Show Less

Gartenkunst und Wissenschaft

Diskurs, Repräsentation, Transformation seit dem Beginn der Frühmoderne

Series:

Edited By Julia Burbulla and Ana-Stanca Tabarasi-Hoffmann

Geniale Entdeckungen wie auch gewöhnliche Praxen aus den Formal-, Ingenieur- und Naturwissenschaften prägen die Gartenkunst der Neuzeit. Seit jeher reagierte die Gartenkunst auf wissenschaftliche Revolutionen und gab wissenschaftlichen Ergebnissen, Methoden und Stilen einen ästhetischen Ausdruck. Umgekehrt nutzten Macht und Wissenschaft den Garten als Gestaltungsraum, um ihre Leistungsfähigkeit zu demonstrieren, und das Gartenmotiv, um ihre Utopien zu veranschaulichen.
Die Beiträge des interdisziplinären Bandes greifen diese vielfältige und spannungsvolle Kooperation erstmalig sowohl im europäischen wie außereuropäischen Kontext auf. Sie machen deutlich, dass eine Gartenforschung, die über die geistig-literarische Kultur hinausgeht, besser imstande ist, die Perioden der Gartengeschichte zu erfassen und die gartenkünstlerischen Werke historisch angemessen zu bewerten.

Prices

Show Summary Details
Restricted access

JOHANNA GEYER-KORDESCH Jumping the Ha Ha: Women, Needlework and Natural History in the Country House 205

Extract

Jumping the Ha Ha: Women, Needlework and Natural History in the Country House JOHANNA GEYER-KORDESCH Women’s skills are often seen as secondary to and more limited than those of the scientists and philosophers of the day. Bettina von Arnim, whom men found very difficult to put in her place and in her own right an influen- tial contributor to early Romanticism in Germany, whose circle of friends included men of ideas revered to this day, such as Immanuel Kant, Friedrich Wilhelm Schelling and Johann Gottlieb Fichte, wrote provocatively that these men were “unmögliche Kerle” (impossible ruffians) because they wished “mit unbegreiflicher Unverschämtheit immer die Welt durch ihr System treiben [zu] wollen.” (They wished “with unbelievable arrogance to channel the world into their own system”.)1 Bettina von Arnim then suggested that creative work of value emerged best from confrontational truths, personal perceptions garnered from the need to adjust, grow and change.2 Her template for this was nature which through its inherent dy- namic energy lets forms evolve and change. Thus she championed her own and women’s freedom to both write what they want and to find its particu- lar pattern. She was adept at finding her artistic voice due in great part to her struggles with her Vormund (guardian), her older brother Franz von Brentano, who was eager to restrict her to conventional female roles. Bettina sought to remain responsive ‘outside the canon’ (the established order) and it is illuminating to find her expressing such strong deviance from...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.