Archaisches Lachen : die Entstehung einer komischen Bilderwelt in der korinthischen Vasenmalerei
"The comic is crucial to every culture: mocking established values, transcending the boundaries of morals and proprieties, dodging the laws of accepted logic. Being based mainly on performance, it takes its natural place in festival, dance and play(-acting). This nature of the comic is expresse...
Gespeichert in:
| VerfasserIn: | |
|---|---|
| Dokumenttyp: | Hochschulschrift Buch |
| Sprache: | German |
| Veröffentlicht: |
Berlin
: de Gruyter
, 2015
|
| Schriftenreihe: | Image & context
vol. 3 |
| Schlagwörter: | |
| Online Zugang: | Inhaltsverzeichnis Rezension Inhaltstext Rezension |
| Bibliogr. Hinweis: | Erscheint auch als:
Archaisches Lachen Rezensiert in: [Rezension von: Detlev Wannagat, Archaisches Lachen. Die Entstehung einer komischen Bilderwelt in der korinthischen Vasenmalerei] Rezensiert in: [Rezension von: Detlev Wannagat, Archaisches Lachen. Die Entstehung einer komischen Bilderwelt in der korinthischen Vasenmalerei] |
| Verantwortlich: | Detlev Wannagat |
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| 520 | |a "The comic is crucial to every culture: mocking established values, transcending the boundaries of morals and proprieties, dodging the laws of accepted logic. Being based mainly on performance, it takes its natural place in festival, dance and play(-acting). This nature of the comic is expressed far more directly in images than in language. Already in the Corinthian black-figure vase-painting of the 7th century, comic images hold an important position. Detlev Wannagat analyses their typology and visual strategies, starting from the grotesquely shaped 'padded dancers,' in which the original performative context of the festival and its alienation appears the most clearly. His close-up focus on these pictures--mostly neglected so far--draws into clearer perspective the values which they alienate and mockingly transgress"--From publisher's website | ||
| 520 | |a "The comic is crucial to every culture: mocking established values, transcending the boundaries of morals and proprieties, dodging the laws of accepted logic. Being based mainly on performance, it takes its natural place in festival, dance and play(-acting). This nature of the comic is expressed far more directly in images than in language. Already in the Corinthian black-figure vase-painting of the 7th century, comic images hold an important position. Detlev Wannagat analyses their typology and visual strategies, starting from the grotesquely shaped 'padded dancers,' in which the original performative context of the festival and its alienation appears the most clearly. His close-up focus on these pictures--mostly neglected so far--draws into clearer perspective the values which they alienate and mockingly transgress"--From publisher's website | ||
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