{"id":654,"date":"2020-04-14T13:21:20","date_gmt":"2020-04-14T13:21:20","guid":{"rendered":"https:\/\/dgej.hab.de\/?p=654"},"modified":"2021-12-16T09:55:46","modified_gmt":"2021-12-16T09:55:46","slug":"aufklaerung-und-hofkultur-in-dresden","status":"publish","type":"post","link":"https:\/\/dgej.hab.de\/index.php\/2020\/04\/14\/aufklaerung-und-hofkultur-in-dresden\/","title":{"rendered":"Aufkl\u00e4rung und Hofkultur in Dresden"},"content":{"rendered":"\n<h1><\/h1>\n\n\n\n<p><strong>Heft<\/strong><br>2 (2013)<\/p>\n\n\n\n<p><strong>Jahrgang<\/strong><br>37<\/p>\n\n\n\n<p>Zusammengestellt von Roland Kanz und Johannes S\u00fc\u00dfman<\/p>\n\n\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Aus der Arbeit der DGEJ<\/strong><\/p>\n\n\n\n<ul><li>Zu diesem Heft (Carsten Zelle)<\/li><li>Paul Raabe (1927\u20132013) (Gerhard Sauder) <\/li><li>Pr\u00e4senz und Evidenz fremder Dinge im Europa des 18. Jahrhunderts. Internationale Tagung in Kooperation mit der <em>DGEJ<\/em>, 9.\u201311. Sept. 2013 an der Herzog August Bibliothek Wolfenb\u00fcttel (Nora Ple\u00dfke) <\/li><\/ul>\n\n\n\n<p><strong>Beitr\u00e4ge<\/strong><\/p>\n\n\n\n<ul><li>Johannes S\u00fc\u00dfmann (Paderborn): Aufkl\u00e4rung und Hofkultur in Dresden \u2013 eine Einf\u00fchrung. S. 173-176<\/li><\/ul>\n\n\n\n<ul><li>Winfried M\u00fcller (Dresden): Residenzstadt und inversive Aufkl\u00e4rung? Dresden im 18. Jahrhundert. <br>S. 177-201 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> This article analyzes various reasons for the dynamic development of German residence cities during the 18<sup>th<\/sup> century using the example of Dresden, with a particular focus on festival culture and consumption, and economic and scientific policies. Moreover, it is shown how the presence of the court was influential on the behaviour of urban society. In addition, the article investigates links between the court and the bearers, institutions and ideas of the Enlightenment. Finally, the thesis of an \u203ainverted Enlightenment\u2039 will be discussed, with focus on the non-verbal arts and the use of symbolism in a residence city such as Dresden. \/ L\u2019article analyse, \u00e0 l\u2019exemple de Dresde, les diff\u00e9rents facteurs qui ont contribu\u00e9 au d\u00e9veloppement dynamique des villes r\u00e9sidentielles en Allemagne au XVIII<sup>e<\/sup> si\u00e8cle en se penchant tout particuli\u00e8rement sur la culture de la f\u00eate, la consommation ainsi que les politiques \u00e9conomiques et scientifiques. Il montre par ailleurs quelle a \u00e9t\u00e9 l\u2019influence de la pr\u00e9sence de la cour sur les comportements de la soci\u00e9t\u00e9 urbaine. Dans un deuxi\u00e8me temps, l\u2019article examine les relations entre la cour et les autorit\u00e9s, les institutions et les id\u00e9es des Lumi\u00e8res. Dans un dernier temps, la th\u00e8se des \u2039&nbsp;Lumi\u00e8res invers\u00e9es&nbsp;\u203a est abord\u00e9e en portant une attention particuli\u00e8re aux arts non verbaux et au recours au symbolisme dans une ville r\u00e9sidentielle telle que Dresde. <\/div><noscript><div class=\"spoiler-body\"> This article analyzes various reasons for the dynamic development of German residence cities during the 18<sup>th<\/sup> century using the example of Dresden, with a particular focus on festival culture and consumption, and economic and scientific policies. Moreover, it is shown how the presence of the court was influential on the behaviour of urban society. In addition, the article investigates links between the court and the bearers, institutions