DOCSLIB.ORG

THE ARTIST in TIMES of WAR Mark Visione Faculty of Arts and Social

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE ARTIST in TIMES of WAR Mark Visione Faculty of Arts and Social THE ARTIST IN TIMES OF WAR Mark Visione A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Faculty of Arts and Social Sciences Sydney College of the Arts The University of Sydney 2018 Statement This volume is presented as a record of the work undertaken for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney. Summary The works made and words written for this candidature function as an argument against war and the belief in its inevitability. While the art works support the argument, they have often also inspired it. I contend that attitudes to war must recognize and take into account the physical, cultural and emotional damage done to societies. In an Australian context, it seeks also to unshackle national identity from an exclusive militarist tradition. The written element does this, firstly, by introducing differing attitudes towards war within society: militarist, realist and pacifist. Attitudes of artists towards war are then represented by the highlighting of particular artists to suggest some common themes in the arts with regard to war. There follows a realistic reappraisal of the Australian military (particularly the First AIF) in order to suggest a reasonable attitude towards the significance of war on society rather than that currently held in Australia. The Dutch Second World War diarist Etty Hillesum is then used to exemplify the state of the civilian in war, a dimension not present in many current Australian perceptions of war. The final section deals particularly with the nature of the ANZAC Tradition within Australia. It looks at its origins in the attitudes of the colonial period and discusses its exclusive nature and narrow scope in seeing war as a drama played out by men in uniform rather than a destructive force affecting every corner of society. It points out the importance of indigenous and migrant histories of war which currently occupy so little space in our perception of nationality. Lastly, it concludes that, historically, artists have supported and still support the currently held views of national identity and its links to the ANZAC Tradition. Table of Contents Page Introduction 1 Chapter I: An Argument for Peace. 4 Chapter II: The Artist’s Response to War. 37 A. Tableaus. 37 TABLEAU 1: The Limit of Inspiration. 39 (Piero della Francesca / Max Beckmann) TABLEAU 2: Instructions for Utopia. 58 (Diego Rivera / Yoko Ono) TABLEAU 3: Histories. 76 (Gordon Bennett / Tony Albert) TABLEAU 4: Victims and Consequences. 101 (George Gittoes / Ben Quilty) B. The Soldier and the Civilian. 128 1. Dispatches. (Australian attitudes towards the military and 128 war) 2. The Civilian in War: Etty Hillesum. 201 Chapter III: The ANZAC Tradition, National Identity and 231 Multiculturalism. The ANZAC Tradition, Nationality and Exclusion. 231 A Reason for Going to War: The Anzac Tradition and 237 the Hegemon. ANZAC, Moral Distancing, Multiculturalism. 246 Conclusions. 265 Appendices. Appendix 1: Art, artist and audience: Problems and 272 Solutions. Appendix 2: Technical Notes. 281 Appendix 3: Two Poems. 291 Appendix 4: from The Iliad: The consequences of 293 Hector’s death. Appendix 5: Etty Hillesum Cycle: Quotations from: 297 The diary and letters of Etty Hillesum. Appendix 6: List of Works created as part of the PhD 311 Research. Appendix 7: Catalogue of Works Exhibited. 313 Appendix 8: List of Works Exhibited. 321 Bibliography. 323 Acknowledgments. I wish to acknowledge the support given to me by my supervisor, Colin Rhodes. I also wish to acknowledge the advice and assistance given and patience shown by Joanne Shields and James Visione. List of Illustrations Page Figure 1. Honoré Daumier, L’empire c’est la paix, 1870. 