DAS LICHT DER KÃNSTE: HUGO VON HOFMANNSTHALS DIE FRAU OHNE SCHATTEN MIT BLICK AUF WALTER PATERS THE RENAISSANCE
Bibliographic record
Abstract
Hugo von Hofmannsthalâs literary relation to Walter Pater has already been established in\nthe secondary literature; nevertheless, the Frau ohne Schatten has not been analysed with\nrespect to this relation. This project investigates the role of the arts (especially that of\narchitecture, painting, poetry, music and the carpet) in the story and connects this role\nwith the aesthetics that Pater sets out in The Renaissance. It will be shown that art in its\nvarious forms is closely connected to the plot and action of the story. In the work of Pater\nand Hofmannsthal, art even has a vivifying or animating function. Important\ncharacteristics of art for Hofmannsthal and Pater are the relation of the arts to and\namongst one another, the idea that all things flow (following Heraclitusâ panta rhei, Gr.), and the concept of Anders-streben. The world of art and the world of reality\nin its everyday sense will be shown through their ambiguous and even paradoxical\nrelation to one another. Hugo von Hofmannsthals literarisches Verhältnis zu Walter Pater ist in der\nSekundärliteratur schon belegt; trotzdem ist Die Frau ohne Schatten hinsichtlich dieses\nVerhältnisses nie analysiert worden. Diese Arbeit untersucht die Rolle der Künste\n(besonders der Architektur, Malerei, Dichtung, Musik und des Teppichs) in der\nErzählung und verbindet diese Rolle mit der Ãsthetik, die Pater in The Renaissance\ndarlegte. Es wird gezeigt, dass die Kunst in ihrer verschiedenen Gestalten sehr eng mit\nder Handlung der Erzählung verbunden ist. Bei Pater und Hofmannsthal hat die Kunst\nsogar eine belebende Wirkung. Wichtige Merkmale der Kunst für Hofmannsthal und\nPater sind das Verhältnis der Künste untereinander, die Idee, dass alles flieÃt (nach\nHeraklits panta rhei, Gr.), und das Konzept des Anders-strebens. Die Welt der\nKunst und die Welt der Wirklichkeit im alltäglichen Sinne werden durch ihre vieldeutige\nund zumal paradoxe Beziehung zueinander gezeigt.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".