and ideas of the Enlightenment. Finally, the thesis of an \u203ainverted Enlightenment\u2039 will be discussed, with focus on the non-verbal arts and the use of symbolism in a residence city such as Dresden. \/ L\u2019article analyse, \u00e0 l\u2019exemple de Dresde, les diff\u00e9rents facteurs qui ont contribu\u00e9 au d\u00e9veloppement dynamique des villes r\u00e9sidentielles en Allemagne au XVIII<sup>e<\/sup> si\u00e8cle en se penchant tout particuli\u00e8rement sur la culture de la f\u00eate, la consommation ainsi que les politiques \u00e9conomiques et scientifiques. Il montre par ailleurs quelle a \u00e9t\u00e9 l\u2019influence de la pr\u00e9sence de la cour sur les comportements de la soci\u00e9t\u00e9 urbaine. Dans un deuxi\u00e8me temps, l\u2019article examine les relations entre la cour et les autorit\u00e9s, les institutions et les id\u00e9es des Lumi\u00e8res. Dans un dernier temps, la th\u00e8se des \u2039&nbsp;Lumi\u00e8res invers\u00e9es&nbsp;\u203a est abord\u00e9e en portant une attention particuli\u00e8re aux arts non verbaux et au recours au symbolisme dans une ville r\u00e9sidentielle telle que Dresde. <\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Cordula Bischoff (Dresden): Aufkl\u00e4rung in Sachsen? Das h\u00f6fische Familienportr\u00e4t zwischen Staatsrepr\u00e4sentation und Empfindsamkeit. S. 202-218 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> At the Saxon court, Prince-Elector Frederick Christian (1722\u20131763) and his Bavarian wife Maria Antonia Walpurgis (1724\u20131780) encouraged and modernized the visual arts in terms of the Enlightenment. The Electress had her portraits painted by many artists and made specific use of modern media such as graphics to emphasize her education and political skill. However, she deliberately avoided the new form of private portrait, which conflicted with her intended self-image. \/ \u00c0 la cour de Saxe, le prince \u00e9lecteur Friedrich Christian (1722\u20131763) et son \u00e9pouse bavaroise Maria Antonia Walpurgis (1724\u20131780) ont encourag\u00e9 et modernis\u00e9 les beaux-arts au sens des Lumi\u00e8res. La princesse \u00e9lectrice, qui s\u2019\u00e9tait fait portraiturer par de nombreux artistes, utilisait de mani\u00e8re tr\u00e8s sp\u00e9cifique les m\u00e9dias modernes tels que les \u0153uvres graphiques pour souligner son \u00e9ducation et son talent pour la politique. \u00c0 bon escient cependant, elle avait renonc\u00e9 \u00e0 une nouvelle forme, le portrait priv\u00e9, qui allait \u00e0 l\u2019encontre de l\u2019image qu\u2019elle voulait donner d\u2019elle. <\/div><noscript><div class=\"spoiler-body\"> At the Saxon court, Prince-Elector Frederick Christian (1722\u20131763) and his Bavarian wife Maria Antonia Walpurgis (1724\u20131780) encouraged and modernized the visual arts in terms of the Enlightenment. The Electress had her portraits painted by many artists and made specific use of modern media such as graphics to emphasize her education and political skill. However, she deliberately avoided the new form of private portrait, which conflicted with her intended self-image. \/ \u00c0 la cour de Saxe, le prince \u00e9lecteur Friedrich Christian (1722\u20131763) et son \u00e9pouse bavaroise Maria Antonia Walpurgis (1724\u20131780) ont encourag\u00e9 et modernis\u00e9 les beaux-arts au sens des Lumi\u00e8res. La princesse \u00e9lectrice, qui s\u2019\u00e9tait fait portraiturer par de nombreux artistes, utilisait de mani\u00e8re tr\u00e8s sp\u00e9cifique les m\u00e9dias modernes tels que les \u0153uvres