東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Grotesque visions: Art, science, and...

Haakenson, Thomas Odell.

Linked to FindBook

Google Book

Amazon

博客來

Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany./
Author:	Haakenson, Thomas Odell.
Description:	368 p.
Notes:	Adviser: Keya Ganguly.
Contained By:	Dissertation Abstracts International67-08A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3227548
ISBN:	9780542813856

Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany.
Haakenson, Thomas Odell.

Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany. - 368 p.

Adviser: Keya Ganguly.

Thesis (Ph.D.)--University of Minnesota, 2006.

In the following study, I examine the relationship between art and science in early-twentieth-century Germany. I argue that certain artists used the grotesque as a way to challenge various forms of scientific objectivity. Not including the introductory and concluding chapters, I have divided the dissertation into two sections of three chapters each. This structure is meant to aid the reader in understanding the contextual and historically-specific uses of the grotesque.

ISBN: 9780542813856Subjects--Topical Terms:

635474
Art History.

Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany.
LDR:03319nam 2200325 a 45 001 973872
005 20110928
008 110928s2006 eng d
020 $a 9780542813856
035 $a (UnM)AAI3227548
035 $a AAI3227548
040 $a UnM $c UnM
100 1 $a Haakenson, Thomas Odell. $3 1297817
245 1 0 $a Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany.
300 $a 368 p.
500 $a Adviser: Keya Ganguly.
500 $a Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2787.
502 $a Thesis (Ph.D.)--University of Minnesota, 2006.
520 $a In the following study, I examine the relationship between art and science in early-twentieth-century Germany. I argue that certain artists used the grotesque as a way to challenge various forms of scientific objectivity. Not including the introductory and concluding chapters, I have divided the dissertation into two sections of three chapters each. This structure is meant to aid the reader in understanding the contextual and historically-specific uses of the grotesque.
520 $a In the first section, "Science and the Visual," I analyze notions of scientific perception in the German context. Chapter two focuses on the relationships among science, art, and perceptual subjectivity. I follow this engagement with two descriptive chapters about public and professional science. Chapter three examines the changing meanings given to photographic evidence in the Berliner Gesellschaft fur Ethnologie, Anthropologie, and Urgeschichte, while chapter four explores the protocols for professional and public science at the Institut fur Pathologie.
520 $a I engage artistic responses to science's developing optics in section two, "Critical Artistic Visions." In the three chapters that comprise this section, I examine the use of the grotesque by three artists: Salomo Friedlander, Til Brugman, and Hannah Hoch. In chapter five, I detail Friedlander's philosophical and aesthetic exploration of the grotesque as a means to challenge the visual certitude of empirical science. In chapter six, I assess Brugman's short grotesque, "Warenhaus der Liebe," a text parodying the work of sexual scientist Magnus Hirschfeld and his Institut fur Sexualwissenschaft. In the last chapter of this section, which is devoted to the well-known visual artist Hannah Hoch and her photomontage grotesques, I contextualize her "Aus einem ethnographischen Museum" images as responses to the optical certitude of anthropology.
520 $a I conclude the dissertation by situating the unique understanding of the grotesque developed by Friedlander and employed by him, Brugman, and Hoch, in the context of recent events in Germany. I show that the modern-day exhibit Grotesk! fails to recognize the critical and contextual aspects of the artistic style. Understood correctly, I suggest, the work of the artists examined in the following study show us, even today, just how important---and critical---the grotesque is.
590 $a School code: 0130.
650 4 $a Art History. $3 635474
650 4 $a History of Science. $3 896972
650 4 $a Literature, Germanic. $3 1019072
690 $a 0311
690 $a 0377
690 $a 0585
710 2 0 $a University of Minnesota. $3 676231
773 0 $t Dissertation Abstracts International $g 67-08A.
790 $a 0130
790 1 0 $a Ganguly, Keya, $e advisor
791 $a Ph.D.
792 $a 2006
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3227548