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The Gesamtkunstwerk ('total work of art'), once a key concept in Wagner studies, has become problematic. This book sheds light on this conundrum by first tracing the development of the concept in the 19th century through selected examples, some of which include combinations of different art forms. It then focuses on the culmination of the Gesamtkunstwerk in Wagner's theories and in the practice of his late music dramas, of which Der Ring des Nibelungen is the most complete representation. Finally, the book contrasts the view of the Ring as a fusion of dramatic text and music with the 20th century trend towards Deconstruction in Wagnerian productions and the importance of Régie. Against this trend a case is made here for a fresh critical approach and a reconsideration of the nature and basis for the fundamental unity which has hitherto been widely perceived in Wagner's Ring. Approaches through Leitmotiv alone are no longer acceptable. However, in conjunction with another principle, Moment, which Wagner insisted on combining with Motive, these can be ingeniously 'staged' and steered to dramatic ends by means of musical dynamics and expressive devices such as accumulation. Analysis of the two Erda scenes demonstrates how this complex combination of resources acts as a powerful means of fusion of the musical and dramatic elements in the Ring and confirms its status as a Gesamtkunstwerk.

The Gesamtkunstwerk ('total work of art'), once a key concept in Wagner studies, has become problematic. This book sheds light on this conundrum by first tracing the development of the concept in the 19th century through selected examples, some of which include combinations of different art forms. It then focuses on the culmination of the Gesamtkunstwerk in Wagner's theories and in the practice of his late music dramas, of which Der Ring des Nibelungen is the most complete representation. Finally, the book contrasts the view of the Ring as a fusion of dramatic text and music with the 20th century trend towards Deconstruction in Wagnerian productions and the importance of Régie. Against this trend a case is made here for a fresh critical approach and a reconsideration of the nature and basis for the fundamental unity which has hitherto been widely perceived in Wagner's Ring. Approaches through Leitmotiv alone are no longer acceptable. However, in conjunction with another principle, Moment, which Wagner insisted on combining with Motive, these can be ingeniously 'staged' and steered to dramatic ends by means of musical dynamics and expressive devices such as accumulation. Analysis of the two Erda scenes demonstrates how this complex combination of resources acts as a powerful means of fusion of the musical and dramatic elements in the Ring and confirms its status as a Gesamtkunstwerk.

Used. Very Good conditions. May have soft reading marks and name of the previous owner.

271 Seiten, bebildert. Buch sehr gut erhalten, nur SU ganz leicht berieben. ISBN: 9783775726849 Sprache: Deutsch Gewicht in Gramm: 2050 Gebundene Ausgabe mit Schutzumschlag.

Francesco Risso's innovative approach to design transforms Marni into a 'gesamtkunstwerk' —a total work of art—where each garment is a unique creation shaped by intuition and hand-tailored processes. These elevated jeans are expertly cut with a wide leg, and feature a playful logo patch on the coin pocket. Timeless and versatile, they’ll last for many seasons to come. 100% Cotton, Wide Leg, 5 Pocket Set Up, Zip Fly, Embroidered Branding, Leather Brand Patch, Made in Italy, Marni. Marni Women's Trousers in Ocean, Size XX-Large

Francesco Risso's innovative approach to design transforms Marni into a 'gesamtkunstwerk' —a total work of art—where each garment is a unique creation shaped by intuition and hand-tailored processes. These elevated jeans are expertly cut with a wide leg, and feature a playful logo patch on the coin pocket. Timeless and versatile, they’ll last for many seasons to come. 100% Cotton, Wide Leg, 5 Pocket Set Up, Zip Fly, Embroidered Branding, Leather Brand Patch, Made in Italy, Marni. Marni Women's Trousers in Ocean, Size Medium

Francesco Risso's innovative approach to design transforms Marni into a 'gesamtkunstwerk' —a total work of art—where each garment is a unique creation shaped by intuition and hand-tailored processes. These elevated jeans are expertly cut with a wide leg, and feature a playful logo patch on the coin pocket. Timeless and versatile, they’ll last for many seasons to come. 100% Cotton, Wide Leg, 5 Pocket Set Up, Zip Fly, Embroidered Branding, Leather Brand Patch, Made in Italy, Marni. Marni Women's Trousers in Ocean, Size X-Large

