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You searched for +publisher:"Freie Universität Berlin" +contributor:("Prof. Dr. Klaus Heinrich"). Showing records 1 – 2 of 2 total matches.

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Freie Universität Berlin

1. Wilkens, Albrecht. an innovation in sacred representation and it's development.

Degree: 2001, Freie Universität Berlin

Light in Caravaggio is not irrelevant to the meaning of a picture, but is accessible to an iconographic interpretation. Its meaning can be determined by considering the context in which it appears; by discussing its articulation which varies between the extremes of a hard grasp of the object and a sympathetic dwelling within the object, or rather, within matter. This can be demonstrated in the Berlin Amore vincitore. The extremes of lighting are the glaring light on the tablecoth and the soft light not heightened by reflexes in the musical instruments. The hard, detached light is metaphorical of the conquering Amor, whereas the soft variant stands for a mild, all-embracing Amor. In some of Caravaggio´s pictures, light with its varying articulation underlines the aspect of violence in the respective subject matter. In a highly significant passage of the Florence Sacrifice of Isaac, strong light hits the boy´s nude body which is threatened by the knife. Thus light creates the atmosphere of impending violence in an interplay with Abraham´s gesture and the hard contours. The foreground group as a whole is determined by strong light-and-shade contrasts, whereas in the background landscape, soft light spreads in space without casting hard shadows. Light is here understood to accentuate the motherly aspect of the landscape. By contrast against this soft chiaroscuro, the hard foreground lighting recalls the unreal aspect of mirroring. This is normally and by rights considered as heightening the realistic character of painting; in this context, however, it gives momentum to the unreal appearance of the scene brought about by the stress of aggression and fear. At closer inspection, however, it will be noticed that the violent dynamics of light affects the landscape, too. Light leaves some traces in it which are hardly recognizabe as real light phenomena and which point back to the knife in a strange arrangement. The Sacrifice of Isaac follows the demands of the Catholic dogma of sacrifice, but it does so only at a superficial level. It exposes the situation of sacrifice as one of horror and puts forward a radical criticism of sacrifice, pointing at eros as a force which is threatened by this institution and would eventually make sacrifice dispensable. Besides the Sacrifice of Isaac, the Capitoline St. John is interpreted in this sense. The Florence Sacrifice unfolds a conflict between the violence of sacrifice and a force of mediation which incorporates reason and love. This force is embodied by the angel, whose pointing hand epitomizes the dominating formal tendencies of the composition, thus making it clear that the composition is an integral part of the enacted drama. The variable articulation of light is also relevant in other iconographic contexts. The hard light variant hitting objects from outside is always on the side of a strong affect or of violence which transcends emotion. In the Potsdam Doubting Thomas the hard light is that of the disciple stubbornly seeking certainty by physical perception, and is contrasted by… Advisors/Committee Members: n (gender), Prof. Dr. Klaus Heinrich (firstReferee), Prof. Dr. Rudolf Preimesberger (furtherReferee).

Subjects/Keywords: Caravaggio Bildanalyse; 700 Künste und Unterhaltung::700 Künste::700 Künste, Bildende und angewandte Kunst

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Wilkens, A. (2001). an innovation in sacred representation and it's development. (Thesis). Freie Universität Berlin. Retrieved from https://refubium.fu-berlin.de/handle/fub188/10384

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Wilkens, Albrecht. “an innovation in sacred representation and it's development.” 2001. Thesis, Freie Universität Berlin. Accessed January 22, 2020. https://refubium.fu-berlin.de/handle/fub188/10384.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Wilkens, Albrecht. “an innovation in sacred representation and it's development.” 2001. Web. 22 Jan 2020.

