Springe direkt zu Inhalt

Abstracts

Annette Gerok-Reiter: “‘Süezez’ Wissen. Zum Erkenntnispotential einer ästhetischen Konfiguration in mittelhochdeutschen Texten”

Thursday, 24 June, 14:30

Der Zusammenhang von ästhetischer Erfahrung und Erkenntnis gehört zu den Grundlagen der Diskussion um Aufgaben und Leistung der ästhetischen Erfahrung bzw. der Künste. Er wird im europäischen Kontext von der Antike bis in die Gegenwart diskutiert. Skandalon ist dabei - und nicht erst seit Baumgarten - das epistemologische Problem, wie aus einer sinnlichen Wahrnehmung ‘Erkenntnis’ resultieren kann. In Kontexten der mittelhochdeutschen Literatur wird diese Frage im Gebrauch des Lexems ‘süeze’ virulent, denn die Semantik von ‘süeze’ verweist zum einen auf ein dezidiert synästhetisch-sinnliches Wahrnehmen, zum anderen taucht die Vokabel auch zentral im Kontext der Gotteserkenntnis auf. Der Vortrag verfolgt, in welcher Weise die Aushandlungen der Spannung zwischen (syn-)ästhetischer Sinnlichkeit und Erkenntnis über das Lexem ‘süeze’ ausgetragen werden, je nach Kontextualisierungen variieren und insbesondere im Bereich der mystischen Frömmigkeit Mechthilds von Magdeburg einen konzeptuellen Status erlangen, der für die Vergegenwärtigung des Heilswissens von konstitutiver Bedeutung ist.

Annette Gerok-Reiter Annette Gerok-Reiter is Professor for Medieval German Literature in European Context at the Eberhard Karls Universität Tübingen. She specializes in Literary Theory, aesthetics and historical semantics, the Minnesang from the 12th to the 16th century, and the courtly novel. From 2019 on, Gerok-Reiter functions as spokesperson of the CRC 1391 “Different Aesthetics” in Tübingen where she oversees the subprojects B3 “Semantics of the aesthetic in German Literature of the Middle Ages” and C3 “The schoene schîn in mysticism”. In this regard, Annette Gerok-Reiter explores lexemes in medieval German literature, especially the term süeze, that can be understood as ‘figures of aesthetic reflection’ and focuses furthermore on the genesis, functionality and social context of aesthetic terminology. Together with Anja Wolkenhauer, Jörg Robert and Stefanie Gropper, she issued Ästhetische Reflexionsfiguren in der Vormoderne (2019, GRM-Beiheft 88).

Claudia Reufer: “Ästhetische Aufmerksamkeitslenkung in italienischen Zeichnungen der Renaissance”

Thursday, 24 June, 15:30

Claudia Reufer is an Art Historian and member of the CRC 980 “Episteme in Motion” where she is working on Venetian drawings of the 16th century in the project B04 “The Knowledge of Art. Aesthetics and Semantics of Figural Imagery in the Renaissance”. She therefore focuses on figurative knowledge and its temporality in Venetian drawings during the Cinquecento. In 2016, she received her PhD with a thesis on the two drawing books from the workshop of Jacopo Bellini focusing on the question on how pictorial knowledge is articulated and generated within these drawings. Her research area comprises the history and theory of drawings and drawing books during the Quattro- and Cinquecento, visually generated knowledge, material aesthetics as well as Venetian Painting. Together with Anne Eusterschulte, Iris Helffenstein and Klaus Krüger, she is editing Figurales Wissen. Medialität, Ästhetik und Materialität von Wissen in der Vormoderne (2022).
  

