ذدà،±ل>‏ے UW‏ےےےTےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےى¥ء%` ً؟bjbj"x"x 4@@ےےےےےے¤¤¤¤¤¤¤¤ع„¢¢¢¢®^گ¶ئئئئئ،،،$Fh® V5¤،،،،،5¤¤ئئغJççç،"¤ئ¤ئç،çç¤¤çئ؛€ˆسù¬/ة¢أ ç`0گçحç¤ç(ç،،،55ف ،،،گ،،،،^^^D¢^^^¢¸جع¤¤¤¤¤¤ےےےے Geometry, Space, and the Human: Laszlo Moholy-Nagy Revisits E. T. A. Hoffmann Jennifer Low Associate Professor of English ×î´َ×تش´²ة¼¯حّ This paper examines how Laszlo Moholy-Nagy draws on foundational Bauhaus theories of bodies in space to develop sets and costume designs for a 1929 production of Offenbach’s Tales of Hoffmann. Following the model of Oskar Schlemmer’s “Triadic Ballet” and other theatrical productions, Moholy-Nagy used geometric forms to depict the body in motion. But what makes the conjunction of Hoffmann and Bauhaus so important is the tension in the designer’s treatment of the puppet and the artist. The opera is based on the stories of E. T. A. Hoffmann, which overtly manifest the Romanticist’s anxious response to the Industrial Revolution. The Bauhaus school, however, developed an anti-Romantic stand, skeptical of the uniqueness of the artist, the visitation of inspiration and, most of all, of the idea of the artist as set apart from his society and yet able to speak for it. In the opera, the body is particularly significant: in the first act, the very concept is challenged by the youthful Hoffmann’s mistaken conviction that he experiences a special affinity with the beautiful Olympia, whom he discovers, to his sorrow, is a life-sized automaton designed by amateur scientists. The real Hoffmann’s treatment of this theme in his story “The Sandman” was one of the first of many works about the puppet/automaton/robot, human images whose lifeless animation has intrigued artists, writers, and theorists—among them Kleist, Craig, Freud, and Harraway—who have theorized about the human via the figure of the automaton. In the changing treatment of Olympia from 1817 to 1880 to 1929, one can see the changing understanding of the human and its relation to the body, the body and its relation to the self. In his designs, Moholy-Nagy uses the opera’s fantasy to revisit themes that he and his Bauhaus colleagues addressed in their attempts to recast cultural perceptions in an appropriately modernist mode. O ` b Œ Uکü÷üًüéüًâh¼{حhxf&hRU h¼{حhQوh¼{ح h¼{ح6پh¼{ح Xe ،b ٌْééففصصصْdàgd¼{ح„ذdà`„ذgd¼{ح$a$gd¼{ح„ذ`„ذgd¼{حgd¼{ح ‎2گ€:pث7َ°ذ/ °à=!° "° #گ $گ %°°ذ°ذگذ†œ@`ٌے@¼{حNormalCJ_HaJmH sH tH DA@ٍے،DDefault Paragraph FontRi@َے³RTable Normalِ4ض l4ضaِ(k@ôےء(No Listےےےے Xe ،b گ$چ¬گ$چ¬گ$چ¬گ$چ¬ےگ$Yےگ$Oےگ$زب*ےگ$;-@ Xe ،b ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ ً8ً@ٌےےے€€€÷ً’ًً0ً( ً ًًB ًSً؟ثے ?