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Morina on Forner, 'German Intellectuals and the Challenge of Democratic Renewal: Culture and Politics After 1945'
H-German Morina on Forner, 'German Intellectuals and the Challenge of Democratic Renewal: Culture and Politics after 1945' Review published on Monday, April 18, 2016 Sean A. Forner. German Intellectuals and the Challenge of Democratic Renewal: Culture and Politics after 1945. Cambridge: Cambridge University Press, 2014. xii +383 pp. $125.00 (cloth), ISBN 978-1-107-04957-4. Reviewed by Christina Morina (Friedrich-Schiller Universität Jena) Published on H-German (April, 2016) Commissioned by Nathan N. Orgill Envisioning Democracy: German Intellectuals and the Quest for Democratic Renewal in Postwar German As historians of twentieth-century Germany continue to explore the causes and consequences of National Socialism, Sean Forner’s book on a group of unlikely affiliates within the intellectual elite of postwar Germany offers a timely and original insight into the history of the prolonged “zero hour.” Tracing the connections and discussions amongst about two dozen opponents of Nazism, Forner explores the contours of a vibrant debate on the democratization, (self-) representation, and reeducation of Germans as envisioned by a handful of restless, self-perceived champions of the “other Germany.” He calls this loosely connected intellectual group a network of “engaged democrats,” a concept which aims to capture the broad “left” political spectrum they represented--from Catholic socialism to Leninist communism--as well as the relative openness and contingent nature of the intellectual exchange over the political “renewal” of Germany during a time when fixed “East” and “West” ideological fault lines were not quite yet in place. Forner enriches the already burgeoning historiography on postwar German democratization and the role of intellectuals with a profoundly integrative analysis of Eastern and Western perspectives. -
Gross Und Klein (Big and Small) a Journey Across Contemporary Germany by Botho Strauss English Text by Martin Crimp
Education Resources Pre‐Production Sydney Theatre Company and UBS Investment Bank present Gross und Klein (Big and Small) A Journey across contemporary Germany By Botho Strauss English text by Martin Crimp PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 Themes 2 Synopsis 3‐6 Historical and social background 7‐8 Additional Resources 8‐9 PRE‐PRODUCTION EXERCISES The Heroine’s Journey 10‐12 Voice Of An Angel 13‐14 Roles & Fantasies 15‐16 Education Resource written by Kerreen Ely‐Harper and compiled by Education Coordinator Toni Murphy KEY AIM of exercise or section Extension Exercises Download and watch + Drama Exercises English Exercises Play online GROSS UND KLEIN Sydney Theatre Company Education Resources 2011 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about ABOUT STCED www.sydneytheatre.com.au/stced/about “ LOTTE CREATIVE TEAM Time passes, but not the way it Director – Luc Bondy should. Set Designer – Johannes Schϋtz Morocco Costume Designer – Alice Babidge Gross und Klein Lighting Designer – Nick Schlieper ” Composer & Sound Designer – tba CAST Lotte – Cate Blanchett Alf & Juergen – Richard Pyros Inge & Turk’s Wife – Anita Hegh Girl with bladder & Josephine – Old Woman & Older Married Woman – Sophie Ross Melissa Jaffer -
Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
UID 1987 Nr. 12, Union in Deutschland
CDU-Informationsdienst Union in Deutschland Bonn, den 2. April 1987 12/87 Heiner Geißler: Brandts Rücktritt ist der Ausdruck einer Führung^ und Programmkrise der SPD % Brandts Rücktritt ist die logische Konse- silt1^ aus der Zerstrittenheit und Richtungslo- HEUTE AKTUELL . gkeit der deutschen Sozialdemokratie. Wegen I .res Anpassungskurses gegenüber den Grünen SBrandt und der SPD nicnt • Debatte zur Dnr - gelungen, eine Regierungserklärung j "tische Alternative in der Opposition aufzu- Unsere Argumente gegen falsche Behauptungen und ,erdlngs ist nicht damit zu rechnen, daß die deut- Tatsachenverdrehungen von s SPD und Grünen, 2u . Sozialdemokraten nach dem Rücktritt Brandts ab Seite 3 . einem Kurs der Konsolidierung finden und einen le Zur Regierungserklärung des dJ rparteilichen Klärungsprozeß herbeiführen wer- pro rarnmat sc Bundeskanzlers gibt es ein M h 8 i hen Aussagen des SPD- „CDU-extra" und eine Bro- Sch heitsflügels um 0skar Lafontaine, Gerhard schüre. undr0der' Erhard EpP'er und Hans-Ulrich Klose Seite 37 . d die personellen Weichenstellungen der letzten ^onate lassen nicht erwarten, daß die SPD den • Öffentlichkeitsarbeit e8 zurück zur Volkspartei des Godesberger Pro- Am 19. April 1967 starb Konrad Adenauer. Aus diesem Anlaß ems finden wird. möchten wir den CDU-Verbän- * Ende der Ära Brandt befindet sich die SPD in den einige Anregungen geben. j em Zustand der Zerrüttung und des Niedergangs. Seite 38/39 6reSSe einer funktionsfani en muR 8 Demokratie • Register '86 sichr 6 SPD Jetzt inre Kräfte darauf konzentrieren, Das Stichwortregister — ein un- tis h'11 der °PP°sition personell und programma- ZU re e entbehrlicher Helfer für alle z£ 8 nerieren. Dieser Prozeß braucht viel UiD-Leser. -
