#formenlehre

[beluosus]

things found in old books :

Vaguely threatening christian leaflet tucked into a volume of Chateaubriand contining Atala, René, and Le dernier Abencérage.

Annotations in Hans Krahe's Historische Laut- und Formenlehre des Gotischen.

[strouzas]

When in Zurich. #johannes #itten #form #book #gestaltung #bauhaus #formenlehre #TBD (at Zürich, Switzerland)

[gdbot]

Charles Polin, Formenlehre, 1967 [Archiv ZHdK, Zürich] https://ift.tt/2PAuzKl

[mufglossaryys]

Stylobate / Stylobat The top most step and acting base of Roman and Greek temples.

Column /  Säule Round pillars of varying types that support the roofs of buildings.

Flute / Rille The narrow indentations that run along columns from top to bottom which are common in the architecure of the antique. They serve no structural function. They are valued for how they beautify and break up the otherwise rigid form of the cylindrical columns. 

Capital / Kapitell Decorative toppers of columns that occur in different styles mainly Doric, Ionic, and Corinthian. 

- Doric Column / Dorische Säule A style of column distinguished by their simple topper on the column shaft and wider gaps between the flutes.

- Ionic Column / Ionische Säule Ionic columns differ from Doric columns in that they are slimmer. Ionic capitals have a round, curled decoration, resembling a rolled up scroll. The gaps between flutes are slim.  

- Corinthian Column / Korinthische Säule Corinthian columns feature an ornate capital.

Pillar / Pfeiler Like a column but does not taper or have capitals. Usually meets the base/flooring directly with nothing in between. 

Entablature / Gebälk The external elements of a temple such as it’s triglyphs, metopes, and friezes.

Order / Ordnung The sequence of the above elements such as Roman Doric Order  (Tuscan Order) and Corinthian Order.

© Jones, Mark Wilson. “Designing the Roman Corinthian Capital.” Papers of the British School at Rome, Vol. 59, London, British School at Rome, 1991, pp. 89–150.

Magnago Lampugnani, Anna and Gina Möller. “Sakralbau 1.” Methoden- und Formenlehre II: Von der Renaissance bis zur Frühen Moderne. 18 May. 2020, Heinrich Heine University. Lecture.

Woodford, Susan. The Parthenon. Minneapolis, Cambridge University Press and Lerner Publications Co, 1983.

[dreimalfuermich]

Mittwoch, 14. Dezember 2017

20:18h

“Nach den Sommerferien schlug man die gebrauchten Schulbücher, die man von den älteren Schülern übernahm, in blaues Papier ein. Beim Anblick des schlecht ausradierten Namens auf der ersten Seite und der vielen Unterstreichungen im Buch hatte man das Gefühl, ihre Nachfolge anzutreten, und fühlte sich ermutigt, schließlich hatten sie es auch geschafft, sich all dieses Wissen in einem Jahr anzueignen.”

Ja, das war der Moment - Annie Ernaux Die Jahre - diese Stelle grade eben gelesen, in der Badewanne, die mich, ähnlich der Struktur des Buches selbst, wegdriften ließ, ohne das Buch zu verlassen, ich hatte ZUGANG, nochmal anders: dieser Erinnerung wies ich sofort einen Platz zu. Ja, im Eigenerinnerungsverzeichnis 

Die Beschreibung ist exakt das, was ich zu erinnern glaube. Wie kann das sein? Es kann nicht sein, und doch ist es so.

Den Blick über das Regal jagen lassen, welche Bücher ich wirklich noch aus der Schulzeit besitze. Das wunderschöne Lateinbuch:

 Cursus Novus II “Texte und Übungen”

wunderschöner Titel. Die Vorbesitzer des Buches (sofern wirklich alle auch ihren Namen vorne reingeschrieben haben), bevor ich es in der 9. Klasse übernahm, waren Daniel Nottelbrock, Anne von Osterhausen, Atalay Kursaf (?). Nur Anne von Osterhausen habe ich persönlich gekannt, bzw. ich wußte, wer sie ist. Ich sehe auch ihr Gesicht noch vor Augen und höre ihre Stimme. “Fast alle syntaktischen Phänomene der lateinischen Sprache sind vorgestellt.” Ja, geil, es ist wirklich so schön, und wie dumm man ist, als junger Mensch, das uninteressant zu finden.

