Academic literature on the topic 'Wolfgang Kemp'

Belonging in Oceania: Movement, Place-making and Multiple Identifications. Vol. 3 of Pacific Perspectives: Studies of the European Society for Oceanists Edited by Elfriede Hermann, Wolfgang Kempf, and Toon van Meijl New York: Berghahn, 2014, pp. 232

- Jet Bakels, Robert Layton, The anthropology of art. Cambridge: Cambridge University Press, 1991, 258 pp. - J.M.S. Baljon, Herman Leonard Beck, De Islam in Nederland: Romancing religion? [Inaugurele rede theologische faculteit Tilburg 14.2.1992.] Tilburg: Tilburg University Press 1992. - R.H. Barnes, J.D.M. Platenkamp, North Halmahera: Non-Austronesian Languages, Austronesian cultures?, Lecture presented to the Oosters Genootschap in Nederland at Leiden on 23 May 1989, Leiden: Oosters Genootschap in Nederland, 1990. 33 pp. - Hans Borkent, Directory of Southeast Asianists in the Pacific Northwest. Compiled by: Northwest Regional Consortium for Southeast Asian Studies. Seattle, WA: University of Washington [et al.], 1990. 108 pp. - Roy Ellen, Frans Hüsken, Cognation and social organization in Southeast Asia. Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde 145. Leiden: KITLV Press, 1991, 221 pp. figs. tables, index., Jeremy Kemp (eds.) - C. de Jonge, Huub J.W.M. Boelaars, Indonesianisasi. Het omvormingsproces van de katholieke kerk in Indonesië tot de Indonesische katholieke kerk, Kerk en Theologie in Context, 13, Kampen: Kok, 1991, ix + 472 pp. - Nico de Jonge, Gregory Forth, Space and place in eastern Indonesia, University of Kent at Canterbury, Centre of South-east Asian Studies (Occasional Paper no. 16) 1991. 85 pp., ills. - J. Kommers, Bernard Juillerat, Oedipe chasseur. Une mythologie du sujet en Nouvelle-Guinée, P.U.F., Le fil rouge, section 1 Psychanalyse. Paris, 1991. - Gerco Kroes, Signe Howell, Society and cosmos, the Chewong of Peninsular Malaysia, University of Chicago Press, 1989, xv + 294 pp. - Daniel S. Lev, S. Pompe, Indonesian Law 1949-1989: A bibliography of foreign-language materials with brief commentaries on the law, Van Vollenhoven Institute for Law and Administration in Non-Western Countries. Nijhoff, 1992. - A. M. Luyendijk-Elshout, H. den Hertog, De militair geneeskundige verzorging in Atjeh, 1873-1904. Amsterdam, Thesis Publishers, 1991. - G.E. Marrison, Wolfgang Marschall, The Rejang of South Sumatra. Hull: Centre for South-east Asian Studies, 1992, iii + 93 pp., ill. (Occasional Papers no. 19: special issue)., Michele Galizia, Thomas M. Psota (eds.) - Harry A. Poeze, Marijke Barend-van Haeften, Oost-Indie gespiegeld; Nicolaas de Graaff, een schrijvend chirurgijn in dienst van de VOC. Zutphen: Walburg Pers, 1992, 279 pp. - Ratna Saptari, H. Claessen, Het kweekbed ontkiemd; Opstellen aangeboden aan Els Postel. Leiden: VENA, Faculty of Social Sciences, University of Leiden, P.O. Box 9555, 2300 RA., M. van den Engel, D. Plantenga (eds.) - Jerome Rousseau, James J. Fox, The heritage of traditional agriculture among the western Austronesians. Occasional paper of the department of Anthropology. Comparitive Austronesian Project. Research school of Pacific studies. Australian National University, Canberra, Australia, 1992. 89 pp. - Oscar Salemink, Gehan Wijeyewardene, Ethnic groups acrss National boundaries in mainland Southeast Asia. Singapore 1990, Institute of Southeast Asian studies (Social issues in Southeast Asia series). x + 192 pp. - Henk Schulte Nordholt, U. Wikan, Managing turbulent hearts. A Balinese formula for living, Chicago: University of Chicago Press. 1990, xxvi + 343 pp. photos. - Mary Somers Heidhues, Claudine Salmon, Le moment ‘sino-malais’ de la litterature indonesienne. [Cahier d’Archipel 19.] Paris: Association Archipel, 1992. - Heather Sutherland, J.N.F.M. à Campo, Koninklijke Paketvaart Maatschappij; Stoomvaart en staatsvorming in de Indonesische archipel 1888-1914, Hilversum: Verloren, (Erasmus Universiteit Rotterdam, Publikaties van de Faculteit der Historische en Kunstwetenschappen III), 1992, 756 pp., tables, graphics, photographs. - Gerard Termorshuizen, Robin W. Winks, Asia in Western fiction. Honolulu: University of Hawaii Press, 1990. x + 229 pp., James R. Rush (eds.) - John Verhaar, Lourens de Vries, The morphology of Wambon of the Irian Jaya Upper-Digul area. Leiden: KITLV Press, 1992, xiv + 98 pp., Robinia de Vries-Wiersma (eds.) - Maria van Yperen, Cornelia N. Moore, Translation East and West: A cross-cultural approach, Honolulu: University of Hawaii Press. xxv + 259 pp., Lucy Lower (eds.) - Harvey Whitehouse, Klaus Neumann, Not the way it really was: constructing the Tolai past. Honolulu: University of Hawaii Press, 1992.

