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UvA-DARE (Digital Academic Repository) Mensen, macht en mentaliteiten achter prikkeldraad: een historisch- sociologische studie van concentratiekamp Vught (1943-1944) Meeuwenoord, A.M.B. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Meeuwenoord, A. M. B. (2011). Mensen, macht en mentaliteiten achter prikkeldraad: een historisch-sociologische studie van concentratiekamp Vught (1943-1944). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Mensen, macht en mentaliteiten achter prikkeldraad Een historisch-sociologische studie van concentratiekamp Vught (1943-1944) Marieke Meeuwenoord 1 Mensen, macht en mentaliteiten achter prikkeldraad 2 Mensen, macht en mentaliteiten achter prikkeldraad Een historisch-sociologische studie van concentratiekamp Vught (1943-1944) ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. -
Jahresbericht !"#$
JAHRESBERICHT !"#$ 3 Inhalt 4 Vorstellung der Organisation 41 Engagement für Vielfalt und gegen Ausgrenzung 6 Rückblick 44 Internationale Bildungsarbeit 12 Ausblick 48 Ö"entlichkeitsarbeit 15 Freiwilligendienste 51 Ehrenamt 30 Highlights 54 Kirche und Gesellscha# 31 Symbol der Anerkennung: Die Freiwillige Annemarie Niemann begleitet Bundes- 57 Finanzen präsidenten beim Oradour-Besuch 34 Tschechien-Jubiläum: Lebendige 64 Danksagung Geschichte – Erinnern in der zweiten und dritten Generation 68 Organigramm 36 Familienbiogra!sche Überlegungen einer Belgien-Freiwilligen anlässlich 70 Impressum des Jubiläums 39 Sommerlager-Impression: Stumme Zeugen am Wegesrand 5 Man kann es einfach tun Die Auseinandersetzung mit dem Nationalsozialismus und seinen Verbrechen ist für Aktion Sühnezeichen Friedensdienste Motiv und Verpflichtung für konkretes Handeln in der Gegenwart. Aktion Sühnezeichen Friedensdienste steht in der mende an. In den Sommerlagern leben, lernen und Tradition der Bekennenden Kirche und trägt seit arbeiten internationale Gruppen für zwei bis drei 1958 im Rahmen von kurz- und langfristigen Frei- Wochen in unterschiedlichen Projekten. willigendiensten zu Frieden und Verständigung bei, setzt sich für Menschenrechte ein und sensibilisiert Aktion Sühnezeichen Friedensdienste sensibi- die Gesellscha# für die Auswirkungen der natio- lisiert für die heutigen Folgen des Nationalsozialis- nalsozialistischen Geschichte. Jährlich leisten rund mus und tritt aktuellen Formen von Antisemitismus, 180 Freiwillige in 13 Ländern ihren Friedensdienst. Rassismus und Ausgrenzung von Minderheiten ent- Sie begleiten ältere Menschen beispielsweise in jü- gegen. Gemeinsam mit deutschen und internatio- dischen Institutionen und Organisationen für Schoa- nalen Partner_innen engagiert sich Aktion Sühne- Überlebende, sie unterstützen sozial Benachteiligte zeichen Friedensdienste für die Entschädigung von sowie Menschen mit psychischen oder physischen Verfolgten des Nationalsozialmus und für die Rechte Beeinträchtigungen und sie engagieren sich in an- von Minderheiten. -
Contemporary Art Market 2011/2012 Le Rapport Annuel Artprice Le Marché De L'art Contemporain the Artprice Annual Report
CONTEMPORARY ART MARKET 2011/2012 LE RAPPORT ANNUEL ARTPRICE LE MARCHÉ DE L'ART CONTEMPORAIN THE ARTPRICE ANNUAL REPORT LES DERNIÈRES TENDANCES - THE LATEST TRENDS / L’ÉLITE DE L’A RT - THE ART ELITE / ART URBAIN : LA RELÈVE - URBAN ART: THE NEXT GENERATION / TOP 500 DES ARTISTES ACTUELS LES PLUS COTÉS - THE TOP-SELLING 500 ARTISTS WORLDWIDE CONTEMPORARY ART MARKET 2011/2012 LE RAPPORT ANNUEL ARTPRICE LE MARCHÉ DE L'ART CONTEMPORAIN THE ARTPRICE ANNUAL REPORT SOMMAIRE SUMMARY THE CONTEMPORARY ART MARKET 2011/2012 Foreword . page 9 THE LATEST TRENDS How well did Contemporary art sell this year? . page 11 Relative global market shares : Asia/Europe/USA . page 12 Competition between Beijing and Hong Kong . page 14 Europe offers both quantity and quality . page 15 Top 10 auction results in Europe . page 16 France: a counter-productive market . page 17 Paris - New York . page 19 Paris-London . .. page 