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Speer: an Artist Or a Monster?
Constructing the Past Volume 7 Issue 1 Article 14 2006 Speer: An Artist or a Monster? Emily K. Ergang Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/constructing Recommended Citation Ergang, Emily K. (2006) "Speer: An Artist or a Monster?," Constructing the Past: Vol. 7 : Iss. 1 , Article 14. Available at: https://digitalcommons.iwu.edu/constructing/vol7/iss1/14 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by editorial board of the Undergraduate Economic Review and the Economics Department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Speer: An Artist or a Monster? Abstract This article discusses the life of Albert Speer, who was hired as an architect by Hitler. It describes him as being someone who worked for a career and ignored the political implications of who he was working for. This article is available in Constructing the Past: https://digitalcommons.iwu.edu/constructing/vol7/iss1/14 Constructing the Past Speer: An Artist or a Monster? Emily Kay Ergang The regime of Adolf Hitler and his Nazi party produced a number of complex and controversial. -
Hitler's Germania: Propaganda Writ in Stone
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else. -
Wagner in the "Cult of Art in Nazi Germany"
Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 2-1-2013 Wagner in the "Cult of Art in Nazi Germany" David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the History Commons Author Manuscript This is a pre-publication author manuscript of the final, published article. Recommended Citation Dennis, David B.. Wagner in the "Cult of Art in Nazi Germany". WWW2013: Wagner World Wide (marking the Wagner’s bicentennial) at the University of South Carolina, Columbia, SC, , : , 2013. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Conference Proceeding is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © David B. Dennis 2013 Richard Wagner in the “Cult of Art” of Nazi Germany A Paper for the Wagner Worldwide 2013 Conference University of South Carolina, Columbia, SC January 30-February 2, 2013 David B. Dennis Professor of History Loyola University Chicago In his book on aesthetics and Nazi politics, translated in 2004 as The Cult of Art in Nazi Germany, Eric Michaud, Director of Studies at the École des Hautes Études en Sciences Sociales in Paris, wrote that National Socialist attention to the arts was intended “to present the broken [German] Volk with an image of its ‘eternal Geist’ and to hold up to it a mirror capable of restoring to it the strength to love itself.” 1 I came upon this, among other ideas of Michaud, when preparing the conceptual framework for my own book, Inhumanities: Nazi Interpretations of Western Culture, just released by Cambridge University Press. -
Selling Or Telling? a Theory of Ruin Value Selling Or Telling? Paradoxes in Tourism, Culture and Heritage Pihl, Ole Verner
Aalborg Universitet Selling or telling? A theory of ruin value Selling or Telling? Paradoxes in tourism, culture and heritage Pihl, Ole Verner Published in: SELLING OR TELLING? Publication date: 2011 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Pihl, O. V. (2011). Selling or telling? A theory of ruin value: Selling or Telling? Paradoxes in tourism, culture and heritage. In SELLING OR TELLING? ATLAS. http://ebookbrowse.com/gdoc.php?id=120853982&url=38361760a176586bc07519a4ac7d0cc4 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: September 29, 2021 Selling or telling? : A theory of ruin value Abstract: To what extent can tourism be described as an agent of peace? Can war and conflict be reconciled through tourism? Why is the children’s memorial in Hiroshima so important and why is the Holocaust memorial in Berlin a reconciliating and fascinating monument? The post apocalyptic vision in our mainstream mass culture is a broad genre and is loaded with heavy, dramatic architecture and landscapes of destruction; most religions have these doomsday visions, and in the mass culture, we can experience the chill and fascination of an infinite number of possible apocalyptic scenarios. -
JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A
Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF ARCHVES MASTER OF SCIENCE IN ARCHITECTURE STUDIES MASSACHUSETTS INSTTE AT THE OF TECHNOLOGY MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A. Viller6. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Department of Architecture May 23,2013 Certified by: Mark Jarzombek, Professor of the Histo4y 7eory and Criticism of Architecture Accepted by: Takehiko Nagakura, Chair of the Department Committee on Graduate Students 1 Committee Mark Jarzombek,'Ihesis Supervisor Professor of the History, Theory and Criticism of Architecture Caroline Jones, Reader Professor of the History of Art 2 Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 Submitted to the Department of Architecture on May 23,2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show. -
EPHEMERALITY, MONUMENTALITY and the PAVILION in RUINS Ihor Junyk
