DOCSLIB.ORG

The New Age, Vol 26 No 12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The New Age, Vol 26 No 12 GERMANY’S NEW “STRUM UND DRANG.” ADLER. By J. A.M. Alcock. By HermanGeorge Scheffauer (with comments by (with commentsby R. H. C.). CONTEMPORARYFRAGMENTS -- II ByJanko Lavrin THE HOUSE OF COMMONS.-- I. By Hillaire Belloc. VIEWS AND REVIEWS. Homoeopathy. By A. E. R. ROME AND PERSECUTION. By Eugene Fasnacht. REVIEWS: The Skilled Labourer, 1760-1832. THE MATERIALISMOF “A. E. R. ” By P. A.Mairet A Personal Record. THE REVOLT OF INTELLIGENCE-- VII. LETTERS TO THE EDITOR from Douglas Goldring, Arundell del Re, George Pitt-Rivers, Walter By Ezra Pound. W. Sutcliffe, Ezra Pound. DRAMA: Julius Caesar. By John Francis Hope PASTICHE. By J. A. M. A., E. V. Limebeer, READERS AND WRITERS. By R. H. C. Ruth Pitter. [Owing to the illness of the Editor the following -- even though not forced, like Germany, to stand article is substituted for the usual “Notes of the naked, wounded and chained before Brute Might armed Week.”] to the tusks, and incorporated in two insensate old men drunk with primitive rages and boundless power. A “volcaniceruption” appears to be something different from the still, small voice of Culture. However, let Germany’s New “Sturm und that pass for the moment. The contention, explicit in Drang.” Mr. Scheffauer’s paragraph is that Germany was By Herman George Scheffauer. “entitled” to her fling of “harlotry”in consequence of England’s example. The ethic is execrable, but the (With comments by “R. H. C.”) practical moral is that Germany has no right to complain In THE NEW AGE of December 18, “R. H. C.,” of the “BruteMight” that defeated her. If it is only commenting upon Nietzsche’s mission as a prophet of right to do anything we can, our failure must prove that culture to Germany, asks: “But is there any appeal in what we attempted was wrung! culture to a Germany situated as Germany is to-day?” A land so compact of bulk as Germany, so finely and Mr. Scheffauer must have been looking for a quarrel, scientifically organised, of such dynamic popular forces since there is nothing in my text of December 18 to and will to work, cannot resign or be deprived of its warrant his conclusion that I was attacking Germany. economic importance and participation without undermining I simply asked whether the cry from the muezzin to come the entire structure of world trade and traffic. to culture would be heard in Germany above the din of International trade is already sick and shaky because the big bagman calling Germany to commercial conquests the sound and efficient German element has been in Russia. If Nietzsche was not listened to after 1870, brutallyand blindly driven out of it. Rut already it is as I doubted whether he would be listened to any more after if the latent creative energies of this land had gone 1918. In fact, I am convinced that Nietzsche is nowhere forth to conquer a new empire. Though it can never so dead as in Germany to-day. forgo just claims, it seems content to leave the offal That conditions in Germany, particularly cultural and rubbish of a doomed mechanised and Mammonised conditions, should not be clear to “R. H. C.” and epoch to those to whom these things are still Baal. millionsof others, is not surprising. For “R. H. C.,” like Ah, now we are getting down to the bones! Creative other Englishmen and Americans, is dependent upon his energies going forth to “conquera new empire” by Press -- and such a Press! means of “scientificorganisation,” etc., etc. The It is strange to hear that I, or any NEW AGE writer, terminology is not cultural but big bagmen. am dependent upon the British Press for our surmises The collapse of German militarism, the sudden recoil concerning the spiritual condition of Germany. I do not of the tremendous spring, has unloosed unconjectured say that I do not read the reports of newspaper correspondents, but it is largely between the lines. forces, precisely as the triumph of Entente militarism, Moreover,we have other sources of information than the the ostensible triumph, has for the time being printed Press, as Mr. Scheffauer knows very well. The suppressed them in Entente countries. I have said, proof of the pudding is in the eating. Mr. Scheffauer, purposely, the collapse of German militarism. Of a real living in Berlin, has been consistently wrong throughout defeat in the one case, as of a real triumph in the other, the war -- wrong in point of forecast, I mean -- while there can be no question. The discomfiting consciousness THE NEW AGE has been consistently right. History will of this fact largely accounts for the rancour and repeat itself. spite with which the “victors” seek to humiliate their Yet the fact is there -- it is here -- like a hill, a sea, fallen foe. I have no love