Continuity Within Change: the German-American Foreign and Security Relationship During President Clinton’S First Term”
“Continuity within Change: The German-American Foreign and Security Relationship during President Clinton’s First Term” Dissertation zur Erlangung des Grades Dr. phil. bei dem Fachbereich Politik- und Sozialwissenschaften der Freien Universität Berlin vorgelegt von Thorsten Klaßen Berlin 2008 Erstgutachter: Prof. Dr. Eberhard Sandschneider Zweitgutachter: Priv.-Doz. Dr. Peter Rudolf Datum der Disputation: 10.12.2008 2 Table of Contents Abbreviations ............................................................................................................................. 6 Introduction ................................................................................................................................ 7 A Note on Sources .................................................................................................................... 12 I. The United States After the End of the Cold War ................................................................ 13 I.1. Looking for the Next Paradigm: Theoretical Considerations in the 1990s.................... 13 I.1.1 The End of History ................................................................................................... 13 I.1.2 The Clash of Civilizations ....................................................................................... 15 I.1.3 Bipolar, Multipolar, Unipolar? ................................................................................ 17 I.2. The U.S. Strategic Debate ............................................................................................. -
The Inventory of the Alvin Epstein Collection #1717
The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph. -
Datenhandbuch Deutscher Bundestag 1994 Bis 2003
Michael F. Feldkamp unter Mitarbeit von Birgit Strçbel Datenhandbuch zur Geschichte des Deutschen Bundestages 1994 bis 2003 Begrndet von Peter Schindler Eine Verçffentlichung der Wissenschaftlichen Dienste des Deutschen Bundestages Herausgeber: Verwaltung des Deutschen Bundestages Abteilung Wissenschaftliche Dienste/Referat Geschichte, Zeitgeschichte und Politik (WD 1) Verlag: Nomos Verlagsgesellschaft, Baden-Baden Technische Umsetzung: bsix information exchange GmbH, Braunschweig ISBN 3-8329-1395-5 (Printausgabe) Deutscher Bundestag, Berlin 2005 Vorwort Die parlamentarische Demokratie ist auf das wache Interesse ihrer Brgerinnen und Brger angewiesen. Aber wer auch immer sich mit der wichtigsten Institution unse- res parlamentarischen Regierungssystems, dem Deutschen Bundestag, beschftigen mçchte, ob es um die Beteiligung an einer Diskussion geht, um Kritik, Ablehnung oder Zustimmung, fr den ist eine Grundkenntnis wichtiger Daten, Fakten, Zusam- menhnge und Hintergrnde unverzichtbar. Vor rund 25 Jahren, aus Anlass des 30jhrigen Bestehens des Deutschen Bundesta- ges, haben die Wissenschaftlichen Dienste deshalb erstmals versucht, die Daten und Fakten zu Leistung, Struktur und Geschichte des Deutschen Bundestages in einer Dokumentation zusammenzustellen, nach denen mit Recht hufig gefragt wird und die bis dahin jeweils einzeln von den verschiedenen Organisationseinheiten der Ver- waltung erfragt oder unterschiedlichen Publikationen entnommen werden mussten. ber die Jahre hinweg hat sich aus dieser Dokumentation das Datenhandbuch und damit -
Alexander Kluge Raw Materials for the Imagination
FILM CULTURE IN TRANSITION Alexander Kluge Raw Materials for the Imagination EDITED BY TARA FORREST Amsterdam University Press Alexander Kluge Alexander Kluge Raw Materials for the Imagination Edited by Tara Forrest Front cover illustration: Alexander Kluge. Photo: Regina Schmeken Back cover illustration: Artists under the Big Top: Perplexed () Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn (paperback) isbn (hardcover) e-isbn nur © T. Forrest / Amsterdam University Press, All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustra- tions reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. For Alexander Kluge …and in memory of Miriam Hansen Table of Contents Introduction Editor’s Introduction Tara Forrest The Stubborn Persistence of Alexander Kluge Thomas Elsaesser Film, Politics and the Public Sphere On Film and the Public Sphere Alexander Kluge Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge’s Contribution to G I A Miriam Hansen ‘What is Different is Good’: Women and Femininity in the Films of Alexander Kluge Heide -