5 Gillotype on newsprint. 22.9 x 18.50 cm. National Gallery of Art, Washington D.C. Figure 2. Piero della Francesca, The Legend of the 40 True Cross Cycle, 1447-51. Fresco, San Francesco, Arezzo, Italy. Figure 3. Piero della Francesca, The Legend of the 43 True Cross Cycle, the battle against Maxentius [?], 1447-51. Fresco, San Francesco, Arezzo, Italy. Figure 4. Piero della Francesca, The Legend of the 44 True Cross Cycle, the battle against Chosroes, 1447- 51. Fresco, San Francesco, Arezzo, Italy. Figure 5. Max Beckmann [?], ____, 1915 (destroyed). 46 Fresco, Wervicq, France. https://sites.google.com/site/genealogievanelslande/03- d-16de-17de-eeuw-nrs-f-y-ca-cj/b-joos-van-elslande- berten-nr-g-ca, last viewed 28 Aug 2016. Figure 6. Max Beckmann, The Grenade, 1915. Etching 51 (state), 43.5 x 28.8 cm. Figure 7. Max Beckmann, The Grenade, 1915. Etching 51 (state), 43.5 x 28.8 cm. Figure 8. Mark Visione, Breakdown (Beckmann in 54 Wervicq) (portrait study), 2016. Drypoint (with dremel), 24.5 x 26 cm. Collection of the Artist. Figure 9. Mark Visione, Breakdown (Beckmann in 56 Wervicq), 2016. Drypoint (with dremel) and collagraph , 98 x 75 cm. Collection of the artist. Figure 10. Mark Visione, Breakdown (Beckmann in 57 Wervicq), 2016. Drypoint (with dremel) and collagraph , 98 x 75 cm. Collection of the artist. Figure 11. Diego Rivera, Indian Warrior, 1931. 65 Moveable fresco, 74.9 x 58.3 cm. MOMA, New York, USA. Figure 12. Yoko Ono, Cut Piece, 1964. Performance. 68 Figure 13. Yoko Ono, Play it by trust, 1966. 69 Sculpture/performance. Figure 14. Mark Visione, Náufragos, 2017. Collagraph, 74 chin collé, drypoint and overprinting, 98 x 76 cm. Collection of the artist. Figure 15. Gordon Bennett, Poet and Muse, 1991. Oil 80 and acrylic on canvas, 170 x 225 cm. Private collection. Photo: Richard Stringer. © The Estate of Gordon Bennett. Figure 16. Tony Albert, Yininmadyemi (Thou didst let 85 fall), 2015. Sculpture, height: 7 meters, Hyde Park, Sydney, Australia. Figure 17. Mark Visione, The Lotus Eaters, 2017. 96 Collagraph and drypoint, 80 x 168 cm. Collection of the artist. Figure 18. Mark Visione, The Lotus Eaters, 2017. 97 Collagraph and drypoint, 80 x 168 cm. Collection of the artist. Figure 19. Mark Visione, The Lotus Eaters, 2017. 98 Collagraph and drypoint, 80 x 168 cm. Collection of the artist. Figure 20. George Gittoes, Soundtrack to War, 2005. 106 DVD cover, documentary film. Figure 21. George Gittoes, Rampage, 2006. DVD 106 cover, documentary film. Figure 22. George Gittoes, Rampage, 2005. Still, 107 documentary film. Figure 23. Ben Quilty, Trooper Luke Korman, 2012. 114 Aerosol and oil on linen, 190 x 140 cm. Australian War Memorial, Canberra, Australia. Figure 24. Ben Quilty, Trooper M. after Afghanistan, 119 no. 2, 2012. Oil on linen, 170 x 180 cm. Collection of the artist. Figure 25. Mark Visione, The Betrothéd Ones, 2017. 123 Drypoint and collagraph, 152 x 98 cm. Collection of the artist. Figure 26. Ben Quilty, Dresses for Soulaf, 2016. 125 Installation. Collection of the artist [?]. Figure 27. Mark Visione, The Betrothéd Ones, 2017. 127 Drypoint and chine collé, 152 x 98 cm. Collection of the artist. Figure 28. N.g., Group of Australian soldiers of the 9th 172 Light Horse, Egypt, 1917[?]. Private collection. Figure 29. Mark Visione, The Horseman, 2015. 173 Collagraph, 50 x 50 cm. Collection of the artist. Figure 30. Mark Visione, The Endless Plain, 2015. 