for militarism of any sortin a volcanic eruption. Germany, after her brief any nation, as my little masque, “The Hollow Head a-whoring after the abominations of British Imperialism of Mars” (London, 1915) will sufficiently attest. And and commercialism (to which, of course, she was fully yet, as I made bold to point-out in my controversy with entitled, as America is entitled to the same harlotry S. Verdad in THE NEW AGE some time in 1917, Prussian now), is once more becoming “the land of poets and militarism qua militarism had justified itself by the thinkers,” No people could demand a grander title sheer stupendousness of its achievements against overwhelmingodds and the most disadvantageous conditions. published than in war-time or in peace-time, when After a certain point it could no longer be Gemany’s production reached (1912)34,800 volumes, defeated in a fair trial of strength, nor in a clean, England’s 12,100, France’s 9,600, or 51, 25, and 24 per soldierly way. It could only be overwhelmed by mass, head of population respectively. that is, by the victory of quantity over quality -- as came Quantity again. Always this boasting of numbers and to pass. The fact that it was necessary artificially to size. But it is perfectly conceivable that as culture drum up the whole world against Prussian militarism improves the number of publications will diminish rather should not only be its best military, but its best moral than increase. Indeed, it is certain. Mr. Scheffauer’s justification. If the actual values of the war be read figures neatly prove it. aright and honestly, nothing achieved a greater triumph Countless new reviews, magazines and newspapers, than precisely Prussian militarism. political, artistic, ethical: sociological, dramatic, etc., Mr. Scheffauer, like far too many Germans, obviously all of them sharply individualistic, crying and only pretends to hate militarism. At heart he is proud hummingwith new ideas, ideals, tendenzen and Utopias, of Prussian militarism, and only sorry that his god come swooping upon the public like swarms of cranes suffered the ignominy of defeat. Nor was it even a -- and gnats. defeat, he thinks. No, it was a “collapse” -- in other Really, for the reader of THE NEW AGE which Mr. words, I presume, a voluntary surrender. Yet it was Scheffauer professes to be (and, may I add, as a significant not that either, but the defeat of quality by quantity. fact, that he is our only reader in Germany?) this In short, it was a moral victory for “preciselyPrussian argument is scandalous. I am always deprecating the militarism,” the thing for which Mr. Scheffauer professes spawning of new magazines in this country as precisely to have “no love.” This attitude is repellent in the a symptom of declining culture; yet here is Mr. Scheffauer extreme. Simultaneously with the denunciation of the trying to palm off on me a swarm of new journals crime, the criminal asks our admiration for its stupendous as evidence of improved culture in Germany. Resides, dimensionsand our pity that so tremendous an it is nothing new in Germany; it is only more like old attempt to go a-whoring after an abomination failed in Germany than ever. its aim. We hare heard of offences forgiven because Germany and its Kultur are still undiscovered territory. they were such little ones. Mr. Scheffauer pleads justification for Prussian militarism because it was so stupendous. What attention, for example, has the Anglo-Yanko At the same time he represents its defeat as the world paid to the new system of popular education defeat of quality by quantity! rough-hewn out of granite opposition by Haenisch, Vast as was her military achievement, it was almost the German Minister of Schools -- a system which will equalled by Germany’s economic achievement under the do much to cast all others into the limbo of the mediaeval? blockade. To-day Germany is torn from without and To mention by name the countless new movements, from within, racked between Progress and Reaction, centres and associations for the intellectual tortured, dismembered, disorganised, drained dry by organisation of the world, for popular education according the beak and tentacles of the gigantic squid that to new needs and principles, for the cultivation of enwraps her, starved and bleeding from wounds that will creative and dynamic thought -- such as Count Hermann not heal. Her cities, factories, and railways are paralysed Keyserling’s “Foundation for Free Philosophy” -- for lack of coal. The cost of living goes higher would weary like the reading of a page of a city directory. day by day. Stung by the adder of particularism, German Let us consider for the benefit of “R. H. C.” combats German, or wallows in orgies of and others the significance in point of culture of the self-denunciation.