Francesco Risso's innovative approach to design transforms Marni into a 'gesamtkunstwerk' —a total work of art—where each garment is a unique creation shaped by intuition and hand-tailored processes. These elevated jeans are expertly cut with a wide leg, and feature a playful logo patch on the coin pocket. Timeless and versatile, they’ll last for many seasons to come. 100% Cotton, Wide Leg, 5 Pocket Set Up, Zip Fly, Embroidered Branding, Leather Brand Patch, Made in Italy, Marni. Marni Women's Trousers in Ocean, Size X-Small

Francesco Risso's innovative approach to design transforms Marni into a 'gesamtkunstwerk' —a total work of art—where each garment is a unique creation shaped by intuition and hand-tailored processes. These elevated jeans are expertly cut with a wide leg, and feature a playful logo patch on the coin pocket. Timeless and versatile, they’ll last for many seasons to come. 100% Cotton, Wide Leg, 5 Pocket Set Up, Zip Fly, Embroidered Branding, Leather Brand Patch, Made in Italy, Marni. Marni Women's Trousers in Ocean, Size Large

Francesco Risso's innovative approach to design transforms Marni into a 'gesamtkunstwerk' —a total work of art—where each garment is a unique creation shaped by intuition and hand-tailored processes. These elevated jeans are expertly cut with a wide leg, and feature a playful logo patch on the coin pocket. Timeless and versatile, they’ll last for many seasons to come. 100% Cotton, Wide Leg, 5 Pocket Set Up, Zip Fly, Embroidered Branding, Leather Brand Patch, Made in Italy, Marni. Marni Women's Trousers in Ocean, Size Small

Scriabin's 7th Piano Sonata is amongst the late sonatas Nos. 6-10, conceived as preliminary studies for a Gesamtkunstwerk of enormous proportions, ...

The famous “Historisches Grünes Gewölbe” returns to the residential palace for the first time after 60 years in September 2006. The beautifully illustrated catalogue takes the reader on a fascinating tour through this unique “Gesamtkunstwerk”. The "Grünes Gewölbe" was founded in 1550 by Elector August of Saxony as the state treasury, "Geheime Verwahrung." Augustus the Strong converted it into a publicly accessible Schatzkunst museum in 1729. His idea was unrivalled: the eight display rooms with their exquisite interiors and the highly impressive mise en scène of the collection were designed to inspire amazement. The extravagant profusion of precious objects in gold, silver, enamel and precious stones, the ivories, bronzes and jewellery proclaimed the wealth and artistic taste of the Saxon dynasty. In 1942 the collection was closed and taken into storage at Königstein fortress. The museum's exterior and three of the eight rooms were severely damaged during the war. From 1974 a part of the collection could be seen again, but it was not until 2004 when the "Neues Grünes Gewölbe" was reopened with exhibits from the Renaissance to Neo-Classicism. The book introduces the masterpieces of this fascinating collection and provides an insight into the brilliant concept of the museum's founder, from which the inspiration for this presentation has been drawn.

Videogames! Aren’t they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date.Delving into popular, familiar games like Flappy Bird, Mirror’s Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don’t watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn’t.Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the “rivers and fields” that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: “God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.”

In The Aesthetics of the Total Artwork, artists, curators, and scholars from many countries and fields offer new ways of understanding the history and contemporary importance of the idea of the total artwork, or Gesamtkunstwerk.The term "Gesamtkunstwerk" was introduced in the romantic period. It describes the desire for and practice of combining various art forms into a whole, such as performances that combine text, visual arts, music, dance, and architecture. Richard Wagner was one of the early theorists of the concept, inspiring many modernist artists; yet, due to his ideological significance for the Third Reich, the concept has frequently been associated with totalitarianism since the Second World War. Nonetheless, artistic practice has continued to incorporate all-inclusive tendencies, even while avoiding the term "total artwork."The contributors to this volume challenge us to think again about the total artwork, daring to suggest that it is alive and well, that it informs current art in ways that are deep, meaningful, contentious, and provocative. The essays come from authors steeped in literary culture, the world of art, philosophy, and music theory. Such diverse perspectives can only stimulate debate in the academy and beyond about the history of the Gesamtkunstwerk and open up paths that may be followed in its future.

