Zum nächstmöglichen Zeitpunkt suche ich eine verlässliche und engagierte studentische Hilfskraft.
Die Arbeitszeit beträgt ca. 8 Std./Woche bei weitgehend freier und flexibler Zeiteinteilung.
Tätigkeiten u.a.:
- Recherchen
- Korrektur- und Redaktionsarbeiten
- Unterstützung bei Veranstaltungen
Bitte schicken Sie bis zum 15.6.2026 ein kurzes Anschreiben und tabellarischen Lebenslauf (in einem PDF) mit dem Betreff "Hilfskraft"
an:
Prof. Dr. Burcu Dogramaci
Filmvorführung
Mittwoch, 20. Mai 2026
20 Uhr (Türen öffnen um 19:45 Uhr)
Die Filmvorführung findet im Theatiner Kino statt.
Theatinerstr. 32
80333 München
We are happy to announce some new events organized by EUGLOH, the European University Alliance for Global Health, which brings together nine universities from across Europe.
Don’t miss your chance to take part in these exciting events!
EUGLOH LIVING LAB - DIGITAL AND INFORMATIONAL SKILLS 2026
6TH ANNUAL SYMGLOH SYMPOSIUM ON GLOBAL HEALTH RESEARCH
AI IN EDUCATION — BETWEEN THE PROMISE AND THE REALITY
HEALTHY URBAN LIVING IN THE CONTEXT OF CHANGING ENVIRONMENTAL CONDITIONS
… AND MANY MORE!
For more activities, details on the programme and registration please visit our website: https://www.eugloh.eu/courses-trainings/
The Netherlandish Carved Altarpiece in the Church of St. Reinoldi in Dortmund and the Rise of an Artistic Medium.
Ethan Matt Kavaler, University of Toronto
The carved and painted altarpieces from the Netherlands were among the most desired art objects of the late Middle Ages. Although these arose no earlier than the final decades of the fourteenth century, they soon became must-have acquisitions for churches and chapels throughout Europe. I focus on the Flemish altarpiece of about 1415 in the St. Reinoldi Church in Dortmund, its original location. In its affective gestures, its mimetic portrayal of different materials, its illusion of depth, and its sophisticated microarchitecture, it established conventions that would later be adopted by sculptors and painters of the middle of the fifteenth century like Rogier van der Weyden. Significantly this work was produced in Bruges rather than Brussels, a subsequent site of much altarpiece creation. Although the Reinoldi altarpiece has often been linked to the refined court art of Paris, its painting is more closely related to that of the Lower Rhine and Westphalia. This should not be surprising, since Bruges and Dortmund were both hubs on the Hanseatic trade route.
