The postcolonial Gesamtkunstwerk: Disrupting the Eurocentric perspective on art history and addressing Germany's colonial historyHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Sarah Hegenbart is lecturer in art history at Technical University of Munich and previously acted as a substitute for the professorship of art research with a focus on contemporary arts at the Braunschweig University of Art (HBK Braunschweig). She is a member of 'Die Junge Akademie Mainz' and member of the consortium of the Horizon 2020 research project 'Art and Research on Transformations of Individuals and Societies'.
Inhaltsangabe
Acknowledgements Introduction Opera of Ambiguities Chapter One Egomania - Germany Without Hope? Rectifying the impression that Schlingensief staged a Wagnerian Gesamtkunstwerk at the Venice Biennial 2011 Chapter Two From Bayreuth to Burkina Faso: Stripping the Gesamtkunstwerk of its German coordinates Chapter Three The Mission of a Contemporary Parsifal: Redeeming Germany in Burkina Faso Chapter Four Revolving Opera and Psychic Interiors: The Animatograph Chapter Five Readymade and Azione Scenica: Schlingensief's Expanded Definition of Opera Chapter Six Opera Village as postcolonial Gesamtkunstwerk? Conclusion The Gesamtkunstwerk: Smashed or revived? Notes Bibliography Index
Acknowledgements Introduction Opera of Ambiguities Chapter One Egomania - Germany Without Hope? Rectifying the impression that Schlingensief staged a Wagnerian Gesamtkunstwerk at the Venice Biennial 2011 Chapter Two From Bayreuth to Burkina Faso: Stripping the Gesamtkunstwerk of its German coordinates Chapter Three The Mission of a Contemporary Parsifal: Redeeming Germany in Burkina Faso Chapter Four Revolving Opera and Psychic Interiors: The Animatograph Chapter Five Readymade and Azione Scenica: Schlingensief's Expanded Definition of Opera Chapter Six Opera Village as postcolonial Gesamtkunstwerk? Conclusion The Gesamtkunstwerk: Smashed or revived? Notes Bibliography Index
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