ً€‹IQهxf&,7¼{حث7َے@€œM/P@ےےUnknownےےےےےےےےےےےےGگ‡z €ےTimes New Roman5گ€Symbol3&گ‡z €ےArial qˆًذh‘êاF!ƒت† 6ç6ç!ً¥ہ´´€r4dB2ƒQًP ًےےےےےےےےےےےےےےےےےےےےےےڑsي2ےےMark Scrogginsblabadie‏ےà…ںٍùOh«‘+'³ظ0|mگک¤°بشن ّ $0 <HPX`hنMark ScrogginsNormalblabadie9Microsoft Office Word@¾ï@–ëأ…ٌب@Kع¬/ة6çGlےےےےVT$m ِ5&" WMFCاث * JlىبUT#m EMF Jا$دI*U" ىبRpœےےےگ@Times New RomanGگ‡z €ےTimes ew Romanطذرegisüç3ٍ´0üç3lN¯0è3dv%TTXXƒة/‡@€‡@X²LىبP ,TT„X¯ة/‡@€‡@„²LىبP ,TT°Xغة/‡@€‡@°²LىبP ےے,TTـXة/‡@€‡@ـ²LىبP ,TTX3ة/‡@€‡@²LىبP ےے,TT4X_ ة/‡@€‡@4²LىبP ےے,TT` X‹ ة/‡@€‡@` ²LىبP ےے,TTŒ X·ة/‡@€‡@Œ ²LىبP ےے,TT¸Xنة/‡@€‡@¸²LىبP -T`„ثu</‡@€‡@„%.Lىب¨Geometry, Space, and the Human: Laszlo MoholyH,2N,#082,-,,223,H2N,2<,'-2Y2220TTvث—</‡@€‡@v%LىبP-"T–ثط</‡@€‡@ک%LىبŒNagy Revisits E. T. A. HoffmannI-30C,2''==HH2!!N,22TTظث</‡@€‡@ظ%LىبP .T”ي>‏ ¯/‡@€‡@يکLىبdJennifer Low(,22!,!;2HTT‏ >+¯/‡@€‡@‏ کLىبP .T¨e±†"/‡@€‡@e:LىبہAssociate Professor of English Florida Atlantic UniversityH''2,,,8!2!,''3!2!>21'272!2,H,2,I22,!'0TT‡±´"/‡@€‡@‡LىبP .TT„$°•/‡@€‡@„~LىبP -T,„ ‎ {/‡@€‡@„d%LىبکThis paper examines how Laszlo Moholy=2'2,2,!,3,N2,'23H<,'-2Y2220TT‏ {/‡@€‡@‏ dLىبP-!TT n{/‡@€‡@ d,Lىب¤Nagy draws on foundational Bauhaus theories H-302!,H'22!2223,22,C,22,2'2,2!,'Rpœےےےگ@Times New Roman#1 0|ث®0`1 0Gگ‡z €ےTimes ew RomanKNٍ/ 0pث®0کçجüç3ٍ´0üç3lN¯0è3dv%%TœXًHa/‡@€‡@XJ Lىبhof bodies in 2!222,'2T(Iًٌa/‡@€‡@IJOLىبىspace to develop sets and costume designs for a 1929 production of Offenbach s '2,,,22,3,22',',22,2'2N,2-'12'!2!,22222!222,222!H!",22,,3!'%T´Xض@G/‡@€‡@X0LىبpTales of Hoffmann82,'2H2H222%TTAضYG/‡@€‡@A0LىبP.TTZض†G/‡@€‡@Z0LىبP -TTX¼ƒ-/‡@€‡@XLىبP ,T(„¼2-/‡@€‡@„OLىبىFollowing the model of Oskar Schlemmer s Triadic Ballet and other theatrical 722H212,N23,2!H'2,!8,2,NN,"!',=!,2,C,,,,2222-!2-,!,,TہX¢‌ /‡@€‡@XüLىبtproductions, Moholy2!222,22'Y2220TT‍¢¾ /‡@€‡@‍üLىبP-!T¨½¢$ /‡@€‡@؟ü:LىبہNagy used geometric forms to depict the body in motion. BI-302',22,2N,!,!3!N'22,2,2,22302N222BT %¢ /‡@€‡@%üLىبhut what makes 2H2,N,2,'TŒXˆ گù /‡@€‡@Xâ `Lىبthe conjunction of Hoffmann and Bauhaus so important is the tension in the designer s treatment 2,,2222,222!H2!!O,22,22B,22,2''2N32!,2'2,,2'2222,2,'13,!!'",,N,2TXn ·ك /‡@€‡@Xب Lىبˆof the puppet and the artist. 2!2,2222,,222,,!'Tہ¸n ˆك /‡@€‡@¸ب >LىببThe opera is based on the stories of E. T. A. Hoffmann, which =2,22,!,'2,(,2222,'2!,'2!