Like youth, Formenlehre is wasted on the young

In der Oberstufe war mein ehemaliger Lateinlehrer, Herr Bohne (Fan des Meidericher SportVereins Duisburg, genannt “Die Zebras”), mein Tutor, obwohl ich ihn da schon ein paar Jahre gar nicht mehr als Lehrer hatte. Das war meine Art, ihm zu sagen, dass er für mich der Beste war, und es war seine Art der Zuneigung, mir meine Anfrage zu bejahen. Tepidarium = Abschwitzraum einer römischen Therme.

Aber es stimmt: Alle Bilder werden verschwinden.

[komponisto]

Schenker, Westergaard, and Form

From a reply I sent to a recent private message on Reddit, which seemed worth elevating to a miniature blog post:

Now, with regard to form: contrary to what some people think, Schenker had nothing against form. He talks about it all the time in his analytical writings. The point is that for him, what form consisted of was ways of articulating the musical content (which in his later period meant the Urlinie). What he disliked was talking about form in a way abstracted from musical detail. If you were going to talk about form in general way, you needed a way of talking about musical detail in a general way; this is where the Urlinie came from. Thus his whole theory is really a theory of form.  

Along with modernist composers and aestheticians (however ironic it may seem), Schenker basically upholds the view that form should depend on content. He sees schematic Formenlehre as treating form as if it could be independent of content; this is his problem with it. The Urlinie was basically invented so that he could be as general about form as the Formenlehre theorists while also keeping it tied to concrete (audiatable) musical gestures. In order to abstract form, he needed to abstract content too.

I think this is the right context in which to view Westergaard. (For many purposes, indeed, Westergaard can be seen as simply a toy version of Schenker.) The theme of talking about form in a way that directly links it to concrete musical constructs is blatantly evident in chapter 8 of ITT. Everything is discussed in terms of "making the structure clear to the listener" -- the point being that "the structure" refers to pitch and rhythmic constructs, not "formal" schemata. The purpose of the latter is to make the former clear, not the other way around.

So by all means, talk about motives and phrases and cadences and periods and so on. (The only one of these that Westergaard doesn't talk about is motives; this is, by the way, intimately related to the fact that he doesn't discuss Stufen either. But Schenker talks about both, a lot.) If you want, read Janet Schmalfeldt's article in In Theory Only, which is about the relationship of Westergaard to theories of form (actually, it's mostly about the differences between Westergaard's definitions of terms like "phrase" and those of other theorists, but there is some discussion of the reasons for and implications of this).

But really, the thing to do (to get the right perspective on form) is to read Schenker, most of all early Schenker, specifically the monographs on Beethoven: the Ninth Symphony book, and the Erläuterungsausgaben of the late piano sonatas. You will see right away that Schenker has no aversion to using traditional formal terminology. Later, of course, he tends to scarequote it, but that's because he views the Urlinie as the fundamental thing, which he is using to derive the formal organization as a byproduct. You'll eventually want to read his essays on fugue and sonata form in The Masterwork in Music, and the Eroica analysis and the material on form in Free Composition. But early Schenker is particularly good in the sense of filling in what's missing from Westergaard.

[thetentaclesoflife]

Charles Polin, Formenlehre, 1967 [Archiv ZHdK, Zürich]

[linguistlist-blog]

Calls: 16th Fachtagung of the Society for Indo-European Studies: “Beyond Formenlehre? Indo-European Morphology with fuzzy boundaries and interface phenomena”

Call for Papers: Informative abstracts for presentations in workshops or the general session should be sent to fachtagung2020@ivs.uzh.ch by December 1 2019. Please indicate the title of your talk and the workshop the presentation is intended for in the subject line of your mail. The working languages of the conference will be French, German, and English. http://dlvr.it/RGrjZb

[filologija]