Jan-Peer Hartmann: “Glass, Crystal, and the Temporal Topography of Faerie in Sir Orfeo”

Thursday, 24 June, 17:00

Jan-Peer Hartmann is a research assistant at the Institute for English Language and Literature at the Freie Universität Berlin with a focus on Medieval English Literature. Participating in the CRC 980 “Episteme in Motion”, he is working on the project B01 “Artefacts, Treasures and Ruins – Materiality and Historicity in the Literature of the English Middle Ages” where he focuses on entanglements of animate and inanimate, human and non-human actors, as highlighted in literary representations of objects as parts of ‘landscape’. He is editor of the book Material Remains: Reading the Past in Medieval and Early Modern British Literature (together with Andrew James Johnston, August 2021) which examines how Medieval and Early Modern literature was fascinated with the material remains of the past. Jan-Peer Hartmann also authored articles on Old English and Anglo-Latin literature, which have appeared in journals such as Medium Ævum and Leeds Studies in English.

Sugata Ray: “From New Spain to Mughal India: Rethinking Early Modern Animal Studies with a Turkey, ca. 1612”

Thursday, 24 June, 18:00

Sugata Ray is an Associate Professor of South and Southeast Asian Art at the University of California, Berkeley. His research focuses on the intersections among Early Modern and colonial artistic cultures, transterritorial ecologies and the natural environment. Ray’s first book is entitled Climate Change and the Art of Devotion: Geoaesthetics in the Land of Krishna, 1550–1850 which was awarded the American Academy of Religion’s “Religion and the Arts Book Award”. It examines the relationship between matter and life in shaping creative practices in the Hindu pilgrimage site of Braj during the ecocatastrophes of the Little Ice Age. As an extension of his interest in the field of eco art history, Ray is coediting Ecologies, Aesthetics and Histories of Art (with Gerhard Wolf and Hannah Baader). Sugata Ray’s research has been supported by grants and fellowships, among others from the American Institute of Indian Studies, the Kunsthistorisches Institut in Florenz, the Max-Planck-Institut as well as the Getty Research Institute. He was a member of the research program “Art Histories and Aesthetic Practises” at the Forum Transregionale Studien at the Wissenschaftskolleg Berlin.
   

Niklaus Largier: “Aesthetic Transcriptions of Dogmatic Knowledge”

Thursday, 24 June, 20:00

Niklaus Largier is a Professor of German and Comparative Literature at the University of California, Berkley. His research areas include Medieval Literature, religion, the history of the imagination and emotions, as well as aesthetics and the history of the senses and the production of sense experience from the Middle Ages to the Modern era. Largier is an expert in mystical traditions in German literature, in particular on Meister Eckhart and his influence. He was a Visiting Professor at Harvard University (2006) and Princeton University (2016) as well as a fellow of the Kolleg-Forschergruppe BildEvidenz (2014) where he investigated the figures of possibility. Largier is currently working on two projects: a book on imagination, practices of figuration, and notions of possibility, tentatively entitled Figures of Possibility and another one covering the history of practices and the poetics of prayer (together with David Marno).
  

Jörg Robert: “Wissenspoetik und ästhetische Autonomie – G. E. Lessing und das Lehrgedicht”

