Deborah Ascher Barnstone is Professor of Architecture and Associate Head of School in the Department of Architecture at University of Technology Sydney. She is a licensed architect and principal with Ascher Barnstone Architects as well as an art historian. Her primary research interests are twentieth- and twenty-first century German and Dutch art and architecture and classical modernism. Her most recent book, Beyond the Bauhaus: Cultural Modernity in Breslau, 1918–1933 (2016), scrutinizes the so-called dichotomy in interwar German cultural production. Barnstone edits the book series German Visual Culture with Thomas O. Haakenson.

Select Guide Rating

• Contents: Deborah Ascher Barnstone: Introduction: The Overlooked Trope of the Doppelgänger – Lori A. Felton: Beyond The Self-Seers: The Creative Strategies within Egon Schiele’s Double Self-Portraiture – April A. Eisman: From Double Burden to Double Vision: The Doppelgänger in Doris Ziegler’s Paintings of Women in East Germany – Paul Monty Paret: Jean Paul at the Bauhaus: Oskar Schlemmer’s Doppelgängers – Deborah Ascher Barnstone: Seeing Double: The Doppelgänger in Two Interpretations of the Ballet Classic The Nutcracker, by John Neumeier and Marco Goecke – Nathan J. Timpano: Body Doubles: The Puppe as Doppelgänger in Fin-de-Siècle Viennese Visual Culture – Isa Murdock-Hinrichs: The Remake as Double: Space, Media, and the Irrational in Michael Haneke’s Funny Games – Thomas O. Haakenson/Andrew Felicilda: Melodrama and its Doubles: The Films of Douglas Sirk and Todd Haynes – Maria Makela: Artificial Silk Girls: Rayon as Silk’s Double in Weimar Germany – Brigitte Marschall: X-ray Images as the Body’s Double: From The Magic Mountain by Thomas Mann to the Holy Mountain in the Life and Death of Christoph Schlingensief.

Deborah Ascher Barnstone is Professor of Architecture and Associate Head of School in the Department of Architecture at University of Technology Sydney. She is a licensed architect and principal with Ascher Barnstone Architects as well as an art historian. Her primary research interests are twentieth- and twenty-first century German and Dutch art and architecture and classical modernism. Her most recent book, Beyond the Bauhaus: Cultural Modernity in Breslau, 1918–1933 (2016), scrutinizes the so-called dichotomy in interwar German cultural production. Barnstone edits the book series German Visual Culture with Thomas O. Haakenson.

Select Guide Rating

• Contents: Deborah Ascher Barnstone: Introduction: The Overlooked Trope of the Doppelgänger – Lori A. Felton: Beyond The Self-Seers: The Creative Strategies within Egon Schiele’s Double Self-Portraiture – April A. Eisman: From Double Burden to Double Vision: The Doppelgänger in Doris Ziegler’s Paintings of Women in East Germany – Paul Monty Paret: Jean Paul at the Bauhaus: Oskar Schlemmer’s Doppelgängers – Deborah Ascher Barnstone: Seeing Double: The Doppelgänger in Two Interpretations of the Ballet Classic The Nutcracker, by John Neumeier and Marco Goecke – Nathan J. Timpano: Body Doubles: The Puppe as Doppelgänger in Fin-de-Siècle Viennese Visual Culture – Isa Murdock-Hinrichs: The Remake as Double: Space, Media, and the Irrational in Michael Haneke’s Funny Games – Thomas O. Haakenson/Andrew Felicilda: Melodrama and its Doubles: The Films of Douglas Sirk and Todd Haynes – Maria Makela: Artificial Silk Girls: Rayon as Silk’s Double in Weimar Germany – Brigitte Marschall: X-ray Images as the Body’s Double: From The Magic Mountain by Thomas Mann to the Holy Mountain in the Life and Death of Christoph Schlingensief.

Deborah Ascher Barnstone is Professor of Architecture and Associate Head of School in the Department of Architecture at University of Technology Sydney. She is a licensed architect and principal with Ascher Barnstone Architects as well as an art historian. Her primary research interests are twentieth- and twenty-first century German and Dutch art and architecture and classical modernism. Her most recent book, Beyond the Bauhaus: Cultural Modernity in Breslau, 1918–1933 (2016), scrutinizes the so-called dichotomy in interwar German cultural production. Barnstone edits the book series German Visual Culture with Thomas O. Haakenson.

Select Guide Rating

• Contents: Deborah Ascher Barnstone: Introduction: The Overlooked Trope of the Doppelgänger – Lori A. Felton: Beyond The Self-Seers: The Creative Strategies within Egon Schiele’s Double Self-Portraiture – April A. Eisman: From Double Burden to Double Vision: The Doppelgänger in Doris Ziegler’s Paintings of Women in East Germany – Paul Monty Paret: Jean Paul at the Bauhaus: Oskar Schlemmer’s Doppelgängers – Deborah Ascher Barnstone: Seeing Double: The Doppelgänger in Two Interpretations of the Ballet Classic The Nutcracker, by John Neumeier and Marco Goecke – Nathan J. Timpano: Body Doubles: The Puppe as Doppelgänger in Fin-de-Siècle Viennese Visual Culture – Isa Murdock-Hinrichs: The Remake as Double: Space, Media, and the Irrational in Michael Haneke’s Funny Games – Thomas O. Haakenson/Andrew Felicilda: Melodrama and its Doubles: The Films of Douglas Sirk and Todd Haynes – Maria Makela: Artificial Silk Girls: Rayon as Silk’s Double in Weimar Germany – Brigitte Marschall: X-ray Images as the Body’s Double: From The Magic Mountain by Thomas Mann to the Holy Mountain in the Life and Death of Christoph Schlingensief.