42 found
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  1. Affordance as a Method in Visual Cultural Studies. Based on Theory and Tools of Vitality Semiotics.Martina Sauer - 2021 - Art Style International 2 (7):11-37.
    In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools of (...)
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  2. Aesthetik und Pragmatismus. Zur funktionalen Relevanz einer nicht-diskursiven Formauffassung bei Cassirer, Langer und Krois.Martina Sauer - 2014 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 20 (2):49-69.
    To what extend is there a relevance of aesthetics for life? By postulating a non-discursive and emotional relevance of forms Cassirer, Langer and Krois open the door for this idea. -/- Inwieweit spielt die Ästhetik im Leben eine Rolle? Indem sowohl Cassirer, Langer und Krois eine nicht-diskursive und emotionale Relevanz von Formen unterstellen, öffnen sie die Türen für diese Idee.
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  3. An Affective Perception: How "Vitality Forms" Influence Our Mood.Martina Sauer, Giada Lombardi & Giuseppe Di Cesare - 2023 - Art Style 11 (1):127—139.
    The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...)
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  4. Visualität und Geschichte. Bilder als historische Akteure im Anschluss an Verkörperungstheorien.Martina Sauer - 2015 - In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation. V&R uni press. pp. 39-60.
    Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 -- I -- Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -- I -- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.
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  5. Interaction of Nature and Man after Ernst Cassirer: Expressive Phenomena as Indicators.Martina Sauer - 2023 - In Jacobus Bracker & Stefanie Johns (eds.), Critical Zone [Visual Past 7]. Universität Hamburg, Kulturwissenschaften, Germany. pp. 147-161.
    According to the neo-Kantian and cultural anthropologist Ernst Cassirer, man always interacts with nature. This assumption forms the basis for his philosophical approach to the Philosophy of Symbolic Forms of 1929. It is based on the thesis that we do not conceive nature as objects (‘Ding-Wahrnehmung’), but immediately feel and suffer nature through the so-called ‘perception of expression’ (‘Ausdrucks-Wahrnehmung’). Thus, our understanding of the world is based on interaction with nature, because feeling and suffering depend on something we feel and (...)
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  6.  86
    Towards Vitality Semiotics and a New Understanding of the Conditio Humana in Susanne K. Langer.Martina Sauer - 2023 - In Lona Gaikis (ed.), The Bloomsbury Handbook of Susanne K. Langer. London: Bloomsbury Handbooks. pp. 223-338.
    In hindsight, it is primarily Susanne K. Langer’s theory of act, and only secondarily her theory of art, that is central to the conception of Vitality Semiotics. It focuses on affective, semiotically relevant forms that constitute our world experience, human social interaction, and ultimately art experience. Thus, this somewhat unusual distinction between these two aspects of Langer’s work is not only important for art and our understanding of the world, but can also be seen as fundamental to social interaction and, (...)
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  7. Faszination - Schrecken. Zur Handlungsrelevanz ästhetischer Erfahrung anhand Anselm Kiefers Deutschlandbilder.Martina Sauer - 2018 - Heidelberg, Germany: arthistoricum.
    Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops a (...)
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  8. Marshall McLuhan in a New Light. Old and New Methods of Influencing Emotions in Communities of the Electronic Age.Martina Sauer - 2023 - In Grabbe Lars, Andrew McLuhan & Tobias Held (eds.), Beyond Media Literacy. Germany, Marburg: Büchner Verlag. pp. 14—32.
    How is it possible that emotions in the community can be influenced by media? According to the paper’s concept, this is only understandable if we accept with Marshall McLuhan that media and the human body are not separable. There is no divide. The medium is the message expressed through the body/human being. This has preconditions, because the connection must be based on an analog principle that serves as the transmitter. This lies in non-discursive affectively relevant forms and an equally affectively (...)
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  9.  99
    Encyclopedia; Debatte zwischen spekulativer Ästhetik versus Ästhetik als Formwissenschaft 1830-1870.Martina Sauer - 2023 - In Hartung Gerald (ed.), Grundriss der Geschichte der Philosophie, Bd. 1/2, Die Philosophie des 19. Jahrhundert: Deutschsprachiger Raum 1830-1870. Schweiz, Basel: Schwabe Verlag. pp. § 16, 425—447.
