Nic Leonhardt – författare

Theatre Across Oceans: Mediators Of Transatlantic Exchange allows the reader to enter and understand the infrastructural 'backstage area' of global cultural mobility during the years between 1890 and 1925. Located within the research fields of global history and theory, the geographical focus of the book is a transatlantic one, based on the active exchange in this phase between North and South America and Europe. Emanating from a rich body of archival material, the study argues that this exchange was essentially facilitated and controlled by professional theatrical mediators (agents, brokers), who have not been sufficiently researched within theatre or historical studies. The low visibility of mediators in the scientific research is in diametrical contrast to the enormous power that they possessed in the period dealt with in this book.

Theatre Across Oceans: Mediators Of Transatlantic Exchange allows the reader to enter and understand the infrastructural ''backstage area'' of global cultural mobility during the years between 1890 and 1925. Located within the research fields of global history and theory, the geographical focus of the book is a transatlantic one, based on the active exchange in this phase between North and South America and Europe. Emanating from a rich body of archival material, the study argues that this exchange was essentially facilitated and controlled by professional theatrical mediators (agents, brokers), who have not been sufficiently researched within theatre or historical studies. The low visibility of mediators in the scientific research is in diametrical contrast to the enormous power that they possessed in the period dealt with in this book. 

Theatre Across Oceans: Mediators Of Transatlantic Exchange allows the reader to enter and understand the infrastructural 'backstage area' of global cultural mobility during the years between 1890 and 1925. Located within the research fields of global history and theory, the geographical focus of the book is a transatlantic one, based on the active exchange in this phase between North and South America and Europe. Emanating from a rich body of archival material, the study argues that this exchange was essentially facilitated and controlled by professional theatrical mediators (agents, brokers), who have not been sufficiently researched within theatre or historical studies. The low visibility of mediators in the scientific research is in diametrical contrast to the enormous power that they possessed in the period dealt with in this book.

Sei es Artistik, Oper, Tanz, Schauspiel, Musical, Comedy oder Drama: die internationale Theaterszene im späten 19. und frühen 20. Jahrhundert wurde stark durch professionelle, international tätige Vermittler (Agenten, Broker) gesteuert. Dieser Band betritt die infrastrukturellen »Hinterbühnen« globaler kultureller Mobilität im Zeitraum von 1890 bis 1925. Diskursiv verortet sich die Studie im Forschungsfeld der Globalgeschichte und -theorie. Der gewählte geographische Fokus ist ein transatlantischer, begründet durch den regen Austausch zwischen Europa und Nord- sowie Südamerika. Die enorme Handlungsmacht der Vermittler im fokussierten Zeitraum wurde bisher kaum wissenschaftlich erforscht. Am Beispiel ausgewählter Agentinnen und Agenten erörtert die Autorin Professionalisierung und Praktiken künstlerischer transatlantischer Vermittlung.Artistic performances, opera, dance, acting, musical, comedy or drama: the international theatre scene in the late 19th and early 20th century was strongly controlled by professional and international operating agents and brokers. This volume focuses on the infrastructural "backstages" of global cultural mobility from 1890 to 1925. From a discoursive perspective the study is located in the study field of global history and theory. Due to the strong exchange between Europe and North and South America a transatlantic geographical focus has been selected. The enormous power of the agents during this time has merely been analysed yet. The author explains professionalisation and methods of artistic transatlantic agencies from the example of selected agents.

Is there one visual culture or are there multiple visual cultures? On the one hand, it is obvious that images do not exist and cannot be understood independently. Rather, they are embedded in institutions and cultural contexts. This common ground suggests an understanding of visual culture as a singular phenomenon. On the other hand the plurality of pictorial representations - from Sitcoms to illustrations in childrens'' books, from cartoons to satellite photos, from high art to everyday life - suggests the conception of visual culture as a singular phenomenon to be misleading. The visual world is a field of conflict and tension between self and other, mainstream and counterculture.The articles in this book include both theoretical reflections on the dialectics of visual culture(s) as well as case studies. The focus lies on examples from the U.S. American context - from the focusing on Native Americans as the ''Vanishing Race'' in the 19th-century Photography to the TV coverage of the Columbia Space Shuttle Disaster in February, 2003. This book is therefore highly recommendable to both students and scholars of American Studies als well as those interested in the interdisciplinary debate on visual culture(s).

Sog, Schwindel und Staunen bezeugen Betrachter stereoskopischer Bilder. Sie erfahren das zweidimensionale Bild als plastisches, changieren zwischen mentalen und physischen Räumen. Die Funktionsweise der Stereoskopie ist denkbar einfach und doch effektvoll: Beim Anschauen in einem Stereoskop verschmelzen zweidimensionale Doppelaufnahmen desselben Motivs zu einem dreidimensional wirkenden Einzelbild. Entwickelt aus naturwissenschaftlichen Erkenntnissen über binokulares Raumsehen wird die Stereoskopie ab der Mitte des 19. Jahrhunderts bis ins frühe 20. Jahrhundert weltweit zu einem populären Medium der Unterhaltung, Unterweisung und Dokumentation: Der plastische Effekt und die damit verbundene, von Zeitzeugen attestierte ''Realitätstreue'' machen Stereobilder und -serien geeignet für virtuelle Reisen, Bildende Kunst, naturwissenschaftliche Forschung, Sach- und Länderkunde, einen imaginären Theaterbesuch oder die (sehr private) Ansicht pornografischer Bilder.Durch Blicke im Bild beleuchtet anhand zahlreicher Abbildungen aus der fokussierten Zeit spanne (1840–1930) die technischen, ökonomischen, populär- und visuellkulturellen Facetten und Anwendungsbereiche der Stereofotografie als ein Medium, das zeitgleich mit der Fotografie floriert und vor der Erfindung des Films durch Dreidimensionalität und Serialität Bewegung im Bild suggeriert – bislang aber von der Medien- und Kulturgeschichtsschreibung ausgeklammert wurde. Die Studie ist damit eine wesentliche historiographische Ergänzung zur Forschung über zeitgenössische 3D-Filme.