravia, to compose the music and the court printer Johann Leopold van Ghelen to write the libretto.Although it is widely known that Holzbauer composed several operas in Italian before 1741, Hypermnestra appears to be the earliest opera by the composer for which a score survives. The music provides ample evidence of a mature composer in full command of opera seria style. Although Holzbauer had not yet found a satisfactory solution to the problem of narrative recitative, the opera nevertheless illustrates many of the virtues found in Günther von Schwarzburg: outstanding accompanied recitatives, a great variety in the treatment of da capo aria form and a rich array of orchestral colours.Apart from the music, Hypermnestra is remarkable for historical reasons. It reveals that the composer had received a commission to compose an opera in the German language long before Günther von Schwarzburg. On the basis of current research it appears to hold the distinction of being one of the earliest, if not the first, full-length German opera produced in Vienna. Maria Theresia soon re-established the dominance of French and Italian styles. Nevertheless, Hypermnestra is an early example of an idea that would gradually gain acceptance and blossom during the reign of Joseph II.
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Kadar, Nicholas. "A Note on Semmelweis’s Animal Experiments and Their Historical Significance." Journal of the History of Medicine and Allied Sciences 75, no. 4 (2020): 383–407. http://dx.doi.org/10.1093/jhmas/jraa039.
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Abstract This article seeks to establish what animal experiments Semmelweis conducted, and when and why he conducted them, because the Semmelweis literature contains conflicting claims about these topics or has ignored them altogether. Semmelweis first conducted animal experiments between 22 March and 20 August 1849 with Rokitansky’s assistant, Georg Maria Lautner, because his chief, Johann Klein, did not accept that by merely reducing the mortality rate from childbed fever with chlorine hand-disinfection, Semmelweis had proved his theory of the cause of childbed fever. However, Skoda concluded that the Lautner experiments did not resolve the doubts about Semmelweis’s theory they were intended to resolve, and, therefore, asked the Academy of Sciences to award Semmelweis a grant to conduct further and more varied experiments with the physiologist, Ernst Ritter von Brücke. These additional experiments were conducted in the spring and summer of 1850, but yielded only ambiguous results, and led Brücke to conclude that questions about Semmelweis’s theory could only be resolved by clinical observations, not animal experiments. This article discusses the reasoning behind these animal experiments, and Skoda’s and Brücke’s responses to them, and argues that their responses to the experiments caused Semmelweis to delay publishing his research until he had collected sufficient clinical evidence to prove his theory.
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Schweizer, C. "Geological travellers in view of their philosophical and economical intentions: Johann Wolfgang von Goethe (1749–1832) and Caspar Maria Count Sternberg (1761–1838)." Geological Society, London, Special Publications 287, no. 1 (2007): 63–72. http://dx.doi.org/10.1144/sp287.6.
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Bagdonė, Karolina. "Jonas Aistis’ and Sigitas Geda’s Notion of Open Cultural Identity: Between Universality and National Self-Preservation." Colloquia 49 (July 19, 2022): 118–37. http://dx.doi.org/10.51554/coll.22.49.07.
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In this article, author uses the theory of intertextuality to examine how the works of two Lithuanian poets, Jonas Aistis and Sigitas Geda, revised Western literary works during the Soviet era and what kind of European identity they conveyed by creating intertextual connections. Both poets during the Cold War looked for the ways to make vital links with Western literature and to continue to reflect on the relationship between Europeanness and Lithuanianness that had taken place in Lithuania before World War II. Aistis turned to the classical era that was popular in the interwar period, especially the myths of Medea, Orpheus and Eurydice, and the works of Edgar Allan Poe. Using intertexts, he reflected on the ideas of double homelessness (love for the lost Lithuania and Europe), post-catastrophic identity, and the painful disappointment with the diminished impact of his poetry. The ideas of national and European identity as a synthesis of the West and the East reflected in the works by Stasys Šalkauskis and Adomas Mickevičius, as well as Johann Wolfgang von Goethe’s vision of the universality of world literature, were important in Geda’s poetry. They were significant in creating authentic intertextual links with the works of Western literature (such as Ovid, Homer, Rainer Maria Rilke and Georg Trakl), in order to preserve the complex historical European experience and to provoke readers’ self-consciousness in opposing the repressive Soviet regime.
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Dzik, Janina. "The Reception of the Engravings of Gottfried Bernhard Göz’s Marian Series in the Monumental Painting of the Lviv Circle in the 18th Century." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (2019): 7–32. http://dx.doi.org/10.18290/rh.2019.68.4-1en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 63, issue 4 (2015).