Friday, 25 June, 14:00

Das Lehrgedicht zählt seit Lukrez’ De rerum natura (1. Jh. v. Chr.) zu den klassischen Formen ästhetischer Wissensvermittlung. Mit seiner Wiederentdeckung im 15. Jahrhundert verbindet Stephen Greenblatt gar die „Wende“ zur Renaissance. Die Frühe Neuzeit brachte denn auch eine wahre Flut von Lehrdichtungen hervor, die immer wieder höchst aktuelle Themen und Wissensbestände berührten (z.B. G. Fracastoros Lehrgedicht über die Syphilis oder M. Opitz’ Vesuvius). In Deutschland erreichte die „dogmatische Dichtung“ (Gottsched) ihren Höhepunkt in der ersten Hälfte des 18. Jahrhunderts mit Autoren wie Barthold H. Brockes und Albrecht von Haller. Auch der junge Gotthold E. Lessing versuchte sich um 1750 an einer Reihe von Lehrgedichten (publ. 1753), die jedoch allesamt Fragment blieben (z.B. ein bedeutendes Lehrgedicht Über die Religion). Diese Tatsache verweist auf Lessings Schwierigkeiten mit der Gattung. Sie resultieren aus einem doppelten Vorzugsstreit: Der Querelle des Anciens et des Modernes auf der einen und der Unterordnung der Dichtung unter die Wissenschaften. Auch für Lessing trägt Newton den Sieg über Homer davon. Damit wird die Rolle der Dichtung in der Moderne prekär. Schon in der mit Mendelssohn gemeinsam verfassten Preisschrift Pope ein Metaphysiker! (1755) wird das Lehrgedicht – auf den Spuren der Poetik des Aristoteles – als eine illegitime Form verworfen. Die Allianz von Wissen und Ästhetik wird brüchig. Ziel des Vortrages ist es, ausgehend von Lessings Praxis und Kritik des Lehrgedichts von den eigenen frühen Versuchen bis in den Laokoon (1766) hinein einen epochalen Wandel der Wissenskulturen und der ästhetischen Systembildung in der Mitte des 18. Jahrhunderts nachzuzeichnen, an deren Ende das Lehrgedicht als „Wahrheit, in Verse gebracht“ (Batteux) in eine nachhaltige Krise gerät. Im Laokoon (1766) sind die „Grenzen der Poesie“ in doppelter Weise markiert: gegenüber der „Malerei“ und der Wissenschaft, vertreten durch Hallers Botanik. Während die Wissenschaft auf „Wahrheit“ verpflichtet ist, gewinnt die Dichtung ihre Autonomie für Lessing durch ihre Fähigkeit zur „Täuschung“.

Jörg Robert is a Professor for Modern German Literature at the Eberhard Karls Universität in Tübingen with a focus on literature within the European context between the 16th and 18th centuries. His main emphasis lies within the area of poetic and aesthetic, Cultural History and the History of Ideas. He also takes on the topic of intermediality and intertextuality. Jörg Robert is a co-initiator and deputy spokesperson of the CRC 1391 “Different Aesthetics” in the course of which he is working on two subprojects: A03 “Purism – Discourses and practices of linguistic purity” and C06 “Deceit of sight, Dream and Deception – The Demonic Origin of Illusion”. He therefore examines the aesthetic potential of the debate on linguistic purism, thus regarding it as an example of early modern aesthetic practice. The focus lies on the practices and the strategies of the implementation of a “pure language”, for instance in the courtly conversation, the academic discourse, literature, and chancellery as well as the conception of “illusion” and its semantic change from demonology to aesthetics. Together with Annette Gerok-Reiter, Anja Wolkenhauer and Stefanie Gropper, he published Ästhetische Reflexionsfiguren in der Vormoderne (2019).
  

Rana Raeisi Dastenaei: “Die persische Poesie der Vormoderne als ästhetische Wissensform”

Friday, 25 June, 15:00

Rana Raeisi Dastenaei is an Assistant Professor for German Studies at the University Isfahan, Iran. She specializes in Comparative Literature, Contrastive Linguistic, Early Modern Literature as well as the Error Analysis while learning German as a foreign language. Rana Raeisi Dastenaei was awarded numerous scholarships, among them the research grant from the Alexander von Humboldt-Stiftung, the Jacob-und-Wilhelm-Grimm-Preis offered by the Deutscher Akademischer Austauschdienst (DAAD) and a research fellowship from the Friedrich Schlegel Graduate School of Literary Studies. At present, Rana Raeisi Dastenaei is working in the operational area of Prof. Dr. Anne Eusterschulte at the Freie Universität Berlin. Her recent research focuses on comparative German-Persian literature and the Literature of the 18th century. In the course of her research project, Rana Raeisi Dastenaei explores among other Lessing’s concept of tolerance in comparison to Rumi.
   