graphiques pour souligner son \u00e9ducation et son talent pour la politique. \u00c0 bon escient cependant, elle avait renonc\u00e9 \u00e0 une nouvelle forme, le portrait priv\u00e9, qui allait \u00e0 l\u2019encontre de l\u2019image qu\u2019elle voulait donner d\u2019elle. <\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>\u00c9lisabeth D\u00e9cultot (Paris\/Berlin): Freiheit. Zur Entwicklung einer Schl\u00fcsselkategorie von Winckelmanns Kunstverst\u00e4ndnis. S. 219-233 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> The political freedom of the Greeks played a crucial role in Winckelmann&#8217;s concept of causality to explain the supremacy of Greek art in Antiquity. Winckelmann presented this very important theme in his The History of Art in Antiquity, which he wrote in Rome, but he seems to have ignored it in his first publication, the \u00bbThoughts on the Imitation of Greek Works\u00ab, which he wrote in Dresden. The aim of this study is to show the key importance that the years Winckelmann spent in Saxony (1748\u20131755) played in the development of his concept of political freedom with regard to a golden age in the arts, based, in particular, on his reading notes and texts from that time. \/ Parmi les divers concepts de causalit\u00e9 \u00e9nonc\u00e9s par Winckelmann pour expliquer la pr\u00e9\u00e9minence de l&#8217;art grec dans l\u2019Antiquit\u00e9, le r\u00f4le de la libert\u00e9 politique est crucial. Or si ce th\u00e8me est bien pr\u00e9sent dans son Histoire de l&#8217;art dans l&#8217;Antiquit\u00e9 \u00e9crite \u00e0 Rome, il para\u00eet quasiment absent de sa premi\u00e8re publication, les \u00ab&nbsp;Pens\u00e9es sur l&#8217;imitation des \u0153uvres grecques en peinture et en sculpture&nbsp;\u00bb r\u00e9dig\u00e9es \u00e0 Dresde. L&#8217;objectif de la pr\u00e9sente \u00e9tude est de montrer l&#8217;importance centrale que joua le s\u00e9jour de Winckelmann en Saxe \u2013 \u00e0 N\u00f6thnitz et \u00e0 Dresde entre 1748 et 1755 \u2013 dans la gen\u00e8se d\u2019un concept de libert\u00e9 politique corr\u00e9l\u00e9 \u00e0 l\u2019essor des arts, en s\u2019appuyant notamment sur ses notes de lecture et ses textes de l&#8217;\u00e9poque.<\/div><noscript><div class=\"spoiler-body\"> The political freedom of the Greeks played a crucial role in Winckelmann&#8217;s concept of causality to explain the supremacy of Greek art in Antiquity. Winckelmann presented this very important theme in his The History of Art in Antiquity, which he wrote in Rome, but he seems to have ignored it in his first publication, the \u00bbThoughts on the Imitation of Greek Works\u00ab, which he wrote in Dresden. The aim of this study is to show the key importance that the years Winckelmann spent in Saxony (1748\u20131755) played in the development of his concept of political freedom with regard to a golden age in the arts, based, in particular, on his reading notes and texts from that time. \/ Parmi les divers concepts de causalit\u00e9 \u00e9nonc\u00e9s par Winckelmann pour expliquer la pr\u00e9\u00e9minence de l&#8217;art grec dans l\u2019Antiquit\u00e9, le r\u00f4le de la libert\u00e9 politique est crucial. Or si ce th\u00e8me est bien pr\u00e9sent dans son Histoire de l&#8217;art dans l&#8217;Antiquit\u00e9 \u00e9crite \u00e0 Rome, il para\u00eet quasiment absent de sa premi\u00e8re publication, les \u00ab&nbsp;Pens\u00e9es sur l&#8217;imitation des \u0153uvres grecques en peinture et en sculpture&nbsp;\u00bb r\u00e9dig\u00e9es \u00e0 Dresde. L&#8217;objectif de la pr\u00e9sente \u00e9tude est de montrer l&#8217;importance centrale que joua le s\u00e9jour de Winckelmann en Saxe \u2013 \u00e0 N\u00f6thnitz et \u00e0 Dresde entre 1748 et 1755 \u2013 dans la gen\u00e8se d\u2019un concept de libert\u00e9 politique corr\u00e9l\u00e9 \u00e0 l\u2019essor des arts, en s\u2019appuyant notamment sur ses notes de lecture et ses textes de l&#8217;\u00e9poque.