German Expressionism的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

Material Modernity: Innovations in Art, Design, and Architecture in the Weimar Republic

為了解決German Expressionism的問題，作者 這樣論述：

Deborah Ascher Barnstone is Professor of Architecture and Head of the School of Architecture, Landscape Architecture, and Interior Architecture at University of Technology Sydney, Australia. She studied at Columbia University, USA and Delft University of Technology, the Netherlands. A licensed archi

tect as well as an art historian, her primary research interests are classical modernism in German art and architecture. Ascher Barnstone has a particular interest in dismantling historical myths by re-examining received histories in order to uncover alternate interpretations of the past. She has pu

blished widely in such scholarly publications as Journal of Architectural Education, Journal of Architecture, and New German Critique and in edited volumes. Her recent monograph works include Beyond the Bauhaus: Cultural Modernity in Breslau, 1918-1933 (2016), Art and Resistance in Germany (2018), a

nd The Break with the Past: Avant-garde Architecture in Germany, 1910-1925 (2019). She co-edits the Visual Cultures and German Contexts book series. Maria Makela is Professor Emerita of the California College of the Arts, USA. She holds a PhD in art history from Stanford University. Makela has publi

shed widely in exhibition catalogues, edited anthologies, and periodicals on topics as diverse as fashion, rayon, New Objectivity, Dada, Expressionism, film, nationalism, sexology, and typology. Much of her research has focused on gender and sexuality in visual culture. She is the author of The Muni

ch Secession: Art and Artists in Turn-of-the-Century Munich (1990) and co-editor of Of Truths Impossible to Put in Words: Max Beckmann Contextualized (2009). In 1996 she co-curated a traveling retrospective of the work of Hannah Höch and co-authored the accompanying catalog, The Photomontages of Han

nah Höch. Makela serves on the editorial board of German Quarterly and on the advisory board of the Visual Cultures and German Contexts book series, which publishes under the Bloomsbury Visual Arts imprint.

German Expressionism進入發燒排行的影片

理查・史特勞斯 《三首奧菲莉亞歌曲》分析與詮釋

為了解決German Expressionism的問題，作者丁于恬 這樣論述：

奧菲利亞(Ophelia)為莎士比亞(William Shakespeare, 1564-1616)《哈姆雷特》(Hamlet)女主角，其鮮明的角色形象與悲慘遭遇，引發後世藝術家以莎劇延伸再創作。作曲家史特勞斯(Richard Strauss, 1864-1949)便是取用奧菲莉亞於劇中之歌唱段落詩文取材寫成《三首奧菲利亞歌曲》(Drei Lieder der Ophelia, op. 67)，不僅歌詞的取用，作曲家還根據莎士比亞文字中的暗示，以多樣的音樂手法呈現出奧菲莉亞的瘋狂態樣。本論文以史特勞斯《三首奧菲利亞歌曲》為研究對象，共分為四部分。第一部分包括研究動機與目的、研究範圍與方法。第

二部分簡述作曲家史特勞斯藝術歌曲特色、藝術歌曲歌詞取材分期、《三首奧菲莉亞之歌》創作背景。第三部分為《三首奧菲莉亞之歌》作品分析，包括劇本內容與詮釋、歌詞內容與詮釋、歌曲音樂分析。第四部分為結論，綜合論述前開章節研究。

Sport and the European Avant-Garde (1900-1945)

為了解決German Expressionism的問題，作者 這樣論述：

Przemyslaw Strożek - Assistant Professor at the Institute of Art of the Polish Academy of Sciences, and Associate Researcher at the Archiv der Avantgarden, Dresden. He received his PhD at his home institution. He publishes on and researches Central and Eastern European avant-gardes. Andreas Kramer

- Professor of German and Comparative Literature at Goldsmiths, University of London. He has published widely on modern German literature, Expressionism, Dada, and the European avant-garde. Recent publications include the monograph Sport und literarischer Expressionismus (2019).

時間與空間的抽象化： 從印象派繪畫到表現主義戲劇

為了解決German Expressionism的問題，作者張薷芳 這樣論述：

這本論文試圖透過沃林格《抽象與移情》的理論架構，探討十九世紀後半葉藝術走向抽象化的發展，以法國印象派繪畫以及德國表現主義戲劇作為分析對象。根據沃林格，藝術風格的發展反映出人與世界的關係，而探究印象派與德國表現主義的政治社會背景，兩者都反映了一種共同的感性，即人與世界的關係存在著不信任與恐懼。據此，本研究進一步探究兩者在藝術抽象化上的承繼與超越，與如何在各自的藝術媒介中完成空間與時間的抽象化。在印象派繪畫的分析中，以沃林格的空間理論與貢布里奇的見解，作為對空間與時間抽象化的探討，並說明其對表現主義藝術的影響；在表現主義戲劇的分析中，是以《從清晨到午夜》與《人與群眾》兩個劇本為例，並修正法蘭克的

空間形式概念，回到沃林格空間理論的原點，對劇中的空間抽象化進行分析。同時，也佐以柏格森「綿延」的觀念，進一步講述戲劇文本中時間的抽象化，以及如何使過去的失能。