Load more

Recommended publications
  • 1 Thomas Mann, World Author: Representation and Autonomy In
    Thomas Mann, World Author: Representation and Autonomy in the World Republic of Letters Tobias Boes, University of Notre Dame In her influential study The World Republic of Letters, Pascale Casanova draws a firm line between what she calls “national” and “international” writers. For national writers, “literary aesthetics (because they are connected with political questions) are necessarily neonaturalistic.” International writers, on the other hand, are described as “cosmopolitans and polyglots who, owing to their knowledge of the revolution that have taken place in the freest territories of the literary world, attempt to introduce new norms” (Casanova 110-11). There are a number of different criticisms that could be leveled at this distinction. Here, I want simply to point out the striking similarities between what Casanova alleges are universal sociological categories on the one hand, and a particular historicizing narrative about literary modernism on the other. Casanova insists, for instance, that the struggle for “autonomy,” which she defines as “literary emancipation in the face of political (and national) claims to authority” (39), represents the most distinctive characteristic of international writing. She thereby echoes claims that have been made about “modern” art since at least the late nineteenth century (for an overview of these debates, see Goldstone). Even her remapping of the struggle between “autonomous” and “dependent” modes of thought onto the terms “cosmopolitan” and “national” is echoed by recent trends within modernist scholarship (see for example Walkowitz). This homology is striking, especially since a very different kind of “international writer” (or, as I shall henceforth call them, “world author”) seems to have moved to the foreground in the present day.
    [Show full text]
  • Unlversiv Micrijfilms Intemationéü 300 N
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the fîlm along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the Him is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been fîlmed, you will And a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a defînite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • A Comparison of the Helen Lowe-Porter and David Luke
    Strategies in Translation: A Comparison of the Helen Lowe-Porter and David Luke Translations of Thomas Mann’s Tonio Kröger, Tristan and Der Tod in Venedig within the Context of Contemporary Translation Theory Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) der Philosophischen Fakultät der Universität Erfurt vorgelegt von John Richard Morton Gledhill aus Huddersfield Erfurt, 2001 urn:nbn:de:gbv:547-200300472 [http://nbn-resolving.de/urn/resolver.pl?urn=nbn%3Ade%3Agbv%3A547-200300472] ii Erstes Gutachten: Prof. Dr. Fritz-Wilhelm Neumann (Universität Erfurt) Zweites Gutachten: Prof. Dr. Karlfried Knapp (Universität Erfurt) Prof. (em.) Dr. Thomas Gardner (Universität Göttingen) Datum der Promotion: 19. 6. 2003 iii To Madeleine iv Zusammenfassung Thomas Manns drei Geschichten Tonio Kröger, Tristan und Der Tod in Venedig werden mit deren Übersetzungen von Helen Lowe-Porter und David Luke verglichen. Aus dem Vergleich lässt sich feststellen, dass Lowe-Porters Übersetzungen gravierende Fehler aufzeigen, während die von Luke im Grunde genommen zuverlässig sind. Auch die Lukeschen Übersetzungen scheitern aber, wenn sie mit den poetischen, philosophischen und humoristischen Aspekten Thomas Manns Prosa konfrontiert sind. Anhand vieler Beispiele werden alternative literarische Übersetzungsstrategien diskutiert, die zu einer neuen Übersetzungstheorie führen: dem strategischen Ansatz. Auf Wittgensteins Sprachspieltheorie basierend wird der Begriff Treue (wortgetreu) neu definiert. Bei diesem Ansatz spielt die Übersetzung dasselbe Sprachspiel wie bei dem Ausgangstext. Summary Thomas Mann’s three stories Tonio Kröger, Tristan and Der Tod in Venedig are compared with the translations by Helen Lowe-Porter and David Luke respectively. From the comparison, it emerges that Lowe-Porter’s translations are deeply flawed whereas those of Luke are generally reliable.
    [Show full text]
  • Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
    Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period.