<\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Steffi Roettgen (Florenz): \u00bbH\u00f6fliche Freyheit\u00ab und \u00bbbl\u00fchende Freyheit\u00ab: Reiffenstein, Winckelmann und die deutsche Ornamentkritik um 1750. S. 234-250 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> The strong and traditional interest of art history in ornament and its function in the practice of 18<sup>th<\/sup> century architecture and decoration has now been replaced by a more theoretical approach advanced by other disciplines, such as linguistics, philosophy and aesthetics. This essay discusses Winckelmann\u2019s three antithetical statements on ornament in his early writings composed in Dresden. However, his interest in the topic was based on two earlier German texts published in Leipzig in 1746 and 1747, which already focused on the critique of ornament. In any case, Winckelmann\u2019s shifting between two extremes (the \u203aantique\u2039 and the \u203amodern\u2039) anticipates the setting of this famous debate, which was characteristic of the Baroque but was overtaken by Neoclassicism. \/ L\u2019int\u00e9r\u00eat profond et traditionnel que l\u2019histoire de l\u2019art porte \u00e0 l\u2019ornement et \u00e0 sa fonction en architecture et d\u00e9coration appliqu\u00e9es au XVIII<sup>e <\/sup>si\u00e8cle fut relay\u00e9 par une approche plus th\u00e9orique, mise en avant par d\u2019autres disciplines telles que la linguistique, la philosophie ou l\u2019esth\u00e9tique. Cet essai se penche sur trois \u00e9nonc\u00e9s antith\u00e9tiques sur l\u2019ornement avanc\u00e9s par Winckelmann dans ses premiers \u00e9crits r\u00e9dig\u00e9s \u00e0 Dresde. Mais son int\u00e9r\u00eat pour le sujet \u00e9tait fond\u00e9 sur deux textes allemands plus anciens, publi\u00e9s \u00e0 Leipzig en 1746 et 1747, qui avaient d\u00e9j\u00e0 pour th\u00e8me central la critique de l\u2019ornement. Dans ce contexte, l\u2019int\u00e9r\u00eat altern\u00e9 de Winckelmann pour deux extr\u00eames (l\u2019\u2039&nbsp;antique&nbsp;\u203a et le \u2039&nbsp;moderne&nbsp;\u203a) anticipe l\u2019\u00e9mergence de ce c\u00e9l\u00e8bre d\u00e9bat qui fut embl\u00e9matique de l\u2019\u00e9poque baroque avant d\u2019\u00eatre d\u00e9pass\u00e9 par le n\u00e9oclassicisme. <\/div><noscript><div class=\"spoiler-body\"> The strong and traditional interest of art history in ornament and its function in the practice of 18<sup>th<\/sup> century architecture and decoration has now been replaced by a more theoretical approach advanced by other disciplines, such as linguistics, philosophy and aesthetics. This essay discusses Winckelmann\u2019s three antithetical statements on ornament in his early writings composed in Dresden. However, his interest in the topic was based on two earlier German texts published in Leipzig in 1746 and 1747, which already focused on the critique of ornament. In any case, Winckelmann\u2019s shifting between two extremes (the \u203aantique\u2039 and the \u203amodern\u2039) anticipates the setting of this famous debate, which was characteristic of the Baroque but was overtaken by Neoclassicism. \/ L\u2019int\u00e9r\u00eat profond et traditionnel que l\u2019histoire