Northern Gothic: Werner Haftmann's German
documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology. -
Rudolf Laun and the Human Rights of Germans in Occupied and Early West Germany
6 Rudolf Laun and the Human Rights of Germans in Occupied and Early West Germany Lora: Wildenthal What are human rights? The technical answer is that they are norms of international law that are formulated in abstract, universally applicable terms. For example, Article 3 of the Universal Declaration of Human Rights reads: "Everyone has the right to life, liberty and security of person." Such a norm contains no reference to any context or circumstances that might justify limiting those rights - and therein lies the power of human rights language. When lawyers or activists attach a particular situation to a human rights norm, they seek to persuade others to see that situation in isolation from its historical context and usual justifications, as a violation. Human rights norms are ahistorical and decontextualized, and that is the point of invoking them. After the Second World War, activists around the world hoped that people would think ever more in terms of human rights norms, and the Allies encour aged that hope. However, the use of the ahistorical fanguage of human rights in occupied and West Germany - the subject of this essay - was difficult and inevitably controversial. In practice, the language of human rights in West Germany highlighted the tension between the Federal Republic's most prized moral claims: to have enshrined timeless, universal human rights, and to have accepted the specific historical responsibility of Nazism. While the former asks listeners to set aside context, the latter depends on a specific context for its significance. \ There was and is no single, typical West German "take" on human rights. -
Introduction
Cambridge University Press 978-0-521-14571-8 - German Intellectuals and the Nazi Past A. Dirk Moses Excerpt More information Introduction The proposition that the Federal Republic of Germany has developed a healthy democratic culture centered around memory of the Holocaust has almost become a platitude.1 Symbolizing the relationship between the Federal Repub- lic’s liberal political culture and honest reckoning with the past, an enormous Memorial to the Murdered Jews of Europe adjacent to the Bundestag (Federal Parliament) and Brandenburg Gate in the national capital was unveiled in 2005. States usually erect monuments to their fallen soldiers, after all, not to the vic- tims of these soldiers. In the eyes of many, the West German and, since 1990, the united German experience has become the model of how post-totalitarian and postgenocidal societies “come to terms with the past.”2 Germany now seemed no different from the rest of Europe – or, indeed, from the West generally. Jews from Eastern Europe are as happy to settle there as they are to emigrate to Israel, the United States, or Australia.3 1 Bill Niven, Facing the Nazi Past: United Germany and the Legacy of the Third Reich (London and New York, 2002). For an excellent overview of postwar memory politics, see Andrew H. Beattie, “The Past in the Politics of Divided and Unified Germany,” in Max Paul Friedman and Padraic Kenney, eds., Partisan Histories: The Past in Contemporary Global Politics (Houndmills, 2005), 17–38. 2 For example, Daniel J. Goldhagen, “Modell Bundesrepublik: National History, Democracy and Internationalization in Germany,” Common Knowledge, 3 (1997), 10–18. -
The London School of Economics and Political Science German Print Media Coverage in the Bosnia and Kosovo Wars of the 1990S Marg
1 The London School of Economics and Political Science German Print Media Coverage in the Bosnia and Kosovo Wars of the 1990s Margit Viola Wunsch A thesis submitted to the Department of International History of the London School of Economics for the degree of Doctor of Philosophy, London, November 2012 2 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. Abstract This is a novel study of the German press’ visual and textual coverage of the wars in Bosnia (1992-95) and Kosovo (1998-99). Key moments have been selected and analysed from both wars using a broad range of publications ranging from extreme-right to extreme-left and including broadsheets, a tabloid and a news-magazine, key moments have been selected from both wars. Two sections with parallel chapters form the core of the thesis. The first deals with the war in Bosnia and the second the conflict in Kosovo. Each section contains one chapter on the initial phase of the conflict, one chapter on an important atrocity – namely the Srebrenica Massacre in Bosnia and the Račak incident in Kosovo – and lastly a chapter each on the international involvement which ended the immediate violence.