 The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708–1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made with the stipple engraving technique presents 12 signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, Mary’s Birth, the Presentation of Mary, Mary and Joseph’s Matrimony, the Annunciation, the Visitation, the Purification, the images of Our Lady of Sorrows, and the Assumption. Other scenes are connected with Mary’s patronage – as the Queen of the Rosary—and her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737–1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican nuns’ St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercian monastery in Birnau (1748–1750). These motifs were also found in Bavarian Marian shrines, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in a church in Niederaschau and Kleinmariazell (1763–1765). References to the series may also be found in the area of Slovenia, i.e. on the vault of Grajska Kapela in Novo Celje (1758–1763).
 The prints were known to the circle of Lviv artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lviv painter Stanisław Stroiński (1719–1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756–1759 (now Chervonohrad in Ukraine), and in the decoration of St Anne’s Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in St Lawrence Parish Church in the village of Żółkiewka and on the vault of the post-Pauline St Louis Church in Włodawa.
 The engravings are a significant model for Polish painting because of their style, technique and original approach to the conventional religious theme.
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Tracz, Szymon. "Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork." Perspektywy Kultury 30, no. 3 (2020): 151–78. http://dx.doi.org/10.35765/pk.2020.3003.11.
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The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Matthias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural painting known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Polish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the frescoes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints modeled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.
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Godsey, William D. "Habsburg Government and Intermediary Authority under Joseph II (1780–90): The Estates of Lower Austria in Comparative Perspective." Central European History 46, no. 4 (2013): 699–740. http://dx.doi.org/10.1017/s0008938914000016.
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On October 18, 1783, a cortege of gala carriages escorted by liveried attendants, lackeys, and trumpeters drew up in the main courtyard of the Hofburg, the Imperial palace in Vienna. Received with military honors, it bore a deputation of the Lower Austrian Estates led by Landmarschall Count Johann Anton Pergen and that included a dozen representatives of the four orders (prelates, lords, knights, and townsmen) that composed the diet. The group ascended into the ceremonial apartments to be welcomed by the Imperial grand chamberlain, who announced its arrival. The emperor's appearance in the audience chamber prompted a short address by Pergen, to whom Joseph II then personally handed his government's annual tax demand. As his mother the Empress Maria Theresa had sometimes done on these occasions, he took advantage of Estates' attendance to raise a matter of special concern. He exhorted them “avec beaucoup de noblesse” to consider ways of revising the provincial cadastre that underlay the system of direct taxation. This prefigured one of the reign's celebrated initiatives that culminated in the great tax and peasant labor reform of 1789. Joseph's participation in a court function that dated back to the middle years of the previous reign and that was rooted in a much older ritual in which the Lower Austrian Estates had in corpore received the tax request out of the monarch's own hands largely conformed to later Theresan practice. But this would be the last time that he observed the rite. In the following year, his absence from Vienna prevented its occurrence, and in 1785 he did away with it altogether.
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Košárková, Monika, Luboš Machačko, and Radka Šefců. "COMPREHENSIVE NATURAL HISTORY RESEARCH OF THE TECHNIQUE AND TECHNOLOGY OF THE PAINTING BY GABRIEL MÜLLER ON THE EXAMPLE OF THE PORTRAITS OF JOHANN ADAM OF QUESTENBERG AND MARIA ANTONIA OF QUESTENBERG." Průzkumy památek 26, no. 2 (2019): 39–46. http://dx.doi.org/10.56112/pp.2019.2.04.
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Mr. Maris, mr. Spoor, Prof. mr. Heider, mr. Wentink, and ir. Van Leeuwen. "’1. Cornelia Catharina Maria Looyen 2. Elisabeth Johanna Maria Adriaansen / 1. Cornelia Johanna Maria Adriaansen 2. Maria Johanna Cornelia Augustijn’ (TvAR 1990/4352)." Tijdschrift voor Agrarisch Recht 50, no. 5 (1990): ㅤ. http://dx.doi.org/10.5117/tvar1990.5.010.
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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.
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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoön. I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoön not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoön into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the Renaissance, whose role in 18th century aesthetics is just as significant as the art history tradition based on classical archaeological research. In the writings of Winckelmann, and those who followed him, the two poles of this approach to art are tightly merged. The author’s goal is to draw attention to ways of understanding and writing about art, besides the descriptive methods and those related to history; to those that focus on the processes related to the gnoseological side and to subconscious creation, and provide a place for words and their power to create ever newer and more expressive metaphors. One possibility for translating visual images into verbal form is to adopt the breadth of poetry and its language, which truthfully, being just as ambiguous and inexplicable as art, enables us to make the indescribable describable; via a work of art as the initial idea, and the work that informs us of this idea as a series of formed images that can be assessed as pictures that describe the spiritual image (or eidolon in Greek).
