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CUBISM: ART AND PHILOSOPHY

100%
O'Brien D.
ESPES
|
2018
|
vol. 7
|
issue 1
30 – 37
EN
In this paper I argue that the development of cubism by Picasso and Braque at the beginning of the twentieth century can be illuminated by consideration of long-running philosophical debates concerning perceptual realism, in particular by Locke’s (1689) distinction between primary and secondary properties, and Kant’s (1781) empirical realism. Daniel-Henry Kahnweiler (1920), Picasso’s dealer and early authority on cubism, interpreted Picasso and Braque as Kantian in their approach. I reject his influential interpretation, but propose a more plausible, Kantian reading of cubism.
2
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DER HAREM – ZU INTERKULTURELLEN UND INTERMEDIALEN AUSTAUSCHPROZESSEN IN DER HERAUSBILDUNG DES ABENDLÄNDISCHEN ORIENTALISMUS SEIT DEM 18. JAHRHUNDERTS

100%
Nickel B.
World Literature Studies
|
2015
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vol. 7 (24)
|
issue 1
58 – 70
EN
During the 17th century, orientalism entered the domain of European literature and art. In the Age of Enlightenment, many literary texts and paintings dealt with orientalist motifs such as the harem. This tendency was intensified in the course of the 19th century, especially in France, which intended to colonize the Maghreb. Colonialism was reflected also and often glorified in contemporary literature and art. In Femmes d´Alger dans leur appartement, Eugéne Delacroix familiarized the French with the concept of the Algerian harem. In 1954-1955 and therefore shortly after the outbreak of the Algerian War of Independence, Delacroix ´s painting served Pablo Picasso as a model for a series of paintings and lithographs. And in 1980, Assia Djebar transferred these pictorial representations of the Algerian harem into the verbal code in her collection of short stories entitled Femmes d´Alger dans leur appartement. In the epilogue of this collection, Djebar commented on Delacroix ś and Picasso ´s vision of the Arab women in order to draw attention to the actual situation of her female compatriots. For this reason, her intermedial transfer and her interpretations of Delacroix ś and Picasso ´s paintings are not impartial.
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