Weiblichkeitsimaginationen in der literatur der jahrhundertwende

Abstract

U književnom diskursu oko prijelaza sloljeća analiziraju se imaginacije ženstvenosti. Može se utvrdili, da se u tim slikama radi manje o ženi - u njenoj socijalnoj i obiteljskoj konotaciji - a više o muškoj predodžbi prirodnog bića žene, što se s jedne strane osjeća kao izazov, a s druge strane kao objekt projekcije za vlastitu nesavršenost, neuspjehe i strahove. Vlada ambivalentni stav prema drugom spolu koji je izraz duhovno-povijesne anatomije tog vremena, dekadencije i vitalizma. Književne imaginacije ženstvenosti mogu se promatrati u tom kontekstu, i za njih su prikazane tipizacije Sinnenreufel (demon putenosti), femme /alale, femme fragile, Undine, »amazonka« i »pramajka«.

Innovative Learning and Teaching for Quality Careers of Graduates and Excellent Higher Education: Arts Didactics in Higher Education

“…Drawing is a problem-solving activity, and drawing "errors" are solutions with which children solve the dilemma of representing three-dimensional reality on a two-dimensional surface (Quaglia et al, 2015). In earlier studies there was a desire to classify the stages of artistic development into specific age periods (Gerlovič & Gregorač, 1968;Horvat-Magajna, 1989;Hurlock, 1956;Karlavaris, 1986;Kellogg, 1970;Lowenfeld & Brittain, 1981;Luquet, 1927;Toličič & Smiljanić, 1979), but this is less present in later research (Lange-Kuettner, 2008. Indeed, the prevailing opinion today is that we should not define the phases of development in the framework of age, because of the differences in the pace of artistic development, but as the characteristics of each period (Cox, 1997;Hurwitz & Day, 2007;Vrlič, 2001), as categorised by their predominant features (Anning & Ring, 2004;Roland, 2006).…”

“…elementary visual signs (e.g. position and character of the line, psychological effects of colours, lightdark contrast), as well as primary feelings, such as fear, joy, sadness, anger, tenderness and so on, but also a particular life experience, cultural habits and understanding of visual language (Karlavaris, 1991). Spajić (1989) states that the most common early approaches to explaining the complex phenomenon of aesthetic experience were based on three different starting points, that that aesthetic experience is a subjective emotional response, or an act of contemplation, or a perceptual activity.…”