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Nikolskaia, Kseniia D. "Lutheran Romance. Missionaries of Tranquenar in Search for Life Companions." Oriental Courier, no. 1 (2022): 103. http://dx.doi.org/10.18254/s268684310021415-4.
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The Danish East India Company (Dansk Østindisk Kompagni) was established in Europe at the beginning of the 17th century. Its stronghold in India was the city of Trankebar (Dansborg Fortress), located 250 km from Madras. In the early years of the 18th century, the first Lutheran missionaries, Bartholomäus Ziegenbalg and Heinrich Plütschau, appeared on the Coromandel Coast. It was at this time that the Danish Royal Mission, financed by King Frederick IV, was established in the Indian South. It consisted mainly of Germans, graduates of the University of Halle in Saxony, a bastion of pietism in Germany. As time passed, the number of European clergymen working in the Tranquebar grew, as did the number of local converts. Working in a large Christian community required a great deal of time and energy on the part of the missionaries. At some point, they began to use the Tranquebar neophytes for this work as well. But this did not solve all problems. Three years after their arrival in Tranquebar, the missionaries decided that some of them, Ziegenbalg himself, Plütschau, and Johann Ernst Gründler, who had just arrived in India, should marry women from Germany who would be reliable assistants in their difficult work. The prospective brides had to conform to the pietist concept of piety and devotion to the Lord. The article relates the missionaries’ search for brides in Europe and the two partnerships that resulted: Bartholomäus Ziegenbalg married Maria Dorothea Salzmann after a trip to Europe from 1714 to 1716, while his friend ohann Ernst Gründler married at Tranquebar without waiting for a bride from far away from Europe. His bride of choice was Utilia Elisabeth. These matrimonial histories provide a clearer picture of what “pietism in action” looked like in the history of the missionary movement while enlivening the history of the Christianization of the East with personal details and adding human traits to the founders of Orientalism-as Bartholomäus Ziegenbalg certainly is for Tamilism.
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Savuliak, R. V. "Features of the codification works on the Josephine Code of 1787." Analytical and Comparative Jurisprudence, no. 4 (September 14, 2023): 41–49. http://dx.doi.org/10.24144/2788-6018.2023.04.5.
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The author considered the peculiarities of the codification process of concluding the Josephine Code of 1787 in the Habsburg monarchy. At the same time, first of all, the state of the scientific research of the specified problem was analyzed both in the science of the history of Austrian law, in the 19th century and in modern, as well as in Ukrainian historical and legal science. The article reveals the prerequisites for concluding the Josephine Code as a result of the revision of the Draft of Codex Theresianus of 1766. The main focus of the study is on highlighting the stages of long-term codification work on the Josephine Code, namely, such as: presentation of expert comments on the Draft, lectures-responses to them by the Legislative Commission under the leadership of Hofrat Zenker, remarks of the conceptualist of the State Council Johann Bernhard Horten on these lectures-responses, consultations-discussions of the Draft in the State Council and consultations of the Legislative Commission headed by J.-B. Horten.The article provides examples of opposition to the adoption of the Josephine Code, in particular the demand for the complete abolition of Roman law as the source of law of the Habsburg monarchy. Particular attention is paid to the legal and technical guidelines, principles of such revision established in the patent of Empress Maria Theresa on the revision of the Draft of Codex Theresianus of 1772.The author revealed the influence of Emperor Joseph II on the final adoption of the first part of the Josephine Code (on personal law), which provided for the rights of individuals and, most importantly, regulated marriage and family law, namely the relationship between spouses and parents and children, as well as the institution of guardianship. In addition, the article describes the structure of the first part of the Code. Moreover, the author clarified the peculiarity of the name of this legislative act and clarified the name of its original source. In conclusion, the author substantiates the historical and legal significance of the Josephine Code.
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SEMENOVSKA, L., I. VAZHENINA, and V. FAZAN. "INDIVIDUALIZATION OF LEARNING AS A DEVELOPMENT ACTUALITY INFORMATION TECHNOLOGICAL SOCIETY." Pedagogical Sciences, no. 82 (December 28, 2023): 30–34. http://dx.doi.org/10.33989/2524-2474.2023.82.295073.
