Relevant bibliographies by topics / Raoul Hausmann and Berlin Dada

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Raoul Hausmann and Berlin Dada'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Raoul Hausmann and Berlin Dada"

1

Pfanner, Helmut F., and Timothy O. Benson. "Raoul Hausmann and Berlin Dada." German Quarterly 61, no. 4 (1988): 598. http://dx.doi.org/10.2307/406288.

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Stanley, Patricia H., and Timothy O. Benson. "Raoul Hausmann and Berlin Dada." German Studies Review 11, no. 1 (1988): 152. http://dx.doi.org/10.2307/1430860.

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3

Blom, Ina. "The Touch through Time: Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde." Leonardo 34, no. 3 (2001): 209–15. http://dx.doi.org/10.1162/002409401750286958.

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This essay outlines the historiographic implications of the strange convergence between Berlin Dadaist Raoul Hausmann's Optophon (1920–1936)—a “synaesthetic” instrument designed to transform sound signals into light signals and vice versa—and Nam June Paik's pioneering 1960s television work. Hausmann articulated a new, “televisual” form of presence, which also implied a new form of tele-tactility. As his notion of tactility returns in Paik's work, the Optophon might be construed as the historical origin of the genre called “video art.” Yet, it could be argued that Hausmann's technological reas
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4

Sheppard, Richard. "Reviews : Ich bin immerhin der grösste Experimentator Österreichs: Raoul Hausmann, Dada und Neodada. By Adelheid Koch. Innsbruck: Haymon Verlag, 1994. Pp.332. OS 890,-, DM 138,-, SFR 138." Journal of European Studies 27, no. 1 (1997): 123–24. http://dx.doi.org/10.1177/004724419702700117.

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5

Sheppard, Richard. "Book Reviews : Scharfrichter der bürgerlichen Seele: Raoul Hausmann in Berlin 1900-1933: Unveröffentlichte Briefe Texte Dokumente aus den Künstler-Archiven der Berlinischen Galerie. Edited by Eva Züchner. Berlin: Berlinische Galerie and Verlag Gerd Hatje, 1998. Pp. 532." Journal of European Studies 28, no. 4 (1998): 430–31. http://dx.doi.org/10.1177/004724419802800421.

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Dissertations / Theses on the topic "Raoul Hausmann and Berlin Dada"

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Engblom, Joakim. "Dada ser första världskriget i Berlin : En studie av kopplingen mellan George Groszs, Hannah Höchs samt Raoul Hausmanns visuella konst och första världskriget." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18400.

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The First World War had a definite impact on all of Europe, not to say the entire world. The domain of art was no exception. In Zürich, neutral Switzerland, a group of young creative intellectuals who shared a hostile approach towards the structure of the bourgeois society, with its non-democratic rulers and current nationalism which lead up to the war, united under the artistic movement we today call Dadaism. After the war Dadaism sprung up in several cities throughout Europe, among those Berlin. In Berlin Dadaism became a socialist weapon of propaganda, with its norm breaking artistic manife
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2

Thiérard, Hélène. ""Hylé I" et "Hylé II" de Raoul Hausmann : des ensembles textuels autobiographiques en mouvement." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA043.

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La thèse porte sur le work in progress de Raoul Hausmann, "Hylé", dont la genèse exceptionnelle s'étend sur plus de 30 ans (1926-58). "Hylé I" (inédit) et "Hylé II" (2006) traitent des années 1926-33 (Allemagne) et 1933-36 (Ibiza) de la vie de Hausmann. Ces ensembles textuels, qui résultent tous deux du montage d'une centaine d'unités textuelles, transcendent les appartenances génériques au profit d'une identité transgénérique, plurielle et mobile. Au regard du rôle majeur de Hausmann dans le mouvement Dada à Berlin, tant sur le plan théorique que par sa production plastique et poétique, le pr
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Bargues, Cécile. "Dada après Dada (années 1930-1940)." Paris 1, 2012. http://www.theses.fr/2012PA010576.

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Pour Jean Arp, Kurt Schwitters ou encore Raoul Hausmann, le propre de Dada serait de se survivre en changeant sans cesse de visage. Cette thèse retrace ce qu'il advient du mouvement dans les années 1930 et 1940. Elle s'attache d'abord à montrer son caractère de transformation permanente en s'appuyant sur les œuvres des dadaïstes se considérant toujours comme tels, ce qui est particulièrement le cas de Raoul Hausmann. Dans un deuxième temps, une étude historiographique, et une analyse des expositions, tant en France qu'aux Etats-Unis, viennent préciser les rapports de Dada avec le champ de l'hi
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Books on the topic "Raoul Hausmann and Berlin Dada"

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Raoul Hausmann and Berlin Dada. UMI Research Press, 1987.

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2

Hille, Karoline. Hannah Höch und Raoul Hausmann: Eine Berliner Dada-Geschichte. Rowohlt, 2000.

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3

Koch, Adelheid. Ich bin immerhin der grösste Experimentator Österreichs: Raoul Hausmann, Dada und Neodada. Haymon, 1994.

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4

1886-1971, Hausmann Raoul, Züchner Eva, and Berlinische Galerie, eds. Scharfrichter der bürgerlichen Seele: Raoul Hausmann in Berlin 1900-1933 : unveröffentlichte Briefe, Texte, Dokumente aus den Künstler-Archiven der Berlinischen Galerie. Hatje, 1998.

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Book chapters on the topic "Raoul Hausmann and Berlin Dada"

1

Petersen, Christer. "Hausmann, Raoul: Am Anfang war Dada." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6701-1.

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