    Vorbemerkungen: Die Exponenten der spekulativen Ästhetik in der Mitte des 19. Jahrhunderts vertreten die Ansicht, dass eine Begegnung mit den verschiedenen Gegenstandsbereichen der Welt und unsere Einordnung in diese Weltbezüge nur gelingen kann, wenn nicht alles rein zufällig und verschieden ist, sondern vielmehr in einer alles übergreifenden Einheit zusammengehört und einer höheren Idee folgt. […] [Denn] das Schöne steht für den höheren Sinn von allem, was ist und geschieht. In Übereinstimmung mit diesem Grundsatz, jedoch auf völlig anderen Grundlagen, kommen zu (...)
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  10. Ästhetik versus Kunstgeschichte?: Ernst Cassirer als Vermittler in einer bis heute offenen Kontroverse zur Relevanz der Kunst für das Leben.Martina Sauer - 2018 - In Stefan Niklas & Thiemo Breyer (eds.), Ernst Cassirer in Systematischen Beziehungen: Zur Kritisch-Kommunikativen Bedeutung Seiner Kulturphilosophie. Berlin: De Gruyter. pp. 239-260.
    Aesthetics versus Art History? Ernst Cassirer as Mediator in an ongoing Controversy on the Relevance of Art for Life. Against the background of Ernst Cassirer’s cultural philosophy, art studies are to be classified as cultural studies. Central to this is Cassirer’s philosophy as the basis for answering a question that has been posed by the methods of formal aesthetics and iconology since the 19th century but is still unanswered today, namely the question of the relevance of the arts for life. (...)
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  11. What is Reality? Walter Benjamin, Roland Barthes, Jacques Derrida, Judith Butler, and the artist Karin Kneffel on the deconstruction of the familiar as liberation from determination.Martina Sauer - 2020 - Art Style, Art and Culture International Magazine, Special Issue_6, On the Postmodern Age, Ed. By Martina Sauer 6 (6):101-120.
    What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...)
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  12. Panofsky - Warburg - Cassirer. From Iconology to Image Science.Martina Sauer - 2020 - In Homo Pictor. Image Studies and Archaeology in Dialogue [Freiburger Studien zur Archäologie & Visuellen Kultur 2], ed. by Jacobus Bracker, Heidelberg: Propylaeum. pp. 159-171.
    Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called iconological (...)
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  13. Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer's, Langer's and Krois' Embodiment Theories.Martina Sauer - 2022 - In Multimodality. The Sensually Organized Potential of Artistic Works, edited by Martina Sauer and Christiane Wagner, New York and São Paulo [Special Issue, Art Style 10, 01, 2022]. pp. 25-46.
    Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...)
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  14. Das Bild als eigenständiges semiotisches System.Martina Sauer - 2016 - In Natalia Igl Julia Menzel (ed.), Illustrierte Zeitschriften um 1900. Mediale Eigenlogik, Multimodalität und Metaisierung. transcript. pp. 137-165.
    Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...)
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  15. Verantwortung - Vom Aufladen mit Bedeutung in Kunst und Sprache. Zu den Konsequenzen aus den kulturanthropologischen Ansätzen von Cassirer, Warburg und Böhme.Martina Sauer - 2013 - In Oxen Kathrin & Sagert Dietrich (eds.), Mitteilungen - zur Erneuerung evangelischer Predigtkultur, Leipzig 2013 (Kirche im Aufbruch ; 5). Leipzig, Germany: Evangelische Verlagsanstalt. pp. 15-33.
    So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...)
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  16. Framing Emotional Perception: Affect and Effect of Aesthetic Experience, or Extensions of Aesthetic Theory Towards Semiotics.Martina Sauer - 2019 - Art Style: Art and Culture International Magazine 4 (4):73-87.
    How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...)
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  17. From aesthetics to vitality semiotics - From l´art pour l´art to responsibility. Historical change of perspective exemplified on Josef Albers.Martina Sauer - 2020 - In Grabbe, Lars Christian ; Rupert-Kruse, Patrick ; Schmitz, Norbert M. (Hrsgg.): Bildgestalten : Topographien medialer Visualität. Marburg: Büchner. Büchner Verlag. pp. 194-213.
    The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...)
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  18. Von Bildimpulsen zu Vitality Semiotics. Affordanz und Rahmen (frames) aus kunstgeschichtlicher Sichtweise am Beispiel der Exekias-Schale in München.Martina Sauer - 2021 - In Mehrdeutigkeiten: Rahmentheorien und Affordanzkonzepte in den Archäologischen Bildwissenschaften, edited by Elisabeth Günther and Johanna Fabricius. Wiesbaden: Harrassowitz, 2021 (Philippika ; 147). pp. 79-103.
    To relate theories of affordance and frame with the tradition of formal aesthetics, philosophical iconology and the life sciences (keyword Vitality Semiotics) is the starting point of the paper. According to this approach, the structural preconditions of images, as determined by materials, techniques and the composition of the design means, become essential. Through these structures, the producers are able to set impulses that become decisive for the interpretation of space and time or the "scene" as a dynamic event. Against the (...)