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The article reveals the formation of the idea of individualization of education in the works of Jean-Jacques Rousseau, Johann Gottfried Herder, Helen Parkhurst, Maria Montessori, John Dewey, etc. On the basis of studying the works of foreign researchers, in particular, Ken Robinson, Diana Laurillard, Candace Thille, etc., the key theoretical aspects of the development of individualized learning are highlighted: diagnostics (collection and analysis of data about a person for understanding its needs, abilities and level of knowledge); personalization (development of educational programs, tasks and materials that meet the specific needs of each stu- dent); flexibility (providing opportunities for individual choice of learning method, pace and work schedule); self-regulation (instilling self-regulation skills and the ability to take responsibility for one’s own learning); feedback (constant monitoring and evaluation of learning achievements with the possibility of adjusting learning according to the results). The main mechanisms of practical implemen-tation of the idea of individualization of education in the American, British and Swiss education systems are revealed (personalizationof education by means of forming a digital educational environment; use of individual educational plans; dual education; variabilityof educational programs and courses; selection and processing of analytical data regarding the course of the educational process; co- operation teachers and parents in the educational process; development of creativity, independence and personal responsibility, etc.). The article proves that the individualization of learning as an actuality of scientific and educational progress in Ukraine and the world should be used with the latest pedagogical tools, aimed at creating a friendly atmosphere, mutual understanding and cooperation in theeducational institution. It is also important to develop mechanisms that provide, firstly, personal support and monitoring of individual development, level of education and upbringing, and secondly, clarification and resolution of pedagogical, psychological and social problems. It was established that the individualization of education in our time depends not only on the efforts of the education system, but also on the balanced joint work of all social institutions.
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Pista, Leon. "Der mariologische Ansatz von Joseph Ratzinger." DIALOG TEOLOGIC XXIII, no. 46 (2020): 48–63. http://dx.doi.org/10.53438/egvj5450.
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In diesem Artikel wird es den mariologischen Ansatz von Joseph Ratzinger analysiert. Dessen erster Teil skizziert drei methodische Aspekte, die für eine redliche Auslegung der Enzyklika „Redemptoris Mater“ von Papst Johannes Paul II. wichtig sind. Nach der Skizzierung dieser drei methodischen Aspekte werden drei inhaltliche Schwerpunkte der Enzyklika präsentiert. Der zweite Teil des Artikels analysiert das Buch „Die Tochter Zion“ von Joseph Ratzinger. Hier werden die drei großen Mariendogmen ausgelegt, und zwar: Maria, Jungfrau und Gottesmutter, ihr Freisein von der Erbsünde und die Aufnahme des Leibes und der Seele Marias in die himmlische Herrlichkeit.
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Mr. Mar is, mr. Spoor, mr. Kok, and baron De Weichs de Wenne en De Wolf. "’1. Johannes Adrianus Josephus Jansen 2.Maria Johanna Verschueren-Jansen / Jan Bruurs’ (TvAR 1990/4373)." Tijdschrift voor Agrarisch Recht 50, no. 7 (1990): ㅤ. http://dx.doi.org/10.5117/tvar1990.7.004.
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Schreurs, Eugeen. "Missa Maria Assumpta." Forum+ 25, no. 3 (2018): 44–51. http://dx.doi.org/10.5117/forum2018.3.schr.
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Er bestaan hardnekkige misverstanden over de Mariae Assumptae-mis uit 1720 van de Antwerpse componist Johannes Adamus Faber. Die werd immers lang beschouwd als de eerste bekende, maar verdwenen klarinetpartituur. Naar aanleiding van de recente opname van deze partituur door Terra Nova Collective onder leiding van Vlad Weverberg geeft Eugeen Schreurs meer context en nuancering bij deze mis.There are many persistent misconceptions about the Mariae Assumptae mass of 1720 composed in Antwerp by Johannes Adamus Faber. Indeed it was long regarded as the first known, albeit lost, score ever written for clarinet. Following the recent recording of this music by Vlad Weverbergh and the Terra Nova Collective, Eugeen Schreurs provides more context and perspective for the mass.
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Vodosek, Peter. "Augustynowicz, Christoph; Frimmel, Johannes (Hrsg.): Der Buchdrucker Maria Theresias: Johann Thomas Trattner (1719–1798) und sein Medienimperium. (Buchforschung. Beiträge zum Buchwesen in Österreich, Band 10). Wiesbaden: Harrassowitz Verlag, 2019. 173 S., Illustrationen, fest gebunden. ISSN 1562-9279, ISBN 978-3-447-11235-2. 54,– €." Bibliothek Forschung und Praxis 45, no. 1 (2021): 186–88. http://dx.doi.org/10.1515/bfp-2020-0128.
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