Jens Baumgarten: “Das Marginale und das Unscharfe. Transkulturelle Ästhetiken im kolonialen Kontext Brasiliens”

Friday, 25 June, 17:30

Jens Baumgarten is Professor for Art History at the Universidade Federal de São Paulo, Brazil. He specializes in Early Modern Art History of Latin America and Europe as well as in the historiography of art, visual culture and its theoretical and methodological contexts.  He established one of the first autonomous departments of Art History in Brazil. Baumgarten was Visiting Scholar at the Getty Research Institute and at the Kunsthistorisches Institut in Florence. He has authored the book Image, Confession, and Power (2004) and is preparing books on Visual Systems in Colonial Brazil and about comparisons between Brazilian and Filipino Art History. Furthermore, he is working on a project in cooperation with Yale University on “Material Economies of Religion in the Americas” with a special focus on the research of material and visual objects of religion in different cultures. A core focus of his work is the circulation and transfer of aesthetics between different cultures as well as its techniques, knowledge, and ideas with a special regard to the colonial context in Brazil.
    

Sharon Kinoshita: “What’s in a Frame? Hybridity and Containment in the Premodern Mediterranean”

Friday, 25 June, 19:00

Sharon Kinoshita is a Professor for Literature at the University of California, Santa Cruz trained as a specialist in Medieval French and Comparative Literature. Her current work focuses primarily on Medieval Mediterranean Studies and the Global Middle Ages. Her research interests comprise the intercultural relations in the literature of the 12th and 13th centuries with a special focus on Marco Polo, globalism, postcolonial theory, world literature and cultural studies. Her work includes a book project on Boccaccio’s Decameron and the Medieval Mediterranean (2007). In 2016, she published a new translation of Marco Polo's The Description of the World and is currently writing on a companion volume tentative entitled Marco Polo and the Global Middle Ages. Moreover, she has authored Medieval Boundaries and co-edited the Blackwell Companion to Mediterranean History.
   

Inga Mai Groote: “‘zierlich, deutlich und vernehmlich’? Choralmelodien als ästhetisches Wissen im 17. Jahrhundert”

Saturday, 26 June, 10:00

Melodien verbreiteter Kirchenlieder dürften im 17. Jahrhundert zumindest in den deutschsprachigen protestantischen Regionen eine Art musikalisches Allgemeinwissen dargestellt haben, da sie über religiöse Praktiken – Singen im Gottesdienst oder in privaten Kontexten, Verbreitung durch Gesangbücher – fast ubiquitär zugänglich waren. Das macht sie als Referenzen auch für Personen, die nicht professionell musikalisch tätig waren, sehr interessant. Sie konnten als ‚Töne‘ für neue Texte verwendet werden, erscheinen in Gesangbüchern oft mit dem Alternativangebot, ein neukomponiertes Lied oder die geläufige Melodie zu verwenden, und wurden in Kompositionen häufig bearbeitet, auch unter Verwendung ‚moderner‘, konzertierender Elemente (die musikalisch zu einer Auflösung des melodischen Materials führen können, v.a. seit M. Praetorius) und in freien instrumentalen Formen (z.B. N. A. Strungk oder J. Kuhnau). Satztechnische und gattungsgeschichtliche Aspekte sind hier öfter behandelt worden. Im Vortrag sollen jedoch anhand einer Auswahl von Beispielen die daraus rekonstruierbaren Hör- und Rezeptionsweisen gerade der ungewöhnlicheren Verwendungen solcher Melodien diskutiert werden – inwieweit können sie als ästhetisches Objekt wahrgenommen werden, und sind Rückschlüsse auf die Zugänglichkeit dieses Wissens möglich? Die Schwerpunkte sollen dabei auf den Fragen liegen, inwiefern die musikalische Bearbeitung den Text kommentieren oder explizieren kann und wie Melodie und damit referenzierter Text als eigene Bedeutungsebene eingesetzt werden können.