Vancouver:

Wilkens A. an innovation in sacred representation and it's development. [Internet] [Thesis]. Freie Universität Berlin; 2001. [cited 2020 Jan 22]. Available from: https://refubium.fu-berlin.de/handle/fub188/10384.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Wilkens A. an innovation in sacred representation and it's development. [Thesis]. Freie Universität Berlin; 2001. Available from: https://refubium.fu-berlin.de/handle/fub188/10384

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


Freie Universität Berlin

2. Mirmehdi, Mohsen. Prolegomena for a systematic theology of Qoran.

Degree: 2000, Freie Universität Berlin

This study presents the first part of the intention to elucidate and determine the relation of religion and art in the islamic tradition. This relation in the first instance must be determined for the Koran itself. Since almost no systematic theological study of the Koran exists, the "Prolegomena" proposed here undertakes such a study and highlights its main outlines. The first chapter raises which shaped the composition of the Koran up to its early stabilized canonic form. It ventures the hypothesis that this formation has been chosen according not only to didactic and literary purposes, but mainly by to a deliberate theological program: namely that the unity as well as the multiplicity of reality as, in essence, a divine creation is to be reflected and, as it were, even co-revelated in the very text of the holy scripture. It must also be mentioned that the method of inquiry adopted here, i.e. the chronological resding and exegesis of the text, represents one of its most innovative features. Through a structural analyisis of Muhammad´s first revelation, the second chapter provides a better understanding of the basic assumption in the foundations of this new way of worship and religion: the God proclaimed by prophetic monotheism is lord of history. In this regard, both the historical facts and the history of God´s saving grace, are supposed neither to be identical nor to be completely different, but to complement each other; and futther on it become expected, that it opens the possibility to transcend the narrow horizon of any tribal organisation of life and thougth towards a social order wide enough to embrace finally all mankind. he third chapter demonstrates the crucial relationship between revelation and politics determined by means of the corresponding metaphors of "light" and "darknesses". It turns out that the traditional hypothesis underlying the marked contrast between the Meccan and the Medinan Surahs is not valid. The eschatological dimension of the former is by no means given up in the later ones; on the contrary, its message becomes translated and transformed in a continued social order, which is supposed to conform to divine providence in history and even to make efficient God´s grace. By considering the findings in the first three chapters, the fourth chapter integrates them to outline the concept of God and of the relation between revelation and ethics as given by the Koran. Hence, it may now be possible to reconstruct the real meaning of the interrelation between ethics and interdiction of images (in all prophetic religions). Advisors/Committee Members: n (gender), Prof. Dr. Klaus Heinrich (firstReferee), Priv.-Doz. Dr. Lorenz Wilkens (furtherReferee), Prof. J. Fuhrhop, Prof. J. Dohrmann (furtherReferee).

Subjects/Keywords: qoran systematic theology islamic religion art; 07.79.C 61.16.C 68.55 33.10.T; 000 Informatik, Informationswissenschaft, allgemeine Werke::000 Informatik, Wissen, Systeme::000 Informatik, Informationswissenschaft, allgemeine Werke

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Mirmehdi, M. (2000). Prolegomena for a systematic theology of Qoran. (Thesis). Freie Universität Berlin. Retrieved from http://dx.doi.org/10.17169/refubium-9417

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Mirmehdi, Mohsen. “Prolegomena for a systematic theology of Qoran.” 2000. Thesis, Freie Universität Berlin. Accessed January 22, 2020. http://dx.doi.org/10.17169/refubium-9417.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Mirmehdi, Mohsen. “Prolegomena for a systematic theology of Qoran.” 2000. Web. 22 Jan 2020.

Vancouver:

Mirmehdi M. Prolegomena for a systematic theology of Qoran. [Internet] [Thesis]. Freie Universität Berlin; 2000. [cited 2020 Jan 22]. Available from: http://dx.doi.org/10.17169/refubium-9417.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Mirmehdi M. Prolegomena for a systematic theology of Qoran. [Thesis]. Freie Universität Berlin; 2000. Available from: http://dx.doi.org/10.17169/refubium-9417

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

.