First theorized by composer Richard Wagner, the total artwork, or "gesamtkunstwerk," proposed a synthesis of all arts towards a single, unified spectacle. Wagner's ambitious conception flowered in the early twentieth century throughout numerous avant gardes, particularly in German Expressionism, where art forms cross-pollinated and collaborated to a remarkable degree. Past considerations of Expressionism have tended to focus only on individual genres, making The Total Artwork in Expressionism: Art, Film, Literature, Theater, Dance and Architecture 1905-1925 the first-ever publication to examine the interplay between these forms. Here, masterpieces of Expressionist film such as Robert Wiene's The Cabinet of Dr. Caligari are united with set designs; the works of painters and set designers such as Ernst Barlach, Otto Bartning, Otto Dix, George Grosz, Wassily Kandinsky, Ernst Ludwig Kirchner, Oskar Kokoschka and Ludwig Meidner are examined, alongside film stills by César Klein and Hans Poelzig; and documents by Bruno Taut and Ernst Toller, music scores by Paul Hindemith, poster art, dance masks and stage photographs provide historical and archival background, building a unique panorama of the Expressionist period. Renowned authors, key works and source texts from all disciplines allow the reader to thoroughly experience the ways the genres mutually influenced each other during this revolutionary period.

In The Aesthetics of the Total Artwork, artists, curators, and scholars from many countries and fields offer new ways of understanding the history and contemporary importance of the idea of the total artwork, or Gesamtkunstwerk.The term "Gesamtkunstwerk" was introduced in the romantic period. It describes the desire for and practice of combining various art forms into a whole, such as performances that combine text, visual arts, music, dance, and architecture. Richard Wagner was one of the early theorists of the concept, inspiring many modernist artists; yet, due to his ideological significance for the Third Reich, the concept has frequently been associated with totalitarianism since the Second World War. Nonetheless, artistic practice has continued to incorporate all-inclusive tendencies, even while avoiding the term "total artwork."The contributors to this volume challenge us to think again about the total artwork, daring to suggest that it is alive and well, that it informs current art in ways that are deep, meaningful, contentious, and provocative. The essays come from authors steeped in literary culture, the world of art, philosophy, and music theory. Such diverse perspectives can only stimulate debate in the academy and beyond about the history of the Gesamtkunstwerk and open up paths that may be followed in its future.

The famous “Historisches Grünes Gewölbe” returns to the residential palace for the first time after 60 years in September 2006. The beautifully illustrated catalogue takes the reader on a fascinating tour through this unique “Gesamtkunstwerk”. The "Grünes Gewölbe" was founded in 1550 by Elector August of Saxony as the state treasury, "Geheime Verwahrung." Augustus the Strong converted it into a publicly accessible Schatzkunst museum in 1729. His idea was unrivalled: the eight display rooms with their exquisite interiors and the highly impressive mise en scène of the collection were designed to inspire amazement. The extravagant profusion of precious objects in gold, silver, enamel and precious stones, the ivories, bronzes and jewellery proclaimed the wealth and artistic taste of the Saxon dynasty. In 1942 the collection was closed and taken into storage at Königstein fortress. The museum's exterior and three of the eight rooms were severely damaged during the war. From 1974 a part of the collection could be seen again, but it was not until 2004 when the "Neues Grünes Gewölbe" was reopened with exhibits from the Renaissance to Neo-Classicism. The book introduces the masterpieces of this fascinating collection and provides an insight into the brilliant concept of the museum's founder, from which the inspiration for this presentation has been drawn.