Suchergebnisse

El artículo comienza describiendo la estética expresionista al compararlacon la del arte académico y con la de los fauves. Esta comparación preludia el examende la recepción del expresionismo por la ideología nacionalsocialista. Dicho procesode recepción culmina con la exposición "Arte degenerado". Con lo que resulta de esta exposición podría pensarse que la vanguardia expresionistafue siempre antinazi, y por lo tanto, anteriormente antimilitarista y antiimperialista.Igualmente, podría pensarse que el nacionalsocialismo fue enemigo de la vanguardiaexpresionista. Tanto una como otra afirmación son verdades a medias. La vanguardiaexpresionista se sintió en no pocas ocasiones heredera de la tradición gótica y garantede las esencias alemanas. Por su parte, ciertas facciones nacionalsocialistas fueronpartidarias del expresionismo como arte nacional. La exposición significó la toma deposición del régimen respecto al arte contemporáneo, y el final de una polémicaideológica en el seno del nacionalsocialismo. ; This article begins with a description of expressionist aesthetics by means of acomparison of its principles with the ones of academical art and the ones of the fauves.This description is a prelude to the examination and the reception of expressionist artby the national-socialist ideology. This reception process gets its highest point with theexhibition "Degenerate Art". As a result of this exhibition it might be thought that the expressionist art was always ananti-Nazi one, and therefore, an antimilitarist and anti-imperialist one. It could also bethought that the National-socialism was an enemy of expressionist art. Both of thesestatements can be considered the truth only in part. The group of expressionist avant-garde felt in many occasions as heirs of the Gothic tradition and wardens of the Germanessence. Meanwhile, National-socialist factions were supporters of expressionism as anational art. The exhibition designed the position of the regime about modern art andthe end of an ideological polemic in ...

ZUSAMMENFASSUNG: Im Verlauf seiner Herrschaft inszenierte Alexander seine Person in Anlehnung an das achämenidische Herrscherzeremoniell. Der Zugang zum König, gerade bei Audienzen, wurde immer stärker reglementiert und einem festgelegten Protokoll unterworfen. Der differenzierte Zugang zum König kennzeichnete den Rang eines Individuums im Reich. Alexander übernahm dabei Traditionen der Distanzierung des persischen Königs, bediente sich gleichzeitig aber neuer Formen, indem er seine Gefährten zu menschlichen Sichtschranken und Schutzschilden erhob. Diesen Weg sind die hellenistischen Könige weitergegangen, allerdings nicht ohne gegenüber den Poleis nach den Regeln des eaters zeremoniell festgelegte Auftritte in der Öffentlichkeit zu inszenieren, und so im traditionellen griechischen Herrschaftsverständnis wurzelnde Bedürfnisse nach Autonomie zu befriedigen. Schlüsselbegriffe: Alexander der Große, Hofzeremoniell, Hellenismus, Monarchie, Repräsentation. ABSTRACT: In the course of his reign, Alexander fashioned his royal persona by making use of Achaimenid court protocol. Access to the king, especially at the time of audiences, was regulated ever more strictly and governed by a rigid set of rules. e graded access to the king marked an individual's rank in the empire. Alexander took over certain traditions of distancing from the Persian kings, while simultaneously establishing new forms by elevating his companions to specific functions, for example as human barriers against sight or human shields. Later, Hellenistic kings followed this route, but not without carefully modelling the ceremonial of their public appearances in the Greek poleis along the rules of the theatre. In so doing, they satisfied the need for autonomy which was so deeply rooted in traditional Greek notions of government.Keywords: Alexander the Great, court protocol, Hellenism, monarchy, representation.