Hutzl-Ronge, Barbara Magisches Zürich

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geboren 1963 in Österreich, lebt als freischaffende Autorin in Zürich. Sie ist eine profunde Kennerin alpiner Sagen, christlicher Legenden sowie vorchristlicher Mythen und Symbole. In Vorträgen, auf Stadtrundgängen und Wanderungen führt sie zu kraftvollen Orten, deren Kulttradition in frühgeschichtlicher Zeit begonnen hat und in der Gegenwart noch lebendig und erfahrbar ist. Autorin mehrerer Bücher.

Zusatzinformation: Magisches Zürich - Hutzl-Ronge, Barbara

ISBN(s) 9783038002055
Einbandart Einband - flex.(Paperback)
Seitenanzahl 360
Sprache Deutsch
Artikel Typ Physisch
Genre Reise
Kurztitel Hutzl-Ronge, Barbara: Magisches Zürich
Warengruppe HC/Reiseführer/Europa
ISBN-10 3038002054
Länge 211 mm
Breite 141 mm
Höhe 27 mm
Gewicht 556 gr
Produkttyp Hardcover, Softcover
Verlag AT Verlag
Untertitel Wanderungen zu Orten der Kraft. Stadt und Kanton

Andere Bücher aus der Kategorie "Bücher"

The Preference of the Primitive Gombrich, E: Preference of Primitive
The Preference of the Primitive Gombrich, E: Preference of Primitive
This long-awaited book is a study of a recurring phenomenon in the history of Western art, namely the feeling that older and less sophisticated (i.e. 'primitive') works of art are somehow superior to later and more refined ones. In a closely argued and richly documented narrative Professor Gombrich traces the history of the debates on this subject from classical antiquity to the radical primitivism of modern times, attempting at the same time to provide a psychological explanation of the phenomenon.This book is a documentary study of a recurring phenomenon in the history of changing taste in the visual arts, namely the feeling that older and less sophisticated (i.e. 'primitive') works are somehow morally and aesthetically superior to later works that have become refined, soft and decadent. Gombrich traces the existence of such feelings right back to classical antiquity, and he links them with a crucial psychological observation made by Cicero to the effect that over-indulgence of the senses leads to a feeling of disgust. He also demonstrates the importance of the profoundly influential metaphor, first articulated in antiquity and taken over by Vasari, that compares the history of art to the growth of an organism: like a living organism, art is born and grows to maturity (and therefore perfection), then decays and finally dies. Successive generations of artists and critics, believing the art of their own time to be past maturity, have interpreted the smooth refinement and sensual appeal of contemporary works as symptoms of decline and corruption, and have come to admire earlier works, despite their 'immaturity', as possessing superior qualities of sincerity, innocence and ruggedstrength. With the advent of modernism at the turn of the twentieth century this admiration took a radically regressive new twist as artists turned their backs on tradition altogether and found inspiration in the art of exotic cultures and in the works of children and the insane