    [Show full text]
  • Transatlantic Migration and the Politics of Belonging, 1919-1939
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects Summer 2016 Between Third Reich and American Way: Transatlantic Migration and the Politics of Belonging, 1919-1939 Christian Wilbers College of William and Mary - Arts & Sciences, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons Recommended Citation Wilbers, Christian, "Between Third Reich and American Way: Transatlantic Migration and the Politics of Belonging, 1919-1939" (2016). Dissertations, Theses, and Masters Projects. Paper 1499449834. http://doi.org/10.21220/S2JD4P This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Between Third Reich and American Way: Transatlantic Migration and the Politics of Belonging, 1919-1939 Christian Arne Wilbers Leer, Germany M.A. University of Münster, Germany, 2006 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program The College of William and Mary August 2016 © Copyright by Christian A. Wilbers 2016 ABSTRACT Historians consider the years between World War I and World War II to be a period of decline for German America. This dissertation complicates that argument by applying a transnational framework to the history of German immigration to the United States, particularly the period between 1919 and 1939. The author argues that contrary to previous accounts of that period, German migrants continued to be invested in the homeland through a variety of public and private relationships that changed the ways in which they thought about themselves as Germans and Americans.
    [Show full text]
  • Thomas Mann, World Author: Representation and Autonomy in the World Republic of Letters
    7KRPDV0DQQ:RUOG$XWKRU5HSUHVHQWDWLRQDQG$XWRQRP\ LQWKH:RUOG5HSXEOLFRI/HWWHUV 7RELDV%RHV Seminar: A Journal of Germanic Studies, Volume 51, Number 2, May 2015, pp. 132-147 (Article) 3XEOLVKHGE\8QLYHUVLW\RI7RURQWR3UHVV For additional information about this article http://muse.jhu.edu/journals/smr/summary/v051/51.2.boes.html Access provided by University of Notre Dame (5 Dec 2015 22:19 GMT) Thomas Mann, World Author: Representation and Autonomy in the World Republic of Letters Tobias Boes University of Notre Dame In her influential study The World Republic of Letters, Pascale Casanova draws a firm line between what she calls “national” and “international” writers. For national writers, “literary aesthetics (because they are connected with political questions) are necessarily neonaturalistic.” International writers, on the other hand, are described as “cosmopolitans and polyglots who, owing to their knowl- edge of the revolutions that have taken place in the freest territories of the literary world, attempt to introduce new norms” (110–11). There are a number of different criticisms that could be levelled at this dis- tinction. Here, I want simply to point out the striking similarities between what Casanova alleges are universal sociological categories, on the one hand, and a particular historicizing narrative about literary modernism, on the other. Casa- nova insists, for instance, that the struggle for “autonomy,” which she defines as “literary emancipation in the face of political (and national) claims to authority” (39), represents the most distinctive characteristic of international writing. She thereby echoes claims that have been made about “modern” art since at least the late nineteenth century (for an overview of these debates, see Goldstone).
    [Show full text]
  • List of Bohemian Club Members 1 List of Bohemian Club Members
    List of Bohemian Club members 1 List of Bohemian Club members The following list of Bohemian Club members includes both past and current members of note. Membership in the male-only, private Bohemian Club takes a variety of forms, with membership regularly offered to new university presidents and to military commanders stationed in the San Francisco Bay Area. Regular, full members are usually wealthy and influential men who pay full membership fees and dues, and who must often wait 15 years for an opening, as the club limits itself to about 2700 men. Associate members are graphic and musical artists, and actors, who pay lesser fees because of their usefulness in assisting with club activities in San Francisco and at the Bohemian Grove. Professional members are associate members who The Bohemian Club's mascot is an owl, here cast have developed the ability to pay full dues, or are skilled professionals in masonry, and perched over the main club entrance at 624 Taylor Street in San Francisco. selected from the arts community. Honorary members are elected by club members, and pay no membership fees or annual dues. Each member is associated with a "camp", that is, one of 118 rustic sleeping and leisure quarters scattered throughout the Bohemian Grove, where each member sleeps during the two weeks (three weekends) of annual summer encampment in July. These camps are the principal means through which high-level business and political contacts and friendships are formed.[1] Member Category Camp Ref. Nicholas A. Acker [2] Frank K. Ainsworth [2] Robert I. Aitken [2] John Fellows Akers Mandalay Eddie Albert Lamar Alexander Wallace M.