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  19. ´The better form´ - Josef Albers´s Idealistic Concept of Art Reveals its Socio-Cultural Function.Martina Sauer - 2019 - Art Style: Art and Culture International Magazine 2 (2):30-55.
    With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...)
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  20. Warburg und die Natur(-wissenschaft): Affektpsychologische Fundierung von Kultur im Hamburger Kreis um Warburg, Cassirer und Werner und deren Nachwirkungen.Martina Sauer - 2020 - Visual Past, 5/2018, Special Issue: Image Senses.
    What distinguishes humans form animals? Acknowledging that humans are part of nature, that can process psychologically their affective-vital reactions to nature, and thus be held responsible for cultural processes, is the result of art historical, cultural-philosophical and life science research over the past two centuries. This line of argumentation led to the consideration that there must also be a connection between affective-psychological reactions and formal, a-historical mechanisms that are usually used by the arts. However, influenced by classical aesthetic theory, no (...)
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  21. Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern im Anschluss an Cassirer, Langer und Krois.Martina Sauer - 2016 - In Grabbe Lars Christian & Rupert-Kruse Patrick (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Büchner Verlag. pp. 46-71.
    Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...)
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  22. (2015). Bildkraft und Tatkraft: Zum Verhältnis von ästhetischer Erfahrung und Technik im Anschluss an Cassirer, Langer und Krois.Martina Sauer - 2015 - Kongress-Akten, Deutsche Gesellschaft Für Ästhetik, Bd. 3.
    The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...)
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  23. (2014) Kunst als ästhetische Strategie. Differenz von Hingabe und Distanz als Bruch und Voraussetzung für eine neue Form des Dialogs.Martina Sauer - 2014 - In Stoellger Phillip & Gutjahr Marco (eds.), An den Grenzen des Bildes. Zur visuellen Anthropologie (Interpretation Interdisziplinär, 15). Würzburg: Könighausen & Neumann. pp. 115-130.
    By observing processes of art perception two contradicting phenomena come to the fore: a feeling of closeness and distance at the same time. The phenomenologists Martin Heidegger and Bernhard Waldenfels describe this connection as a matter of being ("Seinsweise") of images, that allows new views of the world whereas the two cultural anthropologists Ernst Cassirer and Hartmut Böhme note that the connection between both can be seen as the basis of experience ("Erlebnisweise") of images and therefore serves for communication. Here (...)
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  24. Bilder als Agenten kultureller Transformationsprozesse.Martina Sauer & Jacobus Bracker (eds.) - 2022 - IMAGE, Journal of Interdisciplinary Image Science 36, 7.
    This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign philosophy (...)
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  25.  6
    Faszination und Schrecken.Martina Sauer - 2006 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 51 (2):24-51.
    Fascination and horror are two key experiences that are present particularly in the early work of Anselm Kiefer. Particularly in Germany these have prompted surprisingly strong reactions. Why is it, that his work dealing with the National Socialism has been received so ambivalently? The answer to this question, the text attempts, is based on the analysis of the pictures’ conditions of impact, their „Wirkkraft“. It can be shown that the process of perception can be understood as forming the basis of (...)
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  26. Grabbe, Lars Christian ; Rupert-Kruse, Patrick ; Schmitz, Norbert M. (Hrsgg.): Bildgestalten : Topographien medialer Visualität. Marburg: Büchner.Martina Sauer (ed.) - 2020 - Büchner Verlag.
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  27. Homo Pictor. Image Studies and Archaeology in Dialogue [Freiburger Studien zur Archäologie & Visuellen Kultur 2], ed. by Jacobus Bracker, Heidelberg: Propylaeum.Martina Sauer (ed.) - 2020
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  28. Ikonische Grenzverläufe.Martina Sauer (ed.) - 2018 - Tuebingen, Germany: IMAGE, Zeitschrift für interdisziplinäre Bildwissenschaft, Themenheft, 28.
    The task of the congress of the German Society for Semiotics in Passau / Germany in September 2017 was to explore and describe "boundaries". A total of 12 sections of the society wrote a call for paper for this purpose. With the present anthology it has to be made evident, how concretely also the boundaries of the own, the other and the foreign can be negotiated via pictures. -/- Papers: -/- - Martina Sauer: Ikonische Grenzverläufe. Szenarien des Eigenen, Anderen und (...)