Inga Mai Groote is a Professor for Musicology at the University of Zürich. Her research focus lies in the history of music of the Early Modern Period in Germany and Italy, particularly during the Confessional Age, and the outgoing 19th century (France) and its social context. She also specializes in musical cultural transfer and the music theory as well as the related book culture of the Early Modern Period. In this regard, Inga Mai Groote worked on the CRC 933 “Material Text Cultures” in Heidelberg (2015–2018) where she oversaw the subproject B11 entitled “Material Formations of Music Theory Concepts: Praxeology of Disciplinary Writing. Towards the End of the Middle Ages”. She also participated in an international research program with the title “Sound memories” (HERA-JRP, 2016-2019) which explored premodern figurations of historical awareness in music.
  

Almut Bockisch: “Ästhetik des Hohelieds in seiner antiken Kommentierung”

Saturday, 26 June, 11:00

Almut Bockisch completed her studies of Evangelical Theology in 2018 at the Humboldt-Universität Berlin and the Hebrew University of Jerusalem. She is currently working on her doctorate thesis with the working title “Exegetischer Wissenstransfer zwischen der Hohelied-Auslegung des Origenes und dem rabbinischen Midrasch Shir HaShirim Rabba”. As research assistant participating in the CRC 980 “Episteme in Motion”, Almut Bockisch is involved in the project C01 Transfer of Apocryphal Knowledge through Translation in Ancient Christianity (and Judaism) and carries out research in conjunction with her doctorate thesis. She therefore examines commentaries and  annotations on the Song of Songs with a special regard to the Christian and Jewish interpretations and the exegetical transfer of knowledge being thus revealed.
  

Vladimir Glomb: “Beautiful Surroundings and Diligent Studies: The Role of Aesthetics in Korean Confucian Academies”

Saturday, 26 June, 13:00

Since their first appearance during the sixteenth century, Korean Confucian academies were associated with intensive textual studies, strict discipline, and isolation from the outer world. Their walled compounds were established as sober utilitarian complexes that consciously avoided the rich iconography associated with their main rivals, Buddhist temples. But what was the role of aesthetic phenomena in the ascetic Confucian curriculum? Literary reflections of life in Confucian academies are testimonies to a strict distinction between a vulgar conventional aesthetic associated with the outer world and a subtle beauty that was considered suitable for young students. While women and songs were forbidden, composition of poems on Confucian virtues and meditation on the natural sceneries surrounding academies were encouraged. The present paper strives to delineate the basic contours of a specific aesthetic phenomena associated with Confucian academies and show how these institutions, founded as strongholds of solitude, silence, and concentration, slowly developed a specific aesthetic discourse that made arduous study more attractive and palatable.

Vladimir Glomb is a research assistant at the Institute for Korean Studies at the Freie Universität Berlin with a focus on Korean philosophy, Confucianism in general and premodern Korean language and thought. Within the framework of the CRC 980 “Episteme in Motion”, he is participating in the project C09 „Evaluations of Knowledge in Confucian Academies“ where he explores relations between philological practices (textual exegesis of the classics) and philosophical and ideological claims of the academy authorities in his project “Canon and Memory: Classics in Confucian Academies.” His books include Korejská náboženství (with Miriam Löwensteinova, 2015) and Klasická korejština (with Vladimir Pucek, 2013). Together with Lee Eun-Jung and Martin Gehlmann he published Confucian Academies in East Asia (2020).
   

David Lurie: “Negative Aesthetics: The Power of Ugliness in Japanese Mythology”

Saturday, 26 June, 14:00

The core works that collect early Japanese myths (the 712 CE Kojiki and 720 Nihon shoki) contain numerous references to male and female beauty, usually in the context of courtship narratives. Reliant on abstract aesthetic terminology from classical Chinese, these references involve few surprises: physical beauty consistently serves as a reason for amorous interest in a potential sexual partner/spouse. However, in the same texts there is a more interesting negative discourse, in which ugliness is connected with spiritual or political power. Through an analysis of the vocabulary of negative aesthetic judgement in Japanese mythology, this presentation considers how and why ugliness is portrayed in such a complex and ambivalent manner.