de l\u2019art porte \u00e0 l\u2019ornement et \u00e0 sa fonction en architecture et d\u00e9coration appliqu\u00e9es au XVIII<sup>e <\/sup>si\u00e8cle fut relay\u00e9 par une approche plus th\u00e9orique, mise en avant par d\u2019autres disciplines telles que la linguistique, la philosophie ou l\u2019esth\u00e9tique. Cet essai se penche sur trois \u00e9nonc\u00e9s antith\u00e9tiques sur l\u2019ornement avanc\u00e9s par Winckelmann dans ses premiers \u00e9crits r\u00e9dig\u00e9s \u00e0 Dresde. Mais son int\u00e9r\u00eat pour le sujet \u00e9tait fond\u00e9 sur deux textes allemands plus anciens, publi\u00e9s \u00e0 Leipzig en 1746 et 1747, qui avaient d\u00e9j\u00e0 pour th\u00e8me central la critique de l\u2019ornement. Dans ce contexte, l\u2019int\u00e9r\u00eat altern\u00e9 de Winckelmann pour deux extr\u00eames (l\u2019\u2039&nbsp;antique&nbsp;\u203a et le \u2039&nbsp;moderne&nbsp;\u203a) anticipe l\u2019\u00e9mergence de ce c\u00e9l\u00e8bre d\u00e9bat qui fut embl\u00e9matique de l\u2019\u00e9poque baroque avant d\u2019\u00eatre d\u00e9pass\u00e9 par le n\u00e9oclassicisme. <\/div><\/noscript><\/div><\/div> <\/li><\/ul>\n\n\n\n<ul><li>Roland Kanz (Bonn): Christian Ludwig von Hagedorn als Kunsttheoretiker der Aufkl\u00e4rung. <br>S. 251-261 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> Christian Ludwig von Hagedorn was a Saxon diplomat between 1735\u20131752 and director-general of the art collections and academies of art in Saxony between 1763\u20131780. As a connoisseur of contemporary German painting, he established the German art literature of the Enlightenment with his two books, published in 1755 and 1762. In this article, Hagedorn\u2019s collecting and thinking in terms of art theory are placed in the context of the virtually unresearched taste phenomenon of Hollandism, particularly with regard to genre painting. \/ Christian Ludwig von Hagedorn \u00e9tait un diplomate saxon entre 1735 et 1752 et directeur g\u00e9n\u00e9ral des collections d\u2019art et des Acad\u00e9mies des beaux-arts de Saxe entre 1763 et 1780. En tant que connaisseur de la peinture allemande, il fonda, avec ses deux ouvrages publi\u00e9s en 1755 et 1762, la litt\u00e9rature artistique des Lumi\u00e8res. Dans cet article, l\u2019activit\u00e9 de collectionneur d\u2019Hagedorn ainsi que sa pens\u00e9e de la th\u00e9orie de l\u2019art sont plac\u00e9es dans le contexte du ph\u00e9nom\u00e8ne du go\u00fbt au regard de l\u2019hollandisme qui n\u2019avait alors fait l\u2019objet que de rares recherches et, en particulier, de la peinture de genre. <\/div><noscript><div class=\"spoiler-body\"> Christian Ludwig von Hagedorn was a Saxon diplomat between 1735\u20131752 and director-general of the art collections and academies of art in Saxony between 1763\u20131780. As a connoisseur of contemporary German painting, he established the German art literature of the Enlightenment with his two books, published in 1755 and 1762. In this article, Hagedorn\u2019s collecting and thinking in terms of art theory are placed in the context of the virtually unresearched taste phenomenon of Hollandism, particularly with regard to genre painting. \/ Christian Ludwig von Hagedorn \u00e9tait un diplomate saxon entre 1735 et 1752 et directeur g\u00e9n\u00e9ral des collections d\u2019art et des Acad\u00e9mies des beaux-arts de Saxe entre 1763 et 1780. En tant que connaisseur de la peinture allemande, il fonda, avec ses deux ouvrages publi\u00e9s en 1755 et 1762, la litt\u00e9rature artistique des Lumi\u00e8res. Dans cet article, l\u2019activit\u00e9 