20 Paris-Cannes . page 21 THE ART ELITE The year’s records: stepping up by the millions . page 25 China: a crowded elite . page 26 New records in painting: Top 3 . page 28 The Basquiat myth . page 28 Glenn Brown, art about art . page 29 Christopher Wool revolutionises abstract painting . page 30 New records in photography . page 31 Jeff Wall: genealogy of a record . page 32 Polemical works promoted as emblems . .. page 34 New records in sculpture & installation . page 36 Cady Noland: € 4 .2 m for Oozewald . page 36 Antony Gormley: new top price for Angel of the North at £ 3 4. m . .. page 36 Peter Norton’s records on 8 and 9 November 2011 . -
6. DV-BEG.Pdf
Ein Service des Bundesministeriums der Justiz und für Verbraucherschutz sowie des Bundesamts für Justiz ‒ www.gesetze-im-internet.de Sechste Verordnung zur Durchführung des Bundesentschädigungsgesetzes (6. DV-BEG) 6. DV-BEG Ausfertigungsdatum: 23.02.1967 Vollzitat: "Sechste Verordnung zur Durchführung des Bundesentschädigungsgesetzes vom 23. Februar 1967 (BGBl. I S. 233), die zuletzt durch § 1 der Verordnung vom 24. November 1982 (BGBl. I S. 1571) geändert worden ist" Stand: Zuletzt geändert durch § 1 V v. 24.11.1982 I 1571 Fußnote (+++ Textnachweis Geltung ab: 18.9.1965 +++) Eingangsformel Auf Grund des § 42 Abs. 2 des Bundesentschädigungsgesetzes in der Fassung des Gesetzes vom 29. Juni 1956 (Bundesgesetzbl. I S. 559, 562), zuletzt geändert durch das Gesetz vom 14. September 1965 (Bundesgesetzbl. I S. 1315), verordnet die Bundesregierung mit Zustimmung des Bundesrates: § 1 Als Konzentrationslager im Sinne des § 31 Abs. 2 BEG sind die in der Anlage aufgeführten Haftstätten anzusehen. § 2 (1) Soweit in der Anlage für einzelne Haftstätten bestimmte Zeiträume angegeben sind, gelten diese Haftstätten nur für die angegebenen Zeiträume als Konzentrationslager im Sinne des § 31 Abs. 2 BEG. (2) Die übrigen in der Anlage aufgeführten Haftstätten sind für den Zeitraum als Konzentrationslager im Sinne des § 31 Abs. 2 BEG anzusehen, während dem sie als geschlossene Lager in der Verwaltungsform eines Konzentrationslagers bestanden haben. Dies gilt insbesondere für die Zeiträume, in denen die Haftstätten dem Inspekteur der Konzentrationslager im SS-Hauptamt oder dem SS-Wirtschaftsverwaltungshauptamt, Amtsgruppe D, unterstanden haben. (3) Soweit in der Anlage für einzelne Haftstätten keine bestimmten Zeiträume angegeben sind, wird vermutet, daß diese Haftstätten am 1. November 1943 bestanden haben und von diesem Zeitpunkt an Konzentrationslager im Sinne des § 31 Abs. -
Antwerp Art Weekend for the Third Time, Art Venues in and Around Antwerp Are Putting Their Hands Together to Celebrate Contem
Antwerp Art Weekend For the third time, art venues in and around Antwerp are putting their hands together to celebrate contem- porary art. Experience the city and its flourishing art scene with over 60 galleries, art spaces, temporary exhibitions and museums during this intense, three day, citywide manifestation. General opening hours: Note: some museums and spaces keep 19 May, Fri 12h − 22h and 20− 21 May, Sa/Su 12h− 18h to their regular opening hours and entrance fees. 1 DE Studio functions as a central location for the Antwerp Art Weekend, hosting exhibitions, talks and the Nacht van de Beeldende Kunst or the Night of the Visual Arts. WAYS OF TELLING Vandaele, Liese Vanhove, Sine Van Menxel and Ken Verhoeven. Inspired by Lis Rhodes ground-breaking 1978 film Light Reading, The party itself is hosted by TRAP, which is a tiny event space in this exhibition brings together moving image works from the LUX central Antwerp with an infinite capacity for all manners of art and collection that engage with storytelling and narrative in complex, music. It is operated, programmed and scrubbed clean by Roman often mysterious ways. Words are seen and heard, uncoded, un- Hiele, Allon Kaye, and Milan Warmoeskerken. done and questioned. Rebelling against the entrapment of lan- TRAP invites musicians Rashad Becker (DE) and Das Ding (NL) to guage, these films invite a constant re-evaluation of what and how perform and TRAP’s DJ’s will be playing all night long. The Night of we see and hear. With works by Beatrice Gibson, Laida Lertxundi, the Visual Arts takes place on Saturday, May 21 and starts at 9pm. -