174 Collagraph, 50 x 50 cm. Collection of the artist. Figure 31. Egyptian, Ramses III, Hands-of-Libyan- 175 soldiers-counted-at-Medinet-Habu, 12th Century BCE. Figure 32. Mark Visione, The Bottle and the Boot, 176 2016. Collagraph, 44.5 x 35.5 cm. Collection of the artist. Figure 33. Mark Visione, Larrikin (after Giotto and Piero 177 della Francesca), 2016. Collagraph and drypoint, 35.5 x 44.5 cm. Collection of the artist. Figure 34. Mark Visione, Larrikin (after Giotto and Piero 177 della Francesca), 2016. Collagraph and drypoint, 35.5 x 44.5 cm. collection of the artist. Figure 35. Giotto Bondone, Saint John the Apostle from 178 The Lamentation of Christ, 1303-05. Fresco, Capella degli Scrovegni, Padua, Italy. Figure 36. Piero della Francesca, Battle between 178 Heraclius and Chosroes (detail), 1452-66. Fresco, San Francesco, Arezzo, Italy. Figures 37. Mark Visione. Seated Man, 2016. 179 Collagraph and etching, 49.5 x 37 cm. Collection of the artist. Figure 38. Mark Visione, The Big Dust Up I (First 181 Version), 2016. Dry point and collagraph, 98 x 75 cm. Collection of the artist. Figure 39. Mark Visione, The Big Dust Up I (Second 182 Version), 2016. Dry point and collagraph, 98 x 75 cm. Collection of the artist. Figure 40. Mark Visione, The Big Dust Up I (Third 183 Version), 2016. Dry point, collagraph and folding, 98 x 75 cm. Collection of the artist. Figure 41. Mark Visione, Self-portrait study- The Big 184 Dust Up I, 2016. Collagraph, 26 x 24.5 cm. Collection of the artist. Figure 42. Mark Visione, The Big Dust Up II (First 184 Version), 2016. Dry point and collagraph, 98 x 75 cm. Collection of the artist. Figure 43. Mark Visione, The Big Dust Up II (Third 185 Version), 2016. Dry point and collagraph, 98 x 75 cm. Collection of the artist. Figure 44. Mark Visione, Shirkers on the Beach, 1915 I, 187 2015. Collagraph, 6 x 50 x 50 cm. Collection of the artist. Figure 45. Mark Visione, Shirkers on the Beach, 1915 189 II, 2015. Collagraph with ghost print, 6 x 50 x 50 cm. Collection of the artist. Figure 46. Mark Visione, Self-portrait study for 190 ‘Shirkers,1915’, 2015. Collagraph, 24.6 x 22.5 cm. Collection of the artist. Figure 47. Mark Visione, The Cove (First Version), 191 2016. Collagraph, 50 x 50 cm. Collection of the artist. Figure 48. Mark Visione, The Cove (Second Version), 191 2016. Collagraph, 50 x 50 cm. Collection of the artist.
Load more

Recommended publications
  • Gay Marriage Opponents Closer To
    Columbia Foundation Articles and Reports July 2012 Arts and Culture ALONZO KING’S LINES BALLET $40,000 awarded in August 2010 for two new world-premiere ballets, a collaboration with architect Christopher Haas (Triangle of the Squinches) and a new work set to Sephardic music (Resin) 1. Isadora Duncan Dance Awards, March 27, 2012 2012 Isadora Duncan Dance Award Winners Announced Christopher Haas wins a 2012 Isadora Duncan Dance Award for Outstanding Achievement in Visual Design for his set design for Triangle of the Squinches. Alonzo King’s LINES Ballet wins two other Isadora Duncan Dance Awards for the production Sheherazade. ASIAN ART MUSEUM $255,000 awarded since 2003, including $50,000 in July 2011 for Phantoms of Asia, the first major exhibition of Asian contemporary art from May 18 to September 2, 2012, which explores the question “What is Asia?” through the lens of supernatural, non-material, and spiritual sensibilities in art of the Asian region 2. San Francisco Chronicle, May 13, 2012 Asian Art Museum's 'Phantoms of Asia' connects Phantoms of Asia features over 60 pieces of contemporary art playing off and connecting with the Asian Art Museum's prized historical objects. According to the writer, Phantoms of Asia, the museum’s first large-scale exhibition of contemporary art is an “an expansive and ambitious show.” Allison Harding, the Asian Art Museum's assistant curator of contemporary art says, “We're trying to create a dialogue between art of the past and art of the present, and look at the way in which artists today are exploring many of the same concerns of artists throughout time.