de collectionneur d\u2019Hagedorn ainsi que sa pens\u00e9e de la th\u00e9orie de l\u2019art sont plac\u00e9es dans le contexte du ph\u00e9nom\u00e8ne du go\u00fbt au regard de l\u2019hollandisme qui n\u2019avait alors fait l\u2019objet que de rares recherches et, en particulier, de la peinture de genre. <\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Dorit Kluge (Cl\u00e9rmond-Ferrand): Frankreich als Inspirationsquelle oder l\u00e4ngst \u00fcberholtes Modell f\u00fcr die Kunstkritik? Die Berichterstattung zu den Dresdner Kunstausstellungen 1764\u20131806. S. 262-270 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> The critical reviews about the exhibitions of the Academy of Fine Arts in Dresden held from 1764 assume a double role: they mark the very beginning of German art criticism and they constitute historical sources of considerable value regarding art exhibitions in the German-speaking world. This article offers a classification of these documents according to their media of publication as well as a table listing the journalistic reports on exhibitions in Saxony between 1764 and 1806 in chronological order. This approach will enable us to distinguish three stages of development in early German art criticism. Finally, the German reports will be compared to French art criticism, the model on which German art criticism was based before it embarked on the path of emancipation. \/ Les comptes rendus critiques des expositions \u00e0 l\u2019Acad\u00e9mie des Beaux-arts de Dresde depuis 1764 jouent un double r\u00f4le\u00a0: ils marquent, d\u2019une part, la gen\u00e8se de la critique d\u2019art allemande et constituent, d\u2019autre part, des sources historiques d\u2019une valeur inestimable sur les expositions d\u2019art organis\u00e9es dans l\u2019espace germanophone. L\u2019article propose une classification de ces documents en fonction des modes de publication ainsi qu\u2019un tableau chronologique des comptes rendus journalistiques sur les expositions saxonnes entre 1764 et 1806, ce qui nous permet, dans un deuxi\u00e8me temps, de distinguer trois phases dans l\u2019\u00e9volution de cette premi\u00e8re critique d\u2019art allemande. Enfin, les comptes rendus allemands sont compar\u00e9s \u00e0 la critique d\u2019art fran\u00e7aise qui fut leur mod\u00e8le mais dont ils s\u2019\u00e9mancip\u00e8rent par la suite. <\/div><noscript><div class=\"spoiler-body\"> The critical reviews about the exhibitions of the Academy of Fine Arts in Dresden held from 1764 assume a double role: they mark the very beginning of German art criticism and they constitute historical sources of considerable value regarding art exhibitions in the German-speaking world. This article offers a classification of these documents according to their media of publication as well as a table listing the journalistic reports on exhibitions in Saxony between 1764 and 1806 in chronological order. This approach will enable us to distinguish three stages of development in early German art criticism. Finally, the German reports will be compared to French art criticism, the model on which German art criticism was based before it embarked on the path of emancipation. \/ Les comptes rendus critiques des expositions \u00e0 l\u2019Acad\u00e9mie des Beaux-arts de Dresde depuis 1764 jouent un double r\u00f4le\u00a0: ils marquent, d\u2019une part, la gen\u00e8se de la critique d\u2019art allemande et constituent, d\u2019autre part, des sources historiques d\u2019une valeur inestimable sur les expositions d\u2019art