The article argues that the films Das kalte Herz (The Cold Heart, 1950) and Der Teufel von Mühlenberg (The Devil of Mill Mountain, 1955) functioned in two ways-as fairy tales and also as new Heimat or “homeland“ tale. Besides Wolfgang Staudte's The Story of Little Mook, these two films were the only two live action fairy tale films that appeared before East Germany's DEFA made its first Grimm feature adaptation in 1956, The Brave Little Tailor. Yet, unlike the Grimm-based films that take place in a generic “forest,“ these first two films take place explicitly in the Black Forest and the Harz Mountains, two locations synonymous with the beauty and timeless nature of past notions of German Heimat. The two films also engaged with the growing monetary and symbolic success of the West's postwar Heimatfilme or homeland films. The article focuses on how The Cold Heart and Mill Mountain contributed to the rearticulation of the emerging Heimat discourse in the early German Democratic Republic, with a particular focus on gender.

In the twenty-first century, with the development of technology, architecture is not just a shelter or even “a frozen music” (by Johann Wolfgang van Goethe). Instead, architecture becomes a huge communication channel between people and space. Thus with the integration of computational technology into architecture design, the new term—“smart space” has emerged. Some researchers have applied technology into intelligent space design, such as intelligent kitchen, smart collaboration design studio and smart health care environment. Sometimes creating a fancy or an alternative smart space is not enough, the essential factor of smart space is to satisfy human needs and keep good relationship between human and space. Therefore, this research will find out what the role of human-computer interaction in smart space design is. And the purpose of this research is to present two different cases of smart space: “Time home pub” and “BCI studio” and make the analysis of the transition from traditional architecture to smart space design. Also this research further discusses how HCI redefines the functions and lifestyle of traditional architecture.

This essay investigates why the Myth of the Holy Grail continue to occur within popular culture. Myths, tales and legends from ancient times have inspired authors throughout the centuries. The readers are not only served with a spectacular adventure, but the myths also contain messages with a moral and ethical guidance for us as beholders. This particular myth can be found within different media in our time and the essay will attempt to give some answers as to why the myth reappears in new forms over and over again. An analysis is performed by using the methodology of aesthetic reception within reception theory. The material chosen for the analysis is the work of art; The Da Vinci Code by author Dan Brown, where two different media forms will be represented, the novel and the film. The findings in the analysis revealed that the key to understanding the reasons for the occurrence of this medieval myth is the element of a quest that is present within the myth. This ingredient, where you embark on an adventure, will create feelings of excitement for the beholder. A second aspect found is that we as humans have an interest in our history. Therefore, myths and legends from our historical past will be naturally alluring for beholders and especially if they are linked to philosophical questions and ideas that can be applied to our modern society. The success that has followed The Da Vinci Code has its explanation in the fact that Brown has managed to make the myth of the Holy Grail more contemporary, the myth has then been rejuvenated. A suggestion for further research is to perform a study on beholders in focus group interviews in order to validate the findings in the analysis.

In this study, I will be applying Art historian Wolfgang Kemp’s theory of the aesthetics of reception as described in the article The Work of Art and Its Beholder: The Methodology of the Aesthetic of Reception (1998) to the Jon Rafman solo exhibition at Zabludowicz Collection in London (2015). A close study has been carried out on a selection of exhibition objects, as well as the exhibition space, to investigate how they address and interact with the beholder. An examination of Rafman’s art practice will also be disclosed. Throughout the study I will answer the following questions; How are the influences that inspired the exhibition, presented in the exhibition?, How do Jon Rafman’s installations at Zabludowicz Collection engage the beholder? And, how can the composition of the exhibition space be described?

Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm.  Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan?   Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet?    Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö.      Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen      Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse.  Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.

This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.

This concluding chapter reflects on the story of Albatross Press and its many contradictions. It argues that Albatross books, like others of their time, cannot be regarded as inherently subversive forces under National Socialism just because they were in English or associated with Anglo-American culture. The Albatross leaders had an admirable goal, endorsed by the British government in the mid-1930s: to keep Anglo-American books in German hands. Yet in retrospect there is the realization that the Albatross leaders opened themselves up to self-censorship and compromise, to realize their personal, economic, and propaganda goals. It seems at least plausible that John Holroyd-Reece, who spoke at least four languages, provided information in some capacity to British intelligence. It is also possible that Holroyd-Reece and Wolfgang Krause-Brandstetter were both renegades, working in some small part of their lives for the same cause. This chapter ends by looking at how Holroyd-Reece, Kurt Enoch, and Max Christian Wegner fared in various publishing landscapes in the postwar years.