Jean Améry and Wolfgang Hildesheimer: Ressentiments, Melancholia, and the West German Public Sphere in the 1960S and 1970S
JEAN AMÉRY AND WOLFGANG HILDESHEIMER: RESSENTIMENTS, MELANCHOLIA, AND THE WEST GERMAN PUBLIC SPHERE IN THE 1960S AND 1970S A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Melanie Steiner Sherwood January 2011 © 2011 Melanie Steiner Sherwood JEAN AMÉRY AND WOLFGANG HILDESHEIMER: RESSENTIMENTS, MELANCHOLIA, AND THE WEST GERMAN PUBLIC SPHERE IN THE 1960S AND 1970S Melanie Steiner Sherwood, Ph. D. Cornell University 2011 The dissertation revisits the West German literary scene of the 1960s and 1970s to investigate how two of its Jewish participants, Jean Améry and Wolfgang Hildesheimer, sought to promote ethical responses to the Holocaust. The study incorporates literary analysis and socio-political reflections on the ethics of public life. First, it is an analysis of the relationship between judicial confrontation of the German criminal past, the silence in the wider German cultural sphere in the wake of this confrontation, and the two writers’ efforts to expose and address this ethical disconnect (chapter I). Second, it draws attention to two very different modes of reactive affect, ressentiment and melancholia. Through readings of Hildesheimer’s novels Tynset (1965) and Masante (1973) in chapters II and III, on the one hand, and Améry’s essay “Ressentiments” (1966) and the essay-novel Lefeu oder Der Abbruch (1974) in chapters IV and V, on the other, the dissertation analyzes these two modes. Hildesheimer employed a register of ethical writing that articulated the interconnected processes of mourning and melancholia, but unlike recent scholarship that focuses on these categories and valorizes melancholia as source of productive socio-political action, Hildesheimer did not prescribe them as exemplary modes of affective reparation. -
Volunteer Translator Pack
TRANSLATION EDITORIAL PRINCIPLES 1. Principles for text, images and audio (a) General principles • Retain the intention, style and distinctive features of the source. • Retain source language names of people, places and organisations; add translations of the latter. • Maintain the characteristics of the source even if these seem difficult or unusual. • Where in doubt make footnotes indicating changes, decisions and queries. • Avoid modern or slang phrases that might be seem anachronistic, with preference for less time-bound figures of speech. • Try to identify and inform The Wiener Library about anything contentious that might be libellous or defamatory. • The Wiener Library is the final arbiter in any disputes of style, translation, usage or presentation. • If the item is a handwritten document, please provide a transcription of the source language as well as a translation into the target language. (a) Text • Use English according to the agreed house style: which is appropriate to its subject matter and as free as possible of redundant or superfluous words, misleading analogies or metaphor and repetitious vocabulary. • Wherever possible use preferred terminology from the Library’s Keyword thesaurus. The Subject and Geographical Keyword thesaurus can be found in this pack. The Institutional thesaurus and Personal Name thesaurus can be provided on request. • Restrict small changes or substitutions to those that help to render the source faithfully in the target language. • Attempt to translate idiomatic expressions so as to retain the colour and intention of the source culture. If this is impossible retain the expression and add translations in a footnote. • Wherever possible do not alter the text structure or sequence. -
A Tale of Two Brothers