==HH3!!N,22H2,2TگXTé إ/‡@€‡@X®6Lىب¸ov&" WMFC Jertly manifest the Romanticist s anxious response to22,!0N,2!,'2,C2N,2,'!',2322'!,'222',2TDê TZإ/‡@€‡@ê ®)Lىب the Industrial Revolution. The Bauhaus 2, 222'!,C,22222=2,B,23,2'TX:ظ«/‡@€‡@X”"Lىبگschool, however, developed an anti',22222H,2,!3,2,23,2,2,2TTع:ْ«/‡@€‡@ع”LىبP-!Tبû:|«/‡@€‡@û”?LىبجRomantic stand, skeptical of the uniqueness of the artist, the C2N,2,',32'2,2,,2!2,2222-2,''2!2,,!'2,T¼X q‘ /‡@€‡@Xz hLىبvisitation of inspiration and, most of all, of the idea of the artist as set apart from his society and 2',222!2'2!,22,22N2'2!,2!2,2,,2!2,-!','',,2,!!!2N2''2,,0,22TœX7w/‡@€‡@X` Lىبhyet able to s0-,2,2'T”8ëw/‡@€‡@8`Lىبdpeak for it.2,,2!2!TTىw/‡@€‡@ى`LىبP -TTXىƒ]/‡@€‡@XFLىبP ,Tّ„ى– ]/‡@€‡@„FGLىبـIn the opera, the body is particularly significant: in the first act, 22,23,",2,2240'2,!,2,!0'12!,,222,!!',,Tؤ— ى ]/‡@€‡@— FLىبtthe very concept is 2,2-#0,32,,2'T”Xز¥C/‡@€‡@X,aLىبchallenged by the youthful Hoffmann s mistaken conviction that he experiences a special affinity ,2,,31,2402,0222"2H2!!N,22!'N',2,2,222,222,2,,32,!,2,,','3,,,,!!20TگX¸ى )/‡@€‡@X6Lىب¸with the beautiful Olympia, whom he discovers, to his H22,2,,2!2H0N3,H22N2,2',22,!'32'T´ي ¸Y )/‡@€‡@ي Lىبpsorrow, is a life'2!!2H',!,TTZ ¸z )/‡@€‡@Z LىبP-ےے!Tن{ ¸‍)/‡@€‡@{ Lىب€sized automaton designed '--2,22N,222,'13,2TˆX‍n/‡@€‡@Xّ_Lىبby amateur scientists. The real Hoffmann s treatment of this theme in his story The Sandman 30,O,,2!',,2''=2,!,,H3!!N,23!'!,,N,22!2'2,N,22''2"0,=3,8,22N,2,T\X„سُ/‡@€‡@XقXLىبüwas one of the first of many works about the puppet/automaton/robot, human images whose H,'22,2!2,!!'2!N-30H3!2',2222,2223,,22N,22!22222N,2N,2,'H22',TXjـغ/‡@€‡@XؤLىبˆlifeless animation has intrigu!,,'',2N,222,'2!12T فjزغ/‡@€‡@فؤ#Lىب”ed artists, writers, and theorists,2,!''H!,!',322,2!''TTزj7غ/‡@€‡@سؤLىبP dT7jŒغ/‡@€‡@7ؤ!Lىبگamong them Kleist, Craig, Freud, ,N2212,OH,'C!,17!,22T”XPٹء/‡@€‡@XھLىبdand Harraway,22H,"!,I.0TTٹPïء/‡@€‡@‹ھLىبP dTًïPء/‡@€‡@ïھFLىبطwho have theorized about the human via the figure of the automaton. H222,3,2,2!-,2,2222,23N,22,2,!12!,3!2,,22N,22TxPء/‡@€‡@ھLىب\In the 23,T8X6»§/‡@€‡@XگRLىبًchanging treatment of Olympia from 1817 to 188f&آ WMFC J0 to 1929, one can see the changing ,2,3131!,,N,23!H0O2,"!2N2222222222222222,,,2'-,2,,2,3131T¨Xطچ/‡@€‡@XvLىبlunderstanding o222,!',22312TLظPچ/‡@€‡@ظvULىبّf the human and its relation to the body, the body and its relation to the self. In !2,23N,2,22'!,,2222,22303,2240,22'",,2222,',! 2%€6ب6ىب6ى66ا6ëا6ë66ئ6êئ6ê66إ6éإ6é66ؤ6èؤ6è66أ6çأ6ç66آ6وآ6و66ء6هء6ه66ہ6نہ6ن6 6 ؟6م؟6م 6 6 ¾6â¾6â 6 6½6ل½6ل66¼6à¼6à6 6 »6ك»6ك 6 6؛6ق؛6ق66¹6ف¹6ف66¸6ـ¸6ـ66·6غ·6غ66¶6ع¶6ع6$-.ûًےگ@Times New Roman- 2 o_+$ ^0 2 oڈ+$ ^0 2 o؟+$ ^0 2 oï+$ ^/ 2 o+$ ^0 2 oN+$ ^0 2 o~+$ ^/ 2 o+$ ^0 2 oف+$ ^P2 پڈ.