chondrosarcoma, osteosarcoma, rhabdomyosarcoma and liposarcoma). leiomyosarcoma, fibrosarcoma and endometrial stromal sarcoma), or as “heterologous” when they contain mesenchymal components that are physiologically foreign to the primary site (e.g. CS are classified on the basis of the nature of their mesenchymal elements as "homologous" when mesenchymal components differentiate towards tissues physiologically native to the primary site (e.g. Histologically, the carcinomatous component may include endometrioid, serous, clear cell, squamous or mucinous differentiation or may be undifferentiated. Kerstin Stakemeier, " Entkunstung: Artistic Models for the End of Art", 2010.Gynecological carcinosarcomas (CS), also known as Malignant Mixed Mullerian Tumors (MMMT), are rare biphasic tumors that most commonly arise in the uterus and ovaries. Nikos Pegioudis, "Artists and Radicalism in Germany: Reform, Politics and the Paradoxes of the Avant-Garde" Steven Gambardella, "The AIDS Crisis in North American Visual Culture", 2010 Paul Fox, "Visual Narratives of Conflict in Germany, 1870-1933", 2009. Stina Barchan, "Mime in the Archive: Hannah Höch and Kurt Schwitters", 2009.Ĭatherine Berger, "Progressive Nostalgia: Alfred Stieglitz, His Circle, and the Romantic Anti-Capitalist Critique of Modernity" Gerald Adler, "Tessenow in Hellerau: The Materialisation of Space", 2004. Tom Wilkinson, "Art for the Masses: The Use and Abuse of Popular Art History in Weimar Germany" Jenny Nachtigall, "Psychoanalysis and Politics in Berlin Dada"Īnne Reimers, "Fashionability and Representation: Figurative Painting, Drawing and Illustration in Berlin, 1920-1929" Gemma Carroll, " Merz Encounters: Kurt Schwitters" As a Swedish speaker, he would also welcome proposals relating to the Scandinavian countries and cultures. This would include not only artistic practice but issues related to aesthetics, critical theory and the history of Art History as an academic discipline. Schwartz would be pleased to consider research proposals in all areas of the visual culture of late nineteenth- and twentieth-century Germany and Austria. These often involved the provocation or response to scandals, images of crimes (such as the notorious Lustmord imagery of Grosz and Dix), and the exploration of medical and forensic science. This will consider developments in German and Austrian art in a way that will cut across styles, media and ideologies to consider a common set of strategies used by artists and writers in a response to changing legal parameters concerning their abilities to represent their contemporary social and political concerns. Schwartz's research includes a project on "German Art and the Culture of the Case, 1890-1930" for which he has won a two year Leverhulme Research Fellowship from September 2016. In both works, and in articles on Adolf Behne, Adolf Loos, aspects of the Bauhaus, Peter Weiss, empathy theory and film, he has sought to establish new reference points by which to gauge the politics of the image in early twentieth-century modernity. Adorno, Ernst Bloch and Siegfried Kracauer, exploring the emergence of their thought out of contact with artists such as Laszlo Moholy-Nagy and engagement with art historians including Heinrich Wölfflin, Alois Riegl, Wilhelm Pinder and Hans Sedlmayr. More recently, his book Blind Spots: Critical Theory and the History of Art in Twentieth-Century Germany (Yale University Press, 2005) looks at the critical theory of Walter Benjamin, Theodor W. This book considered not only design theory and practice but also philosophy, sociology, as well as changes in intellectual property law that had a powerful effect on the circulation of images at that stage of modernity. His first book, The Werkbund: Design Theory and Mass Culture Before the First World War (Yale University Press, 1996) traces the parallel development of architecture and mass-culture theory in early twentieth-century Germany. He has lectured and published widely on modern architecture and design, the critical theory of the Frankfurt School, the German avant-garde of the early twentieth century and the History of Art as an academic discipline. Schwartz's interests include all areas of the visual culture and built environment in the German-speaking world from the late nineteenth century to the present.
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