A Tale of Two Brothers © Eli M. Noam 2007 992 Chapter 5.3 Uncle Max: Survivor 993 1 If Aunt Hedwig was the Saintly Sister and Aunt Kaete was the Pioneer Woman, Uncle Max was the Gutsy Survivor 994 He was the only prisoner ever to escape from the Nazi concentration camp Breendonk in Belgium. 995 2 Max Kaufmann 996 Lotte’s cousin Edith: “Periodically Uncle Max came and helped Grandfather with the bookkeeping. From time to time uncle Max drove far out into the countryside to businesses that needed a lot of materials. They were in small villages far away from Kassel. I often was permitted to go with him. They had an old car, and in those days the roads were full of rocks and had huge potholes after a rainstorm. We had to 997 Edithdrive Thorsen, Ud very fra Frankfurt, carefully. Manuskript til en ungdomsbiografi, Unpublished Memoirs, Copenhagen, 2007, translated by E. Noam, Rasmus Nielsen 3 Max (with dog), Hans (in crib), Hilde (sitting), Grandmother Adelheid, 998 and young mother Flora (on right) Lotte: “He had blue eyes and played football for one of the well known Kassel football clubs. Opposed to any kind of intellectual activity, he was the ‘goy’ of the family and quite logically he was engaged to a Christian woman. When they did not want to let go of each other [after the Nazis came to power], he was pursued for miscegenation (Rassens-chande), fled to Belgium, was caught there, and put in a concentration camp.” 999 Lotte Noam Memoir Letters to Birte 4 Max has no known descendents, and his story is reconstructed from a few old letters and newspaper clips. -
Documents Et Photographies De La Déportation Vers Les Camps
De l'arrestation aux camps Documents et photographies de la déportation vers les camps Lettre de René Bousquet, chef de la police de Vichy, la veille de la Rafle du Vél'd'hiv'. C'est la police française qui s'est chargée des arrestations. Les autobus utilisés à Paris lors de la rafle du Vél'd'hiv, les 16 et 17 juillet 1942. Les Juifs arrêtés furent conduits au Vélodrome d'Hiver puis à Drancy. C'est l'unique photo retrouvée dans les archives de presse. La censure interdit sa publication en juillet 1942. Vue générale du camp de Drancy en France où étaient amenées les Juifs arrêtés. Le camp est formé par des immeubles non terminés, sans fenêtres, en forme de U encadrant un vaste terain sur lequel est installé un baraquement. C'est de là que partaient les trains vers Auschwitz. (Reportage photographique réalisé par les nazis, Bibliothèque Nationale) Fillette juive endormie à Drancy, prête pour le départ. Les gendarmes français font monter les enfants dans les trains. Dessin de Cabu d'après des témoignages. Des Juives hongroises photographiées à travers la fenêtre d'un wagon au moment de leur déportation en 1944. Des fils de fer barbelé ont été placés devant la fenêtre. Arrivée d'un train de déportés hongrois le 26 mai 1944 sur la rampe d'Auschwitz- Birkenau. Au fond Autres lois antisémites Internement des Juifs étrangers Ordonnance du 4 octobre 1940 1. Les étrangers de race juive pourront être internés dans des camps spéciaux. 2. Les Juifs étrangers pourront en tous temps se voir assigner une résidence forcée. -
I Am a Mistake
I am a Mistake A creation by Jan Fabre, Wolfgang Rihm and Chantal Akerman November and December 2007 I. THE PROJECT Jan Fabre has been commissioned by ECHO, the European concert halls organisation, to produce I am a Mistake, a creation in which music, film, dance and theatre are organically fused. A concertante to new music by Wolfgang Rihm for one actor, four dancers of Troubleyn|Jan Fabre, eighteen musicians, with accompaniment from the first note to the last in the form of a film by Chantal Akerman. The Belgian artist Jan Fabre has invited the German composer Wolfgang Rihm to join him for the creation of I am a Mistake. The basis for this creation is an original text by Jan Fabre, entitled I am a Mistake. It is a manifest that amounts almost to a profession of faith by the artist. The blunt confession I am a Mistake is like a mantra that repeats