    [Show full text]
  • RUSI of NSW Article
    Jump TO Article The article on the pages below is reprinted by permission from United Service (the journal of the Royal United Services Institute of New South Wales), which seeks to inform the defence and security debate in Australia and to bring an Australian perspective to that debate internationally. The Royal United Services Institute of New South Wales (RUSI NSW) has been promoting informed debate on defence and security issues since 1888. To receive quarterly copies of United Service and to obtain other significant benefits of RUSI NSW membership, please see our online Membership page: www.rusinsw.org.au/Membership Jump TO Article USI Vol60 No1 Mar09 19/2/09 2:23 PM Page 9 BIOGRAPHY Trooper Mark Gregor Strang Donaldson, VC Special Air Service Regiment 8248070 Trooper Mark Gregor Strang Donaldson has been awarded the Victoria Cross for Australia for most conspicuous acts of gallantry in action in a circumstance of great peril in Afghanistan as part of the Special Operations Task Group during Operation SLIPPER, Oruzgan Province, Afghanistan. Mark Donaldson was born in Waratah, Newcastle, New South Wales, on 2 April 1979. He spent his formative years in northern New South Wales where he graduated from high school in 1996. He enlisted in the Australian Army on 18 June 2002 and undertook recruit training at the Army Recruit Training Centre, Kapooka, New South Wales. He demonstrated an early aptitude for soldiering and was awarded the prizes for best shot and best at physical training in his platoon. Subsequently, he was allocated to the Royal Australian Infantry Corps and posted to the School of Infantry at Singleton, New South Wales, where he excelled in his initial employment training.
    [Show full text]
  • April's Fools
    APRIL'S FOOLS ' A LOOK AT WHAT IS REAL f ( i ON IN. TOWN NEWS VIEWS . REVIEWS PREVIEWS CALENDARS MORMON UPDATE SONIC YOUTH -"'DEOS CARTOONS A LOOK AT MARCH frlday, april5 $7 NOMEANSNO, vlcnms FAMILYI POWERSLAVI saturday, april 6 $5 an 1 1 piece ska bcnd from cdlfomb SPECKS witb SWlM HERSCHEL SWIM & sunday,aprll7 $5 from washln on d.c. m JAWBO%, THE STENCH wednesday, aprl10 KRWTOR, BLITZPEER, MMGOTH tMets $10raunch, hemmetal shoD I SUNDAY. APRIL 7 I INgTtD, REALITY, S- saturday. aprll $5 -1 - from bs aqdes, califomla HARUM SCAIUM, MAG&EADS,;~ monday. aprlll5 free 4-8. MAtERldl ISSUE, IDAHO SYNDROME wedn apri 17 $5 DO^ MEAN MAYBE, SPOT fiday. am 19 $4 STILL UFEI ALCOHOL DEATH saturday, april20 $4 SHADOWPLAY gooah TBA mday, 26 Ih. rlrdwuhr tour from a land N~AWDEATH, ~O~LESH;NOCTURNUS tickets $10 heavy metal shop, raunch MATERIAL ISSUE I -PRIL 15 I comina in mayP8 TFL, TREE PEOPLE, SLaM SUZANNE, ALL, UFT INSANE WARLOCK PINCHERS, MORE MONDAY, APRIL 29 I DEAR DICKHEADS k My fellow Americans, though:~eopledo jump around and just as innowtiwe, do your thing let and CLIJG ~~t of a to NW slam like they're at a punk show. otherf do theirs, you sounded almost as ENTEIWAINMENT man for hispoeitivereviewof SWIM Unfortunately in Utah, people seem kd as L.L. "Cwl Guy" Smith. If you. GUIIBE ANIB HERSCHELSWIMsdebutecassette. to think that if the music is fast, you are that serious, I imagine we will see I'mnotamemberofthebancljustan have to slam, but we're doing our you and your clan at The Specks on IMVIEW avid ska fan, and it's nice to know best to teach the kids to skank cor- Sahcr+nightgiwingskrmkin'Jessom.
