Abstracts

Tuesday, 8th of August 2017, Leucorea, Seminar room 5

2.30–3.15 p.m. Astrid Wohlberedt: »Wer unter euch ohne Sünde ist…«. ›Christus und die Ehebrecherin‹ in den Bildern der Cranach-Werkstatt

3.30–4.15 p.m. Ariadna Sotorra Figuerola: Representations and Visual Impact of the Iconoclastic Processes of Wittenberg (1517-1522) in 16th Century German Art

4.30–5.15 p.m. Lydia Wegener: »Eyn konygin von gnaden«. Die Neukonzeption Marias in altgläubigen ›Salve Regina‹-Flugschriften des 16. Jahrhunderts

5.30–6.15 p.m. Aisling Reid: Reforming Art in Early Modern Italy

 

Wednesday, 9th of August 2017, Leucorea, Seminar room 5

2.30–3.15 p.m. Susanne Wegmann: Vom Jenseits ins Diesseits. Luthers ‚Widerruf vom Fegefeuer’ und seine kulturellen Wirkungen

3.30–4.15 p.m. Yekaterina Yakovenko: Bible Translations as the Legacy of the Reformation. Translational, Contrastive and Cognitive Aspects

4.30–5.15 p.m. Klaus C. Yoder: Provocative Rites. Rhetoric as a Force of Restoration and Destruction in the Reformation

5.30–6.15 p.m. Tadeusz Miczka/Bogdan Zeler: Polish Evangelical Culture

 

The section’s contributions reify both the relationship between Protestantism and literature, or fine arts, as well as between Protestantism and single epochs, artists and works of art. Hereby it seems proper to investigate themes and debates crossing borders between the history of theology and the history of art, e. g. the ›iconography of Reformation‹, the concept of ›Kunstreligion‹ or the alliance of a negative theology of revelation and an emphatic philosophy of art. Possible themes are the significance of Protestantism for an aesthetic view on Christian faith and modern religion, or the protestant influence on modern art and aesthetics, e. g. by examining Werner Hofmann’s thesis on the birth of modern art out of the spirit of the Reformation, or sources like the contributions to ›Hallische Ästhetik‹ or the Romanticism’s philosophy of art. More topics include: the meaning of Luther’s translation of the Holy Bible for the establishment of the German written language, and the influence of the German-language bible as the nation’s ›storybook‹ on the formation of a new German literature. All of these examples are to be understood as suggestions; completion and more innovative questions are very welcome.