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Directory of Open Access Journals ‘NOT MONTHS BUT MOMENTS’: EPHEMERALITY, MONUMENTALITY AND THE PAVILION IN RUINS Ihor Junyk This essay examines a fundamental tension between ephemerality and monumentality in the history of pavilion architecture. Descended from the ancient tent, the pavilion was taken up by European landscape architecture in the eighteenth century and integrated into an aesthetic of the picturesque. These ephemeral structures became both settings and instruments of a set of fleeting experiences that can be grouped under the category of reverie. However, during the course of the nineteenth century, the pavilion underwent a dramatic change, gradually becoming the monumental representative for nations participating at the various expositions and World’s Fairs of that century and the next. Unable to actualise the permanence they were meant to embody, pavilions instead called forth aggressive fantasies of ruin and death. Wary of the deathly aesthetics of monumentality and sublimity, architects working in recent decades have returned the pavilion to its original ephemerality. Experimenting with new materials and digital technologies they have created contemporary follies as new spaces for reverie. Keywords: pavilion, monumentality, ephemeral, ruin, death, reverie, Paris Exposition 1939. Ihor Junyk, Trent University in Peterborough Ihor Junyk is an Associate Professor of Cultural Studies at Trent University in Peterborough (Ontario, Canada) where he teaches and researches literature, visual culture, and media. His articles have appeared in leading humanities journals such as Grey Room, Comparative Literature, and Early Popular Visual Culture. He is the author of Foreign Modernism: Cosmopolitanism, Identity, and Style in Paris, (University of Toronto Press, 2013). -
Documenta": Decoding and Recoding the History of an Exhibition in 1955, 2002, and 2017
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 Documenting "Documenta": Decoding and Recoding the History of an Exhibition in 1955, 2002, and 2017 Nicola Susanna Koepnick Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Koepnick, Nicola Susanna, "Documenting "Documenta": Decoding and Recoding the History of an Exhibition in 1955, 2002, and 2017" (2018). Senior Projects Spring 2018. 253. https://digitalcommons.bard.edu/senproj_s2018/253 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Documenting documenta: Decoding and Recoding the History of an Exhibition in 1955, 2002, and 2017 Senior Project Submitted to The Division of Social Studies of Bard College by Nicola Koepnick Annandale-on-Hudson, New York May 2018 Acknowledgements I am indebted to everyone who helped me through this process. Especially, I would like to thank Tom Keenan, for challenging me with thoughtful questions, allowing me the freedom to find my voice, and pushing me to do the best I can. -
The Future in Stone: Architecture As Expression of National Socialist Temporality by Alex Wilkinson Cruddas a Thesis Submitted T
The Future in Stone: Architecture as Expression of National Socialist Temporality By Alex Wilkinson Cruddas A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In History Department of History Carleton University Ottawa, Canada © 2016 Alex Wilkinson Cruddas Abstract Working alongside Adolf Hitler, architect Albert Speer pioneered his theory of Ruinenwert, or “ruin value”, which was employed in the design of monumental architectural projects. These structures were designed to evoke imagery of the Nazi’s contemporary power and ideology and were created to function as lieux de mémoire (“places of memory”) for subsequent generations of Aryans, providing heroic ruins for a future audience imagined as both bearers of the regime’s cultural legacy and witness to its destruction. The regime itself was understood to possess the contradictory qualities of the eternal and terminal, and its architecture was to reflect this. Little attention has been given to contextualizing the architecture of temporality National Socialism within the regime’s greater culture of future-mindedness. This work seeks to establish connections between existing discussions of National Socialist architectural futurity and those that explore the regime’s fascination with its own future more broadly. ii Acknowledgments I would firstly like to thank the wonderful and dedicated History Department administrative staff, particularly Joan White, whose support and assistance over the past years was immeasurable. My sincere thanks go to you Joan. I would also like to thank my readers, Dr. Casteel and Dr. Elżanowski, for taking the time to read my work and for being a valued part of my thesis project. -
The Nazi Party and the Third Reich Through the Lens of Classical Architecture