organis\u00e9es dans l\u2019espace germanophone. L\u2019article propose une classification de ces documents en fonction des modes de publication ainsi qu\u2019un tableau chronologique des comptes rendus journalistiques sur les expositions saxonnes entre 1764 et 1806, ce qui nous permet, dans un deuxi\u00e8me temps, de distinguer trois phases dans l\u2019\u00e9volution de cette premi\u00e8re critique d\u2019art allemande. Enfin, les comptes rendus allemands sont compar\u00e9s \u00e0 la critique d\u2019art fran\u00e7aise qui fut leur mod\u00e8le mais dont ils s\u2019\u00e9mancip\u00e8rent par la suite. <\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Andre Wakefield (Claremont CA): Bergbau, Aufkl\u00e4rung und Hofkultur. S. 271-276 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> Early modern Dresden has long figured as a paradigmatic site of the Baroque, largely because of the city\u2019s music, art and architecture. This has, however, helped to inspire a historiography that links Dresden with the wastefulness of Baroque pomp and luxury. By emphasizing links between the court of Augustus II the Strong (1670\u20131733) and the mining center of Freiberg, this article argues that Dresden was a center of the German Enlightenment. \/ La ville de Dresde de l\u2019\u00e9poque moderne pr\u00e9coce a longtemps \u00e9t\u00e9 consid\u00e9r\u00e9e comme un si\u00e8ge paradigmatique du mouvement baroque, principalement en raison de la musique, de l\u2019art et de l\u2019architecture qui lui \u00e9taient propres. Mais cela a donn\u00e9 l\u2019impulsion \u00e0 une historiographie \u00e9tablissant une corr\u00e9lation entre Dresde et la prodigalit\u00e9 du faste et du luxe baroques. En soulignant la relation entre la cour d\u2019Auguste le Fort (1670\u20131733) et le centre minier de Freiberg, cet article argumente que Dresde a \u00e9t\u00e9 un centre des Lumi\u00e8res allemandes. <\/div><noscript><div class=\"spoiler-body\"> Early modern Dresden has long figured as a paradigmatic site of the Baroque, largely because of the city\u2019s music, art and architecture. This has, however, helped to inspire a historiography that links Dresden with the wastefulness of Baroque pomp and luxury. By emphasizing links between the court of Augustus II the Strong (1670\u20131733) and the mining center of Freiberg, this article argues that Dresden was a center of the German Enlightenment. \/ La ville de Dresde de l\u2019\u00e9poque moderne pr\u00e9coce a longtemps \u00e9t\u00e9 consid\u00e9r\u00e9e comme un si\u00e8ge paradigmatique du mouvement baroque, principalement en raison de la musique, de l\u2019art et de l\u2019architecture qui lui \u00e9taient propres. Mais cela a donn\u00e9 l\u2019impulsion \u00e0 une historiographie \u00e9tablissant une corr\u00e9lation entre Dresde et la prodigalit\u00e9 du faste et du luxe baroques. En soulignant la relation entre la cour d\u2019Auguste le Fort (1670\u20131733) et le centre minier de Freiberg, cet article argumente que Dresde a \u00e9t\u00e9 un centre des Lumi\u00e8res allemandes. <\/div><\/noscript><\/div><\/div> <\/li><\/ul>\n\n\n\n<p><strong>Aus der Forschung<\/strong><\/p>\n\n\n\n<ul><li>Marion Linhardt: Neue Forschungen zum theatralischen Performativit\u00e4tsparadigma und alte Warnungen gegen\u00fcber der \u203aEmpiriefeindlichkeit\u2039 germanistischer Dramengeschichtsschreibung \u2013 zwei Sammelb\u00e4nde zur Theatergeschichte des 18. Jahrhunderts <\/li><li>Hermann Korte: Dramatisches und dramentheoretisches von August Klingemann \u2013 zwei Wiederentdeckungen <\/li><li>Engelhard Weigl: Das Jean-Paul-Bild im Jubil\u00e4umsjahr \u2013 drei neue Biographien auf dem Pr\u00fcfstand <\/li><li>Misia Doms \u00fcber Barthold Heinrich Brockes: Werke. Bd. 1: Selbstbiographie. Verdeutschter Bethlehemitischer Kinder-Mord. Gelegenheitsgedichte. Aufs\u00e4tze. Hg., Kommentar: J\u00fcrgen Rathje (2012)<\/li><li>Gabriele Ball \u00fcber Hilary Brown: Luise Gottsched the Translator (2012)<\/li><li>Silvia Bonacchi \u00fcber Ewald von Kleist. Zum 250. Geburtstag. Hg. Lothar Jordan, Kleist-Museum Frankfurt (Oder) (2010)<\/li><li>Robert Fajen \u00fcber Das \u203aandere\u2039 18. Jahrhundert. Komparatistische Blicke auf das Rokoko der Romania. Hg. Angela Oster (2010) <\/li><li>Angela Oster \u00fcber Marcus Felsner: Rococo. Mozarts \u00bbCos\u00ec fan tutte\u00ab und die Kultur des 18. Jahrhunderts (2010) <\/li><li>Anne Lagny \u00fcber \u00bbFakta, und kein moralisches Geschw\u00e4tz\u00ab. Zu den Fallgeschichten im \u00bbMagazin zur Erfahrungsseelenkunde\u00ab (1783\u20131793). Hg. Sheila Dickson, Stefan Goldmann, Christof Wingertszahn (2011) <\/li><li>Carina Middel \u00fcber Isaak Iselin und die Geschichtsphilosophie der europ\u00e4ischen Sp\u00e4taufkl\u00e4rung. Hg. Lucas Marco Gisi, Wolfgang Rother (2011) <\/li><li>Cerstin Bauer-Funke \u00fcber Entre belles-lettres et disciplines. Les savoirs au XVIIIe si\u00e8cle. Dir. Franck Sala\u00fcn, Jean-Pierre Schandeler (2011) <\/li><li>Gary Marker \u00fcber Michael Schippan: Die Aufkl\u00e4rung in Russland im 18. Jahrhundert (2012) <\/li><li>Elisabeth D\u00e9cultot \u00fcber De Oudheid in de Achttiende Eeuw&nbsp;\/ Classical Antiquity in the Eighteenth Century. Red. Alexander J.&nbsp;P. Rast, Wyger R.&nbsp;E. Velema, Claudette Baar-de Weerd (2012) <\/li><li>Daniel Bellingradt \u00fcber Raymond Birn: Royal Censorship of Books in Eighteenth-Century France (2012) Anna Christina Sch\u00fctz \u00fcber Helmut Bernt: Eine Berliner K\u00fcnstlerkarriere im 18. Jahrhundert. Daniel Nikolaus Chodowiecki. Vom Kaufmannslehrling zum Medienstar (2013)<\/li><li>Gerhard Sauder \u00fcber Karin Hausen: Geschlechtergeschichte als Gesellschaftsgeschichte (2012)<\/li><\/ul>\n\n\n\n<p><strong>Sonstiges<\/strong><\/p>\n\n\n\n<p>Eingegangene B\u00fccher<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Heft2 (2013) Jahrgang37 Zusammengestellt von Roland Kanz und Johannes S\u00fc\u00dfman Aus der Arbeit der DGEJ Zu diesem Heft (Carsten Zelle) Paul Raabe (1927\u20132013) (Gerhard Sauder) Pr\u00e4senz und Evidenz fremder Dinge im Europa des 18. Jahrhunderts. Internationale Tagung in Kooperation mit der DGEJ, 9.\u201311. Sept. 2013 an der Herzog August Bibliothek Wolfenb\u00fcttel (Nora Ple\u00dfke) Beitr\u00e4ge Johannes S\u00fc\u00dfmann (Paderborn): Aufkl\u00e4rung und Hofkultur<\/p>\n<p><a class=\"more-link\" href=\"https:\/\/dgej.hab.de\/index.php\/2020\/04\/14\/aufklaerung-und-hofkultur-in-dresden\/\">Weiterlesen<\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts\/654"}],"collection":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/comments?post=654"}],"version-history":[{"count":8,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts\/654\/revisions"}],"predecessor-version":[{"id":1361,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts\/654\/revisions\/1361"}],"wp:attachment":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/media?parent=654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/categories?post=654"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/tags?post=654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}