Sprichwortbild Und Sprichwortschwank
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Sprichwortbild und Sprichwortschwank
Um 1500 floriert ein poetisches Verfahren, das Metaphern von Sprichwörtern nutzt, um daraus Holzschnitte oder Erzählungen zu gewinnen. Es bildet sich die neue Gattung des Sprichwortbilder-Buchs. Exemplarisch wird dafür das berühmte Narrenschiff analysiert. Ein narratives Pendant ist der Ulenspiegel, dessen Schwänke komplett auf Sprichwörtern fußen. Narrative und piktoriale Varianten gehören zu demselben Verfahren, was intertextuelle Bezüge belegen. Das Verfahren wird u.a. satirisch genutzt, die Sprichwortbilder aber auch mnemonisch oder als Rebus. Rezipienten sind neben dem "Volk" Bürger, Gelehrte und Adlige. Die literarischen Bezüge sind vielfältig: zum illustrierten Flugblatt, zur Hieroglyphik und Emblematik oder zur Menippea. Das literarhistorische Thema wird erstmals in systematischer Grundlegung und umfassender Synopse behandelt.
How the Wise Men Got to Chelm
1. How the Wise Men got to Gotham: the fools of Chelm take Manhattan -- 2. How foolish Is Jewish culture? fools, Jews, and the Carnivalesque Culture of early modernity -- 3. Through the land of foolish culture: from Laleburg to Schildburg -- 4. Gentile fools speaking Yiddish: the Schildbergerbuch for Jewish readers -- 5. The enlightenment goes East: how Democritus of Abdera got to Galicia -- 6. The geography of folly: the folklorists and the invention of Chelm -- 7. Chelm tales after World War One in German and Yiddish: "Our Schilda" and "Our Chelm Correspondent
Jordaens
Author: Zita Pataki
language: en
Publisher: Columbia University Press
Release Date: 2012-06-01
16 essays by a group of internationally acclaimed authors help contribute to a clearer perception of the complex facets of Jacob Jordaens' oeuvre—and moreover to distinguish it from the works of Rubens, van Dyck, and his contemporaries. The title "Genius of Grand Scale" refers to the spectrum from history to genre as well as to Jordaens' preference for large formats. The greatness of the artist Jacob Jordaens needs to be emphasized, since even though he outlived Rubens for four whole decades, he was never able to escape from under his shadow. By reference to iconographic and iconological studies, single works are identified and presented in a broad review and the long, in many aspects fragmentary reception of his artistic work also forms a large part of the interpretations presented here. Furthermore, technical examinations of paintings assist in defining more precisely how they were generated.This overdue volume presents essential reading for anyone interested in Jacob Jordaens.