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  29.  43
    Josef Albers. "So ist Kunst ... Erlebnis".Martina Sauer - 2018 - Wiesbaden, Germany: Weimarer Verlagsgesellschaft.
    This is the first coherent monography about the life and work of the important Bauhaus master Josef Albers. It aims to discover Albers as a teacher and an artist anew. Thus, 40 years after his death an artist shall be honored, who has had till now not enough attention within the Bauhaus masters. It fall too short to introduce him solely as the teacher and idea provider of the basic course at the Bauhaus. After his emigration to the US he (...)
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  30. Mehrdeutigkeiten: Rahmentheorien und Affordanzkonzepte in den Archäologischen Bildwissenschaften, edited by Elisabeth Günther and Johanna Fabricius. Wiesbaden: Harrassowitz, 2021 (Philippika ; 147).Martina Sauer (ed.) - 2021
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  31. Multimodality. The Sensually Organized Potential of Artistic Works, edited by Martina Sauer and Christiane Wagner, New York and São Paulo [Special Issue, Art Style 10, 01, 2022].Martina Sauer (ed.) - 2022
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  32.  93
    On The Material Image. Affordances as a New Approach to Visual Culture Studies.Martina Sauer & Elisabeth Günther (eds.) - 2021 - New York & São Paulo: Art Style.
    This special issue on affordances bases on the thesis, that all natural and artificial things inhere affordances that appeal to our cognitive system, and thus invite us to look at them, perceive them, think about them, interpret them, and use them. The concept roots in the studies of the American psychologist James J. Gibson from the 1960s. According to him, "things" offer a certain range of possible activities depending on their form, time patterns, and material qualities, thus becoming part of (...)
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  33. On the Postmodern Age.Martina Sauer (ed.) - 2020 - New York & São Paulo: Art Style.
    We live in the age of postmodernism. What does that mean? With a call for essays, we asked for proposals for a better understanding. At the same time, we were looking for posts that show how the arts have processed and are still processing the change from the modern to the postmodern selfconception of man, which has been described by philosophy since the 1950s to today. This special issue thus demonstrates how architects, designers and artists have reacted to the new (...)
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  34. Atmosphere and Mood: Two Sides of the Same Phenomenon.Martina Sauer & Zhuofei Wang (eds.) - 2023 - Sao Paulo and New York: Art Style.
    In past decades, the subject atmosphere and mood has gone beyond the physio-meteorological and psychological scopes and become a new direction of aesthetics which concerns two sides of the same phenomenon. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere and mood are neither a purely subjective state nor an objective thing. Atmosphere is essentially a quasi-object pervaded by a specific affective quality and a ubiquitous phenomenon forming the foundation of our outer life (...)
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  35. Cézanne - Van Gogh - Monet. Genese der Abstraktion. 2. edn. Diss. Basel 1998 (2nd edition).Martina Sauer - 2014 - Heidelberg: ART-Dok.
    Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be defined (...)
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  36.  15
    Veränderungen der religiösen Praxis und Einstellungen türkischstämmiger Muslime in Deutschland.Martina Sauer & Faruk Şen - 2009 - In Strukturelle Zwänge – Persönliche Freiheiten: Osmanen, Türken, Muslime: Reflexionen Zu Gesellschaftlichen Umbrüchen. Gedenkband Zu Ehren Petra Kapperts. Walter de Gruyter. pp. 341-368.
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  37. Daniel Martin Feige / Judith Siegmund (eds.): Kunst und Handlung. Ästhetische und handlungstheoretische Perspektiven. transcript: Bielefeld 2015. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  38. Marion Lauschke / Franz Engel / Johanna Schiffler (eds.): Ikonische Formprozesse. Zur Philosophie des Unbestimmten in Bildern. De Gruyter: Berlin 2018. [REVIEW]Martina Sauer - 2019 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 19 (4).
  39. Anna-Maria C. Bartsch: Form und Formalismus. Stationen der Ästhetik bei Baumgarten, Kant und Zimmermann, Würzburg 2017. [REVIEW]Martina Sauer - 2018 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 18 (7/8).
  40. John Michael Krois. Bildkörper und Körperschema. Schriften zur Verkörperungstheorie ikonischer Formen. [REVIEW]Martina Sauer - 2013 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 13 (4).
  41. Lambert Wiesing, Sehen lassen. Die Praxis des Zeigens, Berlin 2013. [REVIEW]Martina Sauer - 2014 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 14 (3).
  42. Emmanuel Alloa (Ed.): Erscheinung und Ereignis. Zur Zeitlichkeit des Bildes, München 2013. [REVIEW]Martina Sauer - 2015 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 15 (1).