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Subject Item
dbr:Works_of_art_in_The_Aesthetics_of_Resistance
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Works of art in The Aesthetics of Resistance Kunstwerke in der „Ästhetik des Widerstands“
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The Works of art in The Aesthetics of Resistance are those included in Peter Weiss' novel The Aesthetics of Resistance. They form a kind of musée imaginaire (imagined museum) with more than a hundred named artists and just as many artworks, mainly of the visual arts and literature, but also of music and the performing arts.Peter Weiss wrote the three-volume novel, which runs to around 1000 pages, between 1971 and 1981. The plot is set between 1936 and 1945, and is located in Nazi Berlin, Spain during the civil war, Paris before the World War II and Stockholm as one of the places of refuge for the German exiles. The characters are based on real personalities, the main protagonists organising themselves in the resistance group known as the Red Orchestra. Representations of artists, works of Die Vielzahl der Kunstwerke in der „Ästhetik des Widerstands“, die Peter Weiss in seinen Roman Die Ästhetik des Widerstands eingebunden hat, bilden eine Art musée imaginaire (erdachtes Museum) mit mehr als hundert benannten Künstlern und ebenso vielen Kunstwerken, hauptsächlich der Bildenden Kunst und der Literatur, aber auch der Musik und der Darstellenden Kunst. – Peter Weiss: Die Ästhetik des Widerstands, Band I, Seite 41.
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dbpedia-de:Kunstwerke_in_der_„Ästhetik_des_Widerstands“ wikidata:Q1792697 n16:jwNB
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Green wind. Green branches. The ship out on the sea and the horse on the mountain. With the shadow at the waist she dreams on her balcony, green flesh, green hair, with eyes of cold silver.
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, García Lorca From "Romance Sonámbulo",
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Die Vielzahl der Kunstwerke in der „Ästhetik des Widerstands“, die Peter Weiss in seinen Roman Die Ästhetik des Widerstands eingebunden hat, bilden eine Art musée imaginaire (erdachtes Museum) mit mehr als hundert benannten Künstlern und ebenso vielen Kunstwerken, hauptsächlich der Bildenden Kunst und der Literatur, aber auch der Musik und der Darstellenden Kunst. Peter Weiss hat den dreibändigen, an die 1000 Seiten umfassenden Roman zwischen 1971 und 1981 geschaffen. Die Handlung ist zwischen 1936 und 1945 angesiedelt, Handlungsorte sind das nationalsozialistische Berlin, Spanien im Bürgerkrieg, Paris vor dem Zweiten Weltkrieg und Stockholm als einer der Zufluchtsorte der deutschen Exilanten. Die Figuren orientieren sich an realen Persönlichkeiten, die Hauptakteure organisieren sich in der Widerstandsgruppe der sogenannten Roten Kapelle. Darstellungen von Künstlern, Kunstwerken, deren Zusammenhänge und Hintergründe sind in den Handlungsstrang einbezogen und bilden ein Netz gegenseitiger Verflechtungen. Die Rezeption erfolgt in vielschichtigen Betrachtungen durch die Protagonisten des Romans, durch den Bezug auf historische und politische Ereignisse, zu mythologischen Versatzstücken, zu Künstlerbiografien, zu Traumbildern oder im kritischen Hinterfragen: „Wollen wir uns der Kunst, der Literatur annehmen, so müssen wir sie gegen den Strich behandeln, das heißt, wir müssen alle Vorrechte, die damit verbunden sind, ausschalten und unsre eignen Ansprüche in sie hineinlegen. Um zu uns selbst zu kommen (…), haben wir uns nicht nur die Kultur, sondern auch die gesamte Forschung neu zu schaffen, indem wir sie in Beziehung zu dem stellen, was uns betrifft.“ – Peter Weiss: Die Ästhetik des Widerstands, Band I, Seite 41. The Works of art in The Aesthetics of Resistance are those included in Peter Weiss' novel The Aesthetics of Resistance. They form a kind of musée imaginaire (imagined museum) with more than a hundred named artists and just as many artworks, mainly of the visual arts and literature, but also of music and the performing arts.Peter Weiss wrote the three-volume novel, which runs to around 1000 pages, between 1971 and 1981. The plot is set between 1936 and 1945, and is located in Nazi Berlin, Spain during the civil war, Paris before the World War II and Stockholm as one of the places of refuge for the German exiles. The characters are based on real personalities, the main protagonists organising themselves in the resistance group known as the Red Orchestra. Representations of artists, works of art, their contexts and backgrounds are included in the plot line and form a web of mutual interconnections. The reception takes place in multi-layered reflections by the protagonists of the novel, through the reference to historical and political events, to mythological set pieces, to artists' biographies, to dream images or in critical questioning.
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