Angebote zu "Passion" (7 Treffer)

Passion Greatest Quotes - Quick, Short, Medium ...
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Passion Greatest Quotes - Quick, Short, Medium Or Long Quotes. Find The Perfect Passion Quotations For All Occasions - Spicing Up Letters, Speeches, And Everyday Conversations.:ebook Ausgabe Louise Cardenas

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Stand: 17.05.2017
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Frances Osborne: Lilla´s Feast
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A True Story Of Love, War, And A Passion For Food Transworld Digital

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Stand: 21.05.2017
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Gardner, Carl;Sheppard, Julie: Consuming Passio...
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The Rise of Retail Culture

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Stand: 11.05.2017
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Motives of Lamentation in Art and Music
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Seminar paper from the year 2005 in the subject Musicology, grade: 2, University of Nottingham, course: Narrative and Emotion in Art and Music, 15 entries in the bibliography, language: English, abstract: In this essay, it will be tried to examine how lamentation in art and music is handled. The aim will be to find out by which means lamentation is presented to the spectator and which kinds of stereotypes are used in order to clarify the depiction of grief. First, it will be tried to explain what the topic of lamentation is generally about, secondly, the case studies in which different kinds of tragedies that include lamentations will follow. In the music section, it is necessary to shortly summarize the plots of the analysed works to understand the full impact of the lament. First, the worldly tragic love stories in no specific order will be the focus of investigation, before the passion of Christ shall be examined. In the art section, scenes from the stories from the preceding part of the work will be looked at, so that there is no need of retelling the plots. The terms lamentation and lament derives from the Latin word lamentum1 and can be equated with expressions such as to mourn, to grieve, to wail, to moan, to weep and to cry. The term lamentation is closely linked with the Italian term lamento that stands for a piece of music in which somebody expresses his grief over something, mainly over another persons death. The term lamentation when referring to music means in the majority of cases a vocal piece based on a mournful text, often built over a descending tetrachord ostinato and common in cantatas and operas of the Baroque period. Since the late 17th century also instrumental pieces with wailing nature were sometimes named lamento, especially works by J. J. Frohberger and J. S. Bach.2 Lamentation in art is represented just as good as in music: Since the medieval and renaissance times one of the most often depicted topics is the Lamentation over the Dead Christ. Painters, sculptors and other artist grew never tired of illustrating Christ and his mourners, because of the importance of the incident of his death for the Christian community. But not only Christians were depicted in the state of lamenting by the western artists, whose paintings will be discussed later, mythological topics of mourning can be found as well. [...] 1 Brockhaus Enzyklopädie in 24 Bänden, (Mannheim, 181987), XIII, p. 21 2 Ibid.

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Stand: 07.05.2017
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Motives of Lamentation in Art and Music
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Seminar paper from the year 2005 in the subject Musicology, grade: 2, University of Nottingham, course: Narrative and Emotion in Art and Music, 15 entries in the bibliography, language: English, abstract: In this essay, it will be tried to examine how lamentation in art and music is handled. The aim will be to find out by which means lamentation is presented to the spectator and which kinds of stereotypes are used in order to clarify the depiction of grief. First, it will be tried to explain what the topic of lamentation is generally about, secondly, the case studies in which different kinds of tragedies that include lamentations will follow. In the music section, it is necessary to shortly summarize the plots of the analysed works to understand the full impact of the lament. First, the worldly tragic love stories in no specific order will be the focus of investigation, before the passion of Christ shall be examined. In the art section, scenes from the stories from the preceding part of the work will be looked at, so that there is no need of retelling the plots. The terms lamentation and lament derives from the Latin word lamentum1 and can be equated with expressions such as to mourn, to grieve, to wail, to moan, to weep and to cry. The term lamentation is closely linked with the Italian term lamento that stands for a piece of music in which somebody expresses his grief over something, mainly over another persons death. The term lamentation when referring to music means in the majority of cases a vocal piece based on a mournful text, often built over a descending tetrachord ostinato and common in cantatas and operas of the Baroque period. Since the late 17th century also instrumental pieces with wailing nature were sometimes named lamento, especially works by J. J. Frohberger and J. S. Bach.2 Lamentation in art is represented just as good as in music: Since the medieval and renaissance times one of the most often depicted topics is the Lamentation over the Dead Christ. Painters, sculptors and other artist grew never tired of illustrating Christ and his mourners, because of the importance of the incident of his death for the Christian community. But not only Christians were depicted in the state of lamenting by the western artists, whose paintings will be discussed later, mythological topics of mourning can be found as well. [...] 1 Brockhaus Enzyklopädie in 24 Bänden, (Mannheim, 181987), XIII, p. 21 2 Ibid.