    [Show full text]
  • The Female Art of War: to What Extent Did the Female Artists of the First World War Con- Tribute to a Change in the Position of Women in Society
    University of Bristol Department of History of Art Best undergraduate dissertations of 2015 Grace Devlin The Female Art of War: To what extent did the female artists of the First World War con- tribute to a change in the position of women in society The Department of History of Art at the University of Bristol is commit- ted to the advancement of historical knowledge and understanding, and to research of the highest order. We believe that our undergraduates are part of that endeavour. For several years, the Department has published the best of the annual dis- sertations produced by the final year undergraduates in recognition of the excellent research work being undertaken by our students. This was one of the best of this year’s final year undergraduate disserta- tions. Please note: this dissertation is published in the state it was submitted for examination. Thus the author has not been able to correct errors and/or departures from departmental guidelines for the presentation of dissertations (e.g. in the formatting of its footnotes and bibliography). © The author, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means without the prior permission in writing of the author, or as expressly permitted by law. All citations of this work must be properly acknowledged. Candidate Number 53468 THE FEMALE ART OF THE FIRST WORLD WAR 1914-1918 To what extent did the female artists of the First World War contribute to a change in the position of women in society? Dissertation submitted for the Degree of B.A.
    [Show full text]
  • ANNUAL NEWSLETTER 2020 CONTENTS SAS NETWORK About the Fund
    ANNUAL NEWSLETTER 2020 CONTENTS SAS NETWORK About the Fund .................................................................................... 2 Chairman’s Report ............................................................................... 4 Trustees ................................................................................................ 6 Patron ................................................................................................... 7 Chief Operating Officer’s Report ........................................................ 8 Dinner Committee ............................................................................... 9 Treasurer’s Report ............................................................................... 10 The Hon Peter Blaxell by Dr Grant Walsh ............................................ 12 My Journey with the SAS Resources Trust by the Hon Peter Blaxell... 13 Educational Opportunities ................................................................... 16 Beneficiary Reflections ........................................................................ 19 Our Events ............................................................................................ 20 Event Sponsors 2019-2020 .................................................................. 23 Supporters 2019-2020 ......................................................................... 24 The Year in Review ............................................................................... 26 ABOUT THE SAS RESOURCES FUND The Special Air Service
    [Show full text]
  • The Three Phases of Arendt's Theory of Totalitarianism*
    The Three Phases of Arendt's Theory of Totalitarianism* X~1ANNAH Arendt's The Origins of Totalitarianism, first published in 1951, is a bewilderingly wide-ranging work, a book about much more than just totalitarianism and its immediate origins.' In fact, it is not really about those immediate origins at all. The book's peculiar organization creates a certain ambiguity regarding its intended subject-matter and scope.^ The first part, "Anti- semitism," tells the story of tbe rise of modern, secular anti-Semi- tism (as distinct from what the author calls "religious Jew-hatred") up to the turn of the twentieth century, and ends with the Drey- fus affair in Erance—a "dress rehearsal," in Arendt's words, for things still worse to come (10). The second part, "Imperialism," surveys an assortment of pathologies in the world politics of the late nineteenth and early twentieth centuries, leading to (but not direcdy involving) the Eirst World War. This part of the book examines the European powers' rapacious expansionist policies in Africa and Asia—in which overseas investment became the pre- text for raw, openly racist exploitation—and the concomitant emergence in Central and Eastern Europe of "tribalist" ethnic movements whose (failed) ambition was the replication of those *Earlier versions of this essay were presented at the University of Virginia and at the conference commemorating the fiftieth anniversary of The Origins of Toudilarianism hosted by the Hannah Arendt-Zentrum at Carl Ossietzky University in Oldenburg, Ger- many. I am grateful to Joshua Dienstag and Antonia Gnmenberg. respectively, for arrang- ing these (wo occasions, and also to the inembers of the audience at each—especially Lawrie Balfour, Wolfgang Heuer, George KJosko, Allan Megili, Alfons Sollner, and Zoltan Szankay—for their helpful commeiiLs and criticisms.