    [Show full text]
  • The Liberator Index 1918-1924 1I01ytllal1
    INDEX 191 8 1 924 The Liberator Index 1918-1924 1I01Ytllal1 .. ... nopnloAa'll ~SfOS aq. JO A.J01S i.paa~ uqO[ . ", . ". •• 4; •:' • • .. ~ "... " ":.. IOI!P3 'NVf,JSV ..! XV f ~ ~Ol\f~]<tIll 91e. H;)lIYW Radical Magazines of the Twentieth Century Series THE LIBERATOR INDEX 1918-1924 By Theodore F. Watts Radical Magazines of the Twentieth Century Series The Masses Index ( 1911-1917) (published 2000) The Liberator Index ( 1918-1924) (published 200 1) The New Masses Index (Monthly, 1926-1933) (published 2002) ISBN 0-9718494-2-0 Copyright © 200 1 by Theodore F. Watts. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Peri odyssey Press, 116 Pleasant Street, Easthampton, Massachusetts 01027. Foreword The world of March 1918, the month that The Liberator made its debut, was a vastly different one from the one just five years earlier, when The Masses waltzed across the American arts and letters landscape. The war in Europe was exhausting all of its participants. Americans who spoke out against it were being jailed or deported. Russia was in turmoil as the Bolsheviks slowly consolidated power. The staff of The Masses had split in two over the war issue and then found itself under attack by the Federal Government, which successfully strangled the magazine and then, unsuccessfully, went after several staffers for treason. Into this tenuous breech, Max Eastman launched The Liberator. It would be more resolutely political than The Masses, yet at the same time, less inflammatory (to appease the government censors). To counteract the unfailingly biased, negative reporting on the Russian revolution that filled American newspapers, Eastman rushed into print the first issue, which was dominated by John Reed's brilliant eyewitness reports from the epicenter.
    [Show full text]
  • Translation: a Corpus-Based Study of Thomas Mann's Der Tod in Venedig
    Linguistic Creativity in (Re )translation: A Corpus-Based Study of Thomas Mann’s Der Tod in Venedig and Its English Versions Marlies Gabriele Prinzl University College London Translation Studies I, Marlies Gabriele Prinzl, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signature: ___________________________________ 1 Acknowledgements This thesis is dedicated to Hannah Tyson, aka “everyone’s favourite English teacher”, for a debt long due. I would also like to express my sincere gratitude to my supervisors, Prof. Theo Hermans and Dr. Daniel Abondolo, for their unconditional support and countless words of advice, whether encouraging or critical, thought-inspiring or wise, over the too-many-years of this project. A special Thank You also to everyone that took me in – some for a day, some for weeks or months – during the unexpectedly homeless last half year of the thesis, including (in London) Amanda & George, Georgia & Gerald and Tom Ue; (in Reading) Dorota & Atish; (in Edinburgh) Iñigo; (in Kuala Lumpur, Vienna and Graz) my parents & sister and (in London again) Regina. And of course, my lovely Inês, Eleni and Tere for the emotional support (and more) always. 2 Abstract The concept of creativity is something that is valued highly in literary writing. It is, however, a hazy term that defies easy definition as it can be realised in different ways such as the manipulation of plot, structure, language or even the physicality of the text itself. The type of creativity that this thesis is interested in is creativity in the use of language.