Zapuščina profesorja Primoža Simonitija v oddelčni knjižnici

Gospa Veronika Simoniti, hči profesorja Primoža Simonitija, je knjižnici Oddelka za klasično filologijo septembra podarila velik del njegove strokovne knjižnice. Med dragocenostmi, ki jih zapuščina vsebuje in bodo odslej na voljo našim študentom, so celotna enciklopedija Der Neue Pauly: Enzyklopaedie der Antike (ki je bila doslej dostopna le čitalniško), pa obširen pregled srednjeveške latinščine, ki ga je za Handbuch der Altertumswissenschaft pripravil Peter Stotz, Handbuch zur lateinischen Sprache des Mittelalters (Erster Band: Einleitung Lexikologische Praxis; Worter und Sachen; Lehnwortgut; Zweiter Band: Bedeutungswandel und Wortbildung; Dritter Band: Lautlehre; Vierter Band: Formenlehre, Syntax und Stilistik; Fünfter Band: Bibliographie, Quellenübersicht und Register); Lexikon des Mittelalters 1-9; in priročna dvojezična izdaja Erazmovih spisov Werke 1-8. Zraven je tudi vrsta kvalitetnih slovarjev za srednjeveško latinščino, Niermeyer in van de Kieft, Mediae Latinitatis lexicon minus 1-2 (nova izdaja); pa Diefenbach, Glossarium Latino-Germanicum mediae et infimae aetatis; in Hoven, Lexique de la prose latine de la Renaissance / Dictionary of Renaissance Latin from Prose Sources.

Simonitijevi osebni izvodi klasikov

V zapuščini so tudi profesorjevi osebni izvodi grških in latinskih avtorjev, denimo Aristotel, Ciceron, Dorat, Enej Silvij Piccolomini, Herodot, Heziod, Homer, Horacij, Hrosvita, Juvenal, Nepot, Ovidij, Platon, Plavt, Prudencij, Salustij, Sofokles, Tukidid, Venancij Fortunat in Vergilij, pa obsežen nabor izdaj in komentarjev Livija, ki ga je zadnja leta prevajal. Tu so tudi izdaje piscev, ki so se z njegovo pomočjo zalesketali v slovenskem prevodu, Apuleja, Heliodora in Petronija.

Med študijami iz njegove knjižnice so Bolgar, Classical Influences on European Culture; Burck, Das Geschichtswerk des Titus Livius; Clarke, Die Rhetorik bei den Römern; Courtney, A Companion to Petronius; Curtius, Evropska literatura in latinski srednji vek; Dinzelbacher, Sachwörterbuch der Mediävistik; Fuhrmann, Seneca und Kaiser Nero: Eine Biographie; Gspan in Badalić, Inkunabule v Sloveniji; Holtz in Mertens, Nicodemus Frischlin (1547-1590); Kytler, Ciceros literarische Leistung; Langosch, Mittellateinische Dichtung; Lausberg, Handbuch der literarischen Rhetorik 1-2; Leumann, Hofmann, Szantyr, Lateinsche Grammatik 1-2; Manitius, Geschichte der lateinsichen Literatur des Mittelalters 1-3; Marinič in Filipič, Srednjeveške in renesančne knjižne umetnine iz zakladnice Nadškofije Maribor; Önnerfors, Mittellateinische Philologie; Riemer, Weissenberger in Zimmermann, Einführung in das Studium der Latinistik; Röckelein in Bumiller, Nikodemus Frischlin 1547-1590; Schadewaldt, Der Aufbau der Ilias; Seznec, Das Fortleben der antiken Götter: Die Mythologische Tradition in Humanismus und in der Kunst der Renaissance; Simoniti, Humanismus bei den Slovenen; Väänänen, Introduzione al Latino volgare; Vidmar, Ljubljana kot novi Rim; von Albrecht, Geschichte der romischen Literatur 1-2; Whitmarsh, The Cambridge Companion to Greek and Roman Novel.

Biblioteka SAZU

Ker je bil Primož Simoniti član SAZU, je družina pomemben del njegove knjižnice podarila tudi tamkajšnji zbirki. Na fakulteti bodo naslovi, ki jih bodo študenti in profesorji pogosteje uporabljali. Seveda pa bodo knjige v biblioteki SAZU prav tako dostopne v Cobissu, shranjene bodo skupaj kot celota in bodo na drugi strani Slovenske ceste na voljo vsem, ki jih bodo potrebovali.

Knjige bodo označene z darovalčevim imenom in bodo bralcem omogočale pristen in oseben stik s klasičnim izročilom na Slovenskem, podobno kot knjige iz Sovretove knjižnice, ki smo jo na oddelek dobili pred desetletji. Študenti in profesorji smo ob velikodušni potezi profesorjeve družine ostali brez pravih besed. Spet je težko najti boljšo formulacijo od Erazmove - iz ene od knjig, ki bodo odslej na knjižničnih policah: Pro mediocribus beneficiis agendae sunt gratiae: hoc maius est, quam ut conveniat verbis gratias agere.

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[lichtsampler-blog]

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