    [Show full text]
  • Their Lived Experience in the Pediatric Intensive Care Unit Andrea Prentiss Baptist Hospital of Miami, [email protected]
    Baptist Health South Florida Scholarly Commons @ Baptist Health South Florida All Publications 2014 Hearing the Child's Voice: Their Lived Experience in the Pediatric Intensive Care Unit Andrea Prentiss Baptist Hospital of Miami, [email protected] Follow this and additional works at: https://scholarlycommons.baptisthealth.net/se-all-publications Part of the Critical Care Nursing Commons, Maternal, Child Health and Neonatal Nursing Commons, and the Pediatrics Commons Citation Prentiss, Andrea, "Hearing the Child's Voice: Their Lived Experience in the Pediatric Intensive Care Unit" (2014). All Publications. 649. https://scholarlycommons.baptisthealth.net/se-all-publications/649 This Article -- Open Access is brought to you for free and open access by Scholarly Commons @ Baptist Health South Florida. It has been accepted for inclusion in All Publications by an authorized administrator of Scholarly Commons @ Baptist Health South Florida. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida HEARING THE CHILD’S VOICE: THEIR LIVED EXPERIENCE IN THE PEDIATRIC INTENSIVE CARE UNIT A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in NURSING by Andrea S. Prentiss 2014 To: Dean Ora Lea Strickland Nicole Wertheim College of Nursing & Health Sciences This dissertation, written by Andrea S. Prentiss entitled Hearing the Child’s Voice: Their Lived Experience in the Pediatric Intensive Care Unit, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. _______________________________________ Dionne Stephens _______________________________________ Jean Hannan _______________________________________ Dorothy Brooten _______________________________________ JoAnne Youngblut, Major Professor Date of Defense: November 12, 2014 The dissertation of Andrea S.
    [Show full text]
  • June 27, 1914 -3- T'ne Central Government for Everything That
    June 27, 1914 -3- t'ne Central Government for everything that happens here. Therefore it w ill only he my official duty to send a. cable concerning your departure as soon as you set your feet on the steamer.* I was familiar with the fortuitous way of Oriental expressions, so I saw that this was a polite way of saying: "We w ill not let you go!" Hence I deferred it to a more opportune time. - By the narration of this story, I mean that whenever I give permission to the Pilgrims to depart for their respective coun­ tries, 1 mean this: Go forth arid diffuse the Fragrances of Brotherhood and spiritual relationship. Of course it is an undeniable truth that one second in this radiant spot is equal to one thousand years; but it is also equally true that., one second spent in teaching the Cause of God i s g r ea t ér than one thousand years .. Whosoever arises to teach the ~ Cause of God, k ills nine birds with one stone. First: Proclamation of the Glad-tidings of the Kingdom of-.Ahha. Second: Service to the Thres­ hold of the Almighty, Third: His spiritual presence in this Court . Fourth: His perfection under the shade of the Standard of Truth. Fifth: The descent of the Bestovfals of God upon him. Sixth: Bringing still nearer the age of fraternity and the dawn of Millenium. Seventh:Winning the divine approval of the Supreme Concourse . Eighth: The spiritual il­ lumination of the hearts of humanity. Ninth: The education of the chil­ dren of the race in the moral precepts of Baha’o’llah - -Spiritual presence does not depend upon the presence in body or absence from this Holy Land.
    [Show full text]
  • George Gittoes: I Witness Teachers' Notes
    GEORGE GITTOES: I WITNESS TEACHERS’ NOTES George Gittoes, Evolution 2014, oil on paper INTRODUCTION “I believe in art so much that I am prepared to risk my life to do it. I physically go to these places. I also believe an artist can actually see and show things about what's going on that a paid professional journalist can't and won't do, and can show a level of humanity and complexity that they wouldn't cover on TV.” - George Gittoes George Gittoes: I Witness is the first major exhibition in Australia of the work of artist and film maker George Gittoes which surveys the last 45 years of his incredible career. Internationally recognised for working and creating art in regions of conflict around the world he has been an eye witness to war and human excess, and also to the possibilities of compassion. Beginning his career in the late 1960s, Gittoes was part of a group of artists including Brett Whiteley and Martin Sharp who established The Yellow House artist community in Sydney. This was followed by his move to Bundeena in the Sutherland region where he became an influential and instrument figure in community art projects and the development of Hazelhurst Regional Gallery and Arts Centre. In the 1980s Gittoes began travelling to areas of conflict and his tireless energy for pushing the boundaries of art making has since seen him working in some of the most dangerous and difficult places on earth. He first travelled to Nicaragua and the Philippines, then the Middle East, Rwanda and Cambodia in the 1990s and more recently to Iraq and Afghanistan.