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Stand: 19.04.2017
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Motives of Lamentation in Art and Music
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Seminar paper from the year 2005 in the subject Musicology, grade: 2, University of Nottingham, course: Narrative and Emotion in Art and Music, 15 entries in the bibliography, language: English, abstract: In this essay, it will be tried to examine how lamentation in art and music is handled. The aim will be to find out by which means lamentation is presented to the spectator and which kinds of stereotypes are used in order to clarify the depiction of grief. First, it will be tried to explain what the topic of lamentation is generally about, secondly, the case studies in which different kinds of tragedies that include lamentations will follow. In the music section, it is necessary to shortly summarize the plots of the analysed works to understand the full impact of the lament. First, the worldly tragic love stories in no specific order will be the focus of investigation, before the passion of Christ shall be examined. In the art section, scenes from the stories from the preceding part of the work will be looked at, so that there is no need of retelling the plots. The terms lamentation and lament derives from the Latin word lamentum1 and can be equated with expressions such as to mourn, to grieve, to wail, to moan, to weep and to cry. The term lamentation is closely linked with the Italian term lamento that stands for a piece of music in which somebody expresses his grief over something, mainly over another persons death. The term lamentation when referring to music means in the majority of cases a vocal piece based on a mournful text, often built over a descending tetrachord ostinato and common in cantatas and operas of the Baroque period. Since the late 17th century also instrumental pieces with wailing nature were sometimes named lamento, especially works by J. J. Frohberger and J. S. Bach.2 Lamentation in art is represented just as good as in music: Since the medieval and renaissance times one of the most often depicted topics is the Lamentation over the Dead Christ. Painters, sculptors and other artist grew never tired of illustrating Christ and his mourners, because of the importance of the incident of his death for the Christian community. But not only Christians were depicted in the state of lamenting by the western artists, whose paintings will be discussed later, mythological topics of mourning can be found as well. [...] 1 Brockhaus Enzyklopädie in 24 Bänden, (Mannheim, 181987), XIII, p. 21 2 Ibid.

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Stand: 27.03.2017
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Geist der Utopie. Zweite Fassung
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Absicht (1918, 1923) DIE SELBSTBEGEGNUNG Ein alter Krug Zu nahe / Am Ort darunter / Das Glas und der Krug ERZEUGUNG DES ORNAMENTS Die Frühe / Die technische Kälte / Zweckform und ausdrucksvoller Überschwang / Die Hintergründe des Kunstwollens (Griechisch gefällt / Ägyptisch Werdenwollen wie Stein / Gotisch Werdenwollen wie Auferstehen) / Das Bild der innersten Gestalt / Unser bildnerisch geheimer Namenszug PHILOSOPHIE DER MUSIK Traum Zur Geschichte der Musik Anfänge / Das Verfahren (Das handwerkliche Nacheinander / Der soziologische Zusammenhang / Die sprengende Jugend der Musik / Das Problem einer Geschichtsphilosophie der Musik) / Die Fülle und ihr Schema (Das Lied / Zu Mozart / Die Passionen / Bach, seine Form und sein Gegenstand / Carmen / Offenes Lied und Fidelio / Missa solemnis / Die Geburt der Sonate / Brahms und die Kammermusik / Beethoven, seine Form, sein Gegenstand und der Geist der Sonate / Strauß, Mahler, Bruckner / Zu Wagner: Vorgänger / Falsche Polemik / Sprechgesang, synkopischer Rhythmus und akkordische Polyphonie / Die transzendente Oper und ihr Objekt) Zur Theorie der Musik Der Gebrauch und die Tondichtung (Der Tonfall / Der Anschlag / Die schöpferische Vertonung) / Die Deutung oder über das Verhältnis zwischen absoluter und spekulativer Musik (Das Was des Ausdrucks überhaupt / Die philosophische Theorie der Musik) / Mittel, Formeln, Formen und Phänomenale der transzendierenden Musiktheorie (Der Ton als Mittel / Die Harmonielehre als Formel / Beziehungen des Rhythmus als Form / Das Bachsche und das Beethovensche Kontrapunktieren als Form und beginnendes Idiogramm / Nochmals der Ton: nicht als Mittel, sondern als Phänomenale / über das Ding an sich in der Musik) Das Geheimnis DIE GESTALT DER UNKONSTRUIERBAREN FRAGE Von uns selbst / Vom Gediegenen in uns / Vom Nebel, dem Alexanderzug und der Größe des Ja / Kant und Hegel oder Inwendigkeit, die Welt-Enzyklopädie überholend / Zur Metaphysik unseres Dunkels, Nichtmehr-Bewußten, Noch-nicht-Bewußten, unkonstruierbaren Wirproblems / Das Dunkle / Das Nicht-mehr-Bewußte / Das noch nicht bewußte Wissen und das tiefste Staunen (Ein Weiteres zur Adäquation des Staunens und die reine Frage / Nochmals das Dunkle (des gelohten Augenblicks) und seine wechselseitige Anwendung auf das Staunen) / Die möglichen Orte des Löseworts / So das Weib und Grund in der Liebe / Christus oder das aufgedeckte Angesicht / Exkurs/Hemmung und Tragödie auf dem Weg zur realen Selbstinvention / Das Bild zu Sais KARL MARX, DER TOD UND DIE APOKALYPSE Oder über die Weltwege, vermittelst derer das Inwendige auswendig und das Auswendige wie das Inwendige werden kann Das untere Leben / Der sozialistisch Gedanke / Die echte Ideologie des Reichs / Der verletzliche Leib / Zugezogenes Sosein, Abbruch / Kraft der seelenwanderischen Streuung / Hoffnungen und Konsequenzen des Dabeiseins / Gestalten der universalen Selbstbegegnung oder Eschatologie / Das Gesicht des Wil1ens Nachbemerkung (1963) Namenregister

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Stand: 27.02.2017
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