and divides; the voice in this text weaves his web of confessions and meanings, sometimes as a metaphor of an artist sometimes in a protesting tone. Protest against reality and its laws, against matters of fact and their conformism. It comes as no surprise that this piece is dedicated to the subversive film-maker (and amateur entomologist) Luis Buñuel and to Antonin Artaud. I am loyal to the pleasure that is trying to kill me ‘I am a mistake because I shape my life and work organically in accordance with my own judgement with no concern for what one ought to do or say’, this is the artist’s frank summary of his world view. -
Key Findings Many European Union Governments Are Rehabilitating World War II Collaborators and War Criminals While Minimisin
This first-ever report rating individual European Union countries on how they face up their Holocaust pasts was published on January 25, 2019 to coincide with UN Holocaust Remembrance Day. Researchers from Yale and Grinnell Colleges travelled throughout Europe to conduct the research. Representatives from the European Union of Progressive Judaism (EUPJ) have endorsed their work. Key Findings ● Many European Union governments are rehabilitating World War II collaborators and war criminals while minimising their own guilt in the attempted extermination of Jews. ● Revisionism is worst in new Central European members - Poland, Hungary, Croatia and Lithuania. ● But not all Central Europeans are moving in the wrong direction: two exemplary countries living up to their tragic histories are the Czech Republic and Romania. The Romanian model of appointing an independent commission to study the Holocaust should be duplicated. ● West European countries are not free from infection - Italy, in particular, needs to improve. ● In the west, Austria has made a remarkable turn-around while France stands out for its progress in accepting responsibility for the Vichy collaborationist government. ● Instead of protesting revisionist excesses, Israel supports many of the nationalist and revisionist governments. By William Echikson As the world marks the United Nations Holocaust Remembrance Day on January 27, European governments are rehabilitating World War II collaborators and war criminals while minimising their own guilt in the attempted extermination of Jews. This Holocaust Remembrance Project finds that Hungary, Poland, Croatia, and the Baltics are the worst offenders. Driven by feelings of victimhood and fears of accepting refugees, and often run by nationalist autocratic governments, these countries have received red cards for revisionism. -
Master Document Template
Copyright by Robert George Kohn 2012 The Dissertation Committee for Robert George Kohn Certifies that this is the approved version of the following dissertation: The Language of Uncertainty in W.G. Sebald’s Novels Committee: Pascale Bos, Supervisor Sabine Hake John Hoberman Philip Broadbent David Crew The Language of Uncertainty in W.G. Sebald’s Novels by Robert George Kohn, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation would not have been possible without the amazing and generous support, both emotional and intellectual, as well as incredible patience of my lovely and kind wife, Nadine Cooper-Kohn. I would like to, therefore, dedicate this study to her as a small token of my gratitude for being at my side through it all. Acknowledgements I would like to acknowledge the following people for their help and contributions they have made to my intellectual and personal growth during my graduate career. First and foremost, I would like to recognize my wife, Nadine Cooper-Kohn for her steadfast support, inspiration and love throughout these past seven years. I would like to thank my adviser, Dr. Pascle Bos, for her patience and understanding throughout the process of writing, as well as for encouraging me during difficult times. The helpful feedback of Dr. Sabine Hake and Dr. John Hoberman inspired me and helped me to see this project through.