    [Show full text]
  • 2011-11-25 1. När Det Är Spelning På Nuclear Nation Brukar Det Komma
    Nuclear Nation Quiz - 2011-11-25 1. När det är spelning på Nuclear Nation brukar det komma mycket folk. Det gör det ibland även annars och då kan det bli långa köer som ringlar sig runt Linköping. Under tidigt 2000-tal kunde NN- besökare vid ett festtillfälle slippa kötristeseen och gå direkt in på festen förutsatt att de uppfyllde ett krav. Vad skulle två NN-besökare göra för att få gå före i kön? A: Bära likadana kläder B: Kunna texten till Headhunter utantill och sjunga den tvåstämmigt C: Vara fastkedjade i varandra 2. Ni befinner er just nu på synthquiz med den anrika synthföreningen Nuclear Nation, men det var inte helt självklart att vi skulle heta just så. Vilket annat namn fanns som förslag? A: Eclipse B: Solaris C: SUN 3. Apoptygma Berzerk gjorde 98 en spelning i Leipzig från vilken i alla fall en liten del kom med på skivan APBL98. Trots att bandet körde på som hårdast med en Depeche-cover som folk verkade uppskatta, så fick spelningen ett snöpligt slut. Men vad hände? A: Det utbröt en mindre en brand i ljudteknikerbåset pga. underdimensionerade elkablar. B: Spelningen råkade äga rum samma kväll som kraftverket Holzkohle fallerade, vilket ledde till Leipzigs hittills största elavbrott. C: Trots att Apoptygma ville köra en låt till, så stängde polisen ner konserten i förtid. 4. En inställd spelning är också en spelning brukar man säga och ett band som skulle ha spelat på NN för ett antal år sedan, men som tyvärr fick ställa in p.g.a. sjukdom var... ja, vilket band då? A: Covenant B: VNV Nation C: Tyskarna från Lund 5: Ett band som dock har spelat på NN är LOWE.
    [Show full text]
  • Download File
    Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Anita Tárnai All rights reserved ABSTRACT Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai From 1914 to 1940 Russia lived through a series of traumatic events: World War I, the Bolshevik revolution, the Civil War, famine, and the Bolshevik and subsequently Stalinist terror. These events precipitated and facilitated a complete breakdown of the status quo associated with the tsarist regime and led to the emergence and eventual pervasive presence of a culture of violence propagated by the Bolshevik regime. This dissertation explores how the ongoing exposure to trauma impaired ordinary perception and everyday language use, which, in turn, informed literary language use in the writings of Viktor Shklovsky, the prominent Formalist theoretician, and of the avant-garde writer, Daniil Kharms. While trauma studies usually focus on the reconstructive and redeeming features of trauma narratives, I invite readers to explore the structural features of literary language and how these features parallel mechanisms of cognitive processing, established by medical research, that take place in the mind affected by traumatic encounters. Central to my analysis are Shklovsky’s memoir A Sentimental Journey and his early articles on the theory of prose “Art as Device” and “The Relationship between Devices of Plot Construction and General Devices of Style” and Daniil Karms’s theoretical writings on the concepts of “nothingness,” “circle,” and “zero,” and his prose work written in the 1930s.
    [Show full text]
  • A Combat Artist in World War II
    University of Kentucky UKnowledge Military History History 1987 A Combat Artist in World War II Edward Reep East Carolina University Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Reep, Edward, "A Combat Artist in World War II" (1987). Military History. 13. https://uknowledge.uky.edu/upk_military_history/13 A Combat Artist in World War II A Combat tist THE UNIVERSITY PRESS OF KENTUCKY in World War II EDWARDREEP Publication of this book has been assisted by a grant from East Carolina University. Title page spread: "Orderly Room at Anzio," Edward Reep, 1944. Copyright© 1987 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial and Sales Offices: Lexington, Kentucky 40506-0024 Library of Congress Cataloging-in-Publication Data Reep, Edward, 1918- A combat artist in World War II. Includes index. l. Reep, Edward, 1918- . 2. Artists-United States-Biography. 3. World War, 1939-1945-Personal narratives, American. 4. World War, 1939-1945-Art and the war.
    [Show full text]