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) Spring 5-2-2021 Germania: The Nazi Party and the Third Reich through the Lens of Classical Architecture Maggie L. Smith University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the Architectural History and Criticism Commons, European History Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Smith, Maggie L., "Germania: The Nazi Party and the Third Reich through the Lens of Classical Architecture" (2021). Honors Theses. 1842. https://egrove.olemiss.edu/hon_thesis/1842 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. Germania: The Nazi Party and the Third Reich through the Lens of Classical Architecture By Maggie Smith A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford, MS April 2021 Approved By ______________________________ Advisor: Professor John Lobur ______________________________ Reader: Professor Molly Pasco- Pranger ______________________________ Reader: Professor Joshua First © 2021 Maggie Lin Smith ALL RIGHTS RESERVED ABSTRACT This thesis examines the influence of classical -
Architects in Power: Politics and Ideology in the Work of Ernst May and Albert Speer Barbara Miller Lane Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Growth and Structure of Cities Faculty Research Growth and Structure of Cities and Scholarship 1986 Architects in Power: Politics and Ideology in the Work of Ernst May and Albert Speer Barbara Miller Lane Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/cities_pubs Part of the Architecture Commons, History of Art, Architecture, and Archaeology Commons, and the Urban Studies and Planning Commons Custom Citation Barbara Miller Lane, "Architects in Power: Politics and Ideology in the Work of Ernst May and Albert Speer." Journal of Interdisciplinary History 17 (1986): 283-310. doi: 10.2307/204134. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/cities_pubs/17 For more information, please contact [email protected]. Journal of Interdisciplinary History, xvii:i (Summer i986), 283-3 IO. Barbara Miller Lane Architects in Power: Politics and Ideology in the Work of Ernst May and Albert Speer This article has a twofold purpose. First, by comparing some aspects of the lives and works of Ernst May and Albert Speer, it illuminates the special experience of architects in power in the twentieth century. Throughout history, architects have had a greater need for wealthy patrons than have other artists because of the great ex- pense of buildings. And government buildings, because of their size and visibility, have always been the most attractive of com- missions. Thus, architects have always been involved to some extent in politics, and have nearly always sought positions of power and influence. -
EPHEMERALITY, MONUMENTALITY and the PAVILION in RUINS Ihor Junyk
‘NOT MONTHS BUT MOMENTS’: EPHEMERALITY, MONUMENTALITY AND THE PAVILION IN RUINS Ihor Junyk This essay examines a fundamental tension between ephemerality and monumentality in the history of pavilion architecture. Descended from the ancient tent, the pavilion was taken up by European landscape architecture in the eighteenth century and integrated into an aesthetic of the picturesque. These ephemeral structures became both settings and instruments of a set of fleeting experiences that can be grouped under the category of reverie. However, during the course of the nineteenth century, the pavilion underwent a dramatic change, gradually becoming the monumental representative for nations participating at the various expositions and World’s Fairs of that century and the next. Unable to actualise the permanence they were meant to embody, pavilions instead called forth aggressive fantasies of ruin and death. Wary of the deathly aesthetics of monumentality and sublimity, architects working in recent decades have returned the pavilion to its original ephemerality. Experimenting with new materials and digital technologies they have created contemporary follies as new spaces for reverie. Keywords: pavilion, monumentality, ephemeral, ruin, death, reverie, Paris Exposition 1939. Ihor Junyk, Trent University in Peterborough Ihor Junyk is an Associate Professor of Cultural Studies at Trent University in Peterborough (Ontario, Canada) where he teaches and researches literature, visual culture, and media. His articles have appeared in leading humanities -
A Theory of Ruin Value Selling Or Telling? Paradoxes in Tourism, Culture and Heritage Pihl, Ole Verner
Aalborg Universitet Selling or telling? A theory of ruin value Selling or Telling? Paradoxes in tourism, culture and heritage Pihl, Ole Verner Published in: SELLING OR TELLING? Publication date: 2011 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Pihl, O. V. (2011). Selling or telling? A theory of ruin value: Selling or Telling? Paradoxes in tourism, culture and heritage. In SELLING OR TELLING? ATLAS. http://ebookbrowse.com/gdoc.php?id=120853982&url=38361760a176586bc07519a4ac7d0cc4 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: October 02, 2021 Selling or telling? : A theory of ruin value Abstract: To what extent can tourism be described as an agent of peace? Can war and conflict be reconciled through tourism? Why is the children’s memorial in Hiroshima so important and why is the Holocaust memorial in Berlin a reconciliating and fascinating monument? The post apocalyptic vision in our mainstream mass culture is a broad genre and is loaded with heavy, dramatic architecture and landscapes of destruction; most religions have these doomsday visions, and in the mass culture, we can experience the chill and fascination of an infinite number of possible apocalyptic scenarios.