+$Geometry, Space, and the Human: Laszlo Moholy 2 پس+$-^:2 پط+$Nagy Revisits E. T. A. Hoffmann 2 پ®+$ ^2 ”k+$Jennifer Low 2 ”ہ+$ ^b2 ¦ـ:+$Associate Professor of English ×î´َ×تش´²ة¼¯حّ 2 ¦O+$ ^ 2 ¹ڈ+$ ^C2 قڈ%+$This paper examines how Laszlo Moholy 2 ق—+$-^M2 قœ,+$Nagy draws on foundational Bauhaus theories ûًےگ@Times New Roman--2 _ +$of bodies in ‚2 ®O+$space to develop sets and costume designs for a 1929 production of Offenbach’s -%2 '_+$Tales of Hoffmanni - 2 'ض+$.^ 2 'ع+$ ^ 2 L_+$ ^0‚2 LڈO+$Following the model of Oskar Schlemmer’s “Triadic Ballet” and other theatrical (2 q_+$productions, Moholy 2 qه+$-^b2 qê:+$Nagy used geometric forms to depict the body in motion. B 2 qi+$ut what makes ›2 –_`+$the conjunction of Hoffmann and Bauhaus so important is the tension in the designer’s treatment 82 »_+$of the puppet and the artist. h2 »>+$The opera is based on the stories of E. T. A. Hoffmann, which \2 à_6+$overtly manifest the Romanticist’s anxious response to I2 à¼)+$ the Industrial Revolution. The Bauhaus e >2 _"+$school, however, developed an anti 2 @+$-^j2 E?+$Romantic stand, skeptical of the uniqueness of the artist, the §2 *_h+$visitation of inspiration and, most of all, of the idea of the artist as set apart from his society and 2 O_ +$yet able to s2 O¬+$peak for it. 2 Oٌ+$ ^ 2 t_+$ ^0v2 tڈG+$In the opera, the body is particularly significant: in the first act, )2 t)+$the very concept is ‌2 ™_a+$challenged by the youthful Hoffmann’s mistaken conviction that he experiences a special affinity \2 ¾_6+$with the beautiful Olympia, whom he discovers, to his %2 ¾½+$sorrow, is a lifei 2 ¾ +$-^12 ¾%+$sized automaton designed i ڑ2 م__+$by amateur scientists. The real Hoffmann’s treatment of this theme in his story “The Sandman” ڈ2 _X+$was one of the first of many works about the puppet/automaton/robot, human images whose 82 -_+$lifeless animation has intrigu@2 -#+$ed artists, writers, and theoristsl 2 -ل+$—^=2 -ٌ!+$among them Kleist, Craig, Freud, t 2 R_+$and Harraway 2 R¹+$—^t2 RةF+$who have theorized about the human via the figure of the automaton. 2 RŒ+$In the †2 v_R+$changing treatment of Olympia from 1817 to 1880 to 1929, one can see the changing "2 ›_+$understanding o‹2 ›إU+$f the human and its relation to the body, the body and its relation to the self. In s û¼"System-$$++$$++$$++##++##**##**##**##**##**""**""**""))""))""))""))""))!!))!!((!!((‏ےصحصœ.“—+,ù®0hp”œ¤¬´¼ؤج شلن×î´َ×تش´²ة¼¯حّ'Title ‏ےےے‏ےےے !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJK‏ےےےMNOPQRS‏ےےے‎ےےےV‏ےےے‏ےےے‏ےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےRoot Entryےےےےےےےے ہFpCطù¬/ةX€1Tableےےےےےےےے WordDocumentےےےےےےےے4SummaryInformation(ےےےے¬mDocumentSummaryInformation8ےےےےےےےےےےےےLCompObjےےےےےےےےےےےےqےےےےےےےےےےےےےےےےےےےےےےےے‏ےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےے‏ے ےےےے ہFMicrosoft Office Word Document MSWordDocWord.Document.8ô9²q