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[null,"1.","Record Nr.",null,"UNINA9910476931603321"]
[null,null,"Autore",null,"Fitzner Sebastian"]
[null,null,"Titolo",null,"Architekturzeichnungen der deutschen Renaissance : Funktion und Bildlichkeit zeichnerischer Produktion 1500-1650 / / Sebastian Fitzner"]
[null,null,"Pubbl/distr/stampa",null,"Cologne : , : Modern Academic Publishing, , 2016"]
[null,null,"Descrizione fisica",null,"1 online resource (410 pages)"]
[null,null,"Disciplina",null,"720.284"]
[null,null,"Soggetti",null,"Architectural drawing"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Architectural drawings of the : erman Renaissance9 have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture. Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems. The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as : ignificant objects9 (\"Bedeutungsträger\") of cultural practices, conveying historic concepts of space and built environments. In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east "]
[{"$nulls":4},"of Germany (e.g. in Dresden, Nuremberg, or Kassel). The lack of contemporary art historical studies on : erman Renaissance9 architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of : rawing theories9 as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings. In order to rethink the : isual culture9 of architectural drawings of the : erman Renaissance9 this study relies on traditional art historical and historical methods (\"Quellenkritik\") to evaluate the written and drawn sources, and on methods of media studies and visual studies (\"Bildwissenschaft\") to disclose pictorial strategies of visualization and communication. This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact. Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other : egion9 of that period. While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository - objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect's personal archive. Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called \"Visier- und Messkunst\" (measuring). Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment."]
[null,"2.","Record Nr.",null,"UNINA9910989379103321"]
[null,null,"Autore",null,"Brömer Rainer"]
[null,null,"Titolo",null,"Plastidules to Humans - Leopoldo Maggi (1840-1905) and Ernst Haeckel´s naturalist philosophy in the Kingdom of Italy"]
[null,null,"Pubbl/distr/stampa",null,"Universitätsverlag Göttingen, 2011"]
[null,null,"ISBN",null,"9783941875975"]
[{"$nulls":4},"3941875973"]
[null,null,"Descrizione fisica",null,"1 online resource"]
[null,null,"Soggetti",null,"Biology, life sciences"]
[{"$nulls":4},"History of Western philosophy"]
[{"$nulls":4},"Natural history"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","The name DGGTB (Deutsche Gesellschaft für Geschichte und Theorie der Biologie; German Society for the History and Theory of Biology) reflects recent history as well as German tradition. The Society is a relatively late addition to a series of German societies of science and medicine that began with the »Deutsche Gesellschaft für Geschichte der Medizin und der Naturwissenschaften«, founded in 1910 by Leipzig University's Karl Sudhoff (1853-1938), who wrote: »We want to establish a ,German' society in order to gather German-speaking historians together in our special disciplines so that they form the core of an international society...«. Yet Sudhoff, at this time of burgeoning academic internationalism, was »quite willing« to accommodate the wishes of a number of founding members and »drop the word German in the title of the Society and have it merge with an international society«. The founding and naming of the Society at that time derived from a specific set of historical circumstances, and the same was true some 80 years later when in 1991, in the wake of German reunification, the »Deutsche Gesellschaft für Geschichte und Theorie der Biologie« was founded. From the start, the Society has been committed to bringing studies in the history and philosophy of biology to a wide audience, using for this purpose its Jahrbuch für Geschichte und Theorie der Biologie. Parallel to the Jahrbuch, the Verhandlungen zur Geschichte und Theorie der Biologie has become the by now traditional medium "]
[{"$nulls":4},"for the publication of papers delivered at the Society's annual meetings. In 2005 the Jahrbuch was renamed Annals of the History and Philosophy of Biology, reflecting the Society's internationalist aspirations in addressing comparative biology as a subject of historical and philosophical studies."]