    [Show full text]
  • The Open Court Publishing Company, 1921
    Ubc ©pen Court A MONTHLY MAGAZINE H)cvote& to tbc Science of IRelioton, tbe IReliaion of Science, an& tbe JEitension of tbe IRelioious parliament IF^ea Founded by Edward C. Hegeler \'OL. XXXV (No. 4) APRIL, 1921 NO. 779 CONTENTS: PAGE Frontispiece. Ernst Haeckel. The Lear-Tragedy of Ernst Haeckel. Herman George Scheffauer . 193 On Cherished Fallacies of Tender Minds. T. Swann Harding 202 The Early Dietician. W. B. Conger 216 The Evolutionary Function of the Church. Orland O. Norris 232 Roman Tolerance Toward the Greek Language. A. Kampmeier 243 Three Poems. Guy Bogart 249 Miscellaneous 252 ^be ®pen Court jPublidbing Compani^ 122 S. Michigan Ave. Chicago, Illinois Per copy, 20 cents (1 shilling). Yearly, $2.00 (in the U.P.U., 9s. 6d.) Kntered as Second-Class Matter March 26, 1897, at the Post Office at Chicago, 111., under Act of March 3, 1879 Copyright by The Open Court Publishing Company, 1921. XLhc ©pen Court A MONTHLY MAGAZINE 2)evote^ to tbe Science of IRelioion, tbe IReligion of Science, an& tbe lEitension of tbe IRelfoious parliament 1[&ea Founded by Edward C. Hegeler \'OL. XXXV (No. 4) APRIL, 1921 NO. 779 CONTENTS: PAGE Frontispiece. Ernst Haeckel. The Lear-Tragedy of Ernst Haeckel. Herman George Scheffauer . 193 On Cherished Fallacies of Tender Minds. T. Swann Harding 202 The Early Dietician. W. B. Conger , 216 The Evolutionary Function of the Church. Orland O. Norris 232 Roman Tolerance Toward the Greek Language. A. Kampmeier 243 Three Poems. Guy Bogart 249 Miscellaneous 252 ^be ©pen Court jPubltdbing Compani^ 122 S. Michigan Ave. Chicago, Illinois Per copy, 20 cents (1 shilling).
    [Show full text]
  • California Faces: Selections from the Bancroft Library Portrait Collection
    http://oac.cdlib.org/findaid/ark:/13030/tf4z09p0qg Online items available California Faces: Selections from The Bancroft Library Portrait Collection Processed by California Heritage Digital Image Access Project staff in The Bancroft Library. The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] 1997 The Regents of the University of California. All rights reserved. California Faces: Selections from Various 1 The Bancroft Library Portrait Collection California Faces: Selections from The Bancroft Library Portrait Collection Collection number: Various The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] Finding Aid Author(s): Processed by California Heritage Digital Image Access Project staff in The Bancroft Library. Finding Aid Encoded By: GenX Copyright 1997 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: California Faces: Selections from The Bancroft Library Portrait Collection Collection Number: Various Physical Description: 1,648 images selected from The Bancroft Library's Portrait Collection ; various sizes1648 digital objects (1,659 images) Repository: The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] Languages Represented: Collection materials are in English Access Collection is available for use. Publication Rights Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction of some materials may be restricted by terms of University of California gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks.
    [Show full text]
  • Constructing a Mechanized Modern Architecture in Post World War I Europe
    Constructing a Mechanized Modern Architecture in Post World War I Europe Steve Correll March 22, 2004 David Brownlee, Advisor Submitted in Partial Fulfillment Of the Requirements for the Degree of Bachelor of Arts With Distinction in the Major Subject Department of the History of Art University of Pennsylvania Contents Introduction ………………………………………………………………. 1 Rejection of the Machine ……………………………………………….... 2 Hans Poelzig and the Grosses Schauspielhaus …........................... 4 Erich Mendelsohn and the Einstein Tower ……………………... 10 Walter Gropius and the Adolf Sommerfeld House ……………… 15 The Machine as Means to an End ……………………………………….. 20 The Bauhaus …………………………………………………….. 23 Gropius at Toerten-Dessau ……………………………………… 27 The International Style at Weissenhof ………………………….. 31 The Machine as an End in Itself ……………………………………….... 38 Architecture with the Machine ………………………………….. 40 Architecture after the Machine ………………………………….. 43 Architecture of the Machine …………………………………….. 45 Conclusion ………………………………………………………………. 50 Bibliography …………………………………………………………….. 52 Images ………………………………………………………….. Postscript 1 If, as L. Hilbesheimer suggests, “the nineteenth century was a search for a new style,”1 then the early part of the twentieth century was a rejection of those styles. Twentieth century architects sought to embrace modernity rather than the past, and doing so meant embracing new technology. New machines allowed modern materials to be reproduced quickly and economically. The question in the early twentieth century was not if it could be done, but how could one do it. Machinery seemed the solution to every architectural problem, from affordable housing to what constituted a modern aesthetic. However, this enthusiasm for modernity was not to last. With the outbreak of war in 1914, the civilized world was forced to face the wrath of the new technology that had served them in the past.
    [Show full text]