Zeitsprung 2/2010 Reformation
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
French and German Cultural Cooperation, 1925-1954 Elana
The Cultivation of Friendship: French and German Cultural Cooperation, 1925-1954 Elana Passman A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History Chapel Hill 2008 Approved by: Dr. Donald M. Reid Dr. Christopher R. Browning Dr. Konrad H. Jarausch Dr. Alice Kaplan Dr. Lloyd Kramer Dr. Jay M. Smith ©2008 Elana Passman ALL RIGHTS RESERVED ii ABSTRACT ELANA PASSMAN The Cultivation of Friendship: French and German Cultural Cooperation, 1925-1954 (under the direction of Donald M. Reid) Through a series of case studies of French-German friendship societies, this dissertation investigates the ways in which activists in France and Germany battled the dominant strains of nationalism to overcome their traditional antagonism. It asks how the Germans and the French recast their relationship as “hereditary enemies” to enable them to become partners at the heart of today’s Europe. Looking to the transformative power of civic activism, it examines how journalists, intellectuals, students, industrialists, and priests developed associations and lobbying groups to reconfigure the French-German dynamic through cultural exchanges, bilingual or binational journals, conferences, lectures, exhibits, and charitable ventures. As a study of transnational cultural relations, this dissertation focuses on individual mediators along with the networks and institutions they developed; it also explores the history of the idea of cooperation. Attempts at rapprochement in the interwar period proved remarkably resilient in the face of the prevalent nationalist spirit. While failing to override hostilities and sustain peace, the campaign for cooperation adopted a new face in the misguided shape of collaborationism during the Second World War. -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
MAX BECKMANN, New Book by Peter Selz
The Museum of Modern Art No. kB FOR RELEASE: est 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Thursday, October 1, I96U HAX BECKMANN by Peter Selz, with contributions by Perry T. Rathbone and Harold Joachim, is the first major monograph on the German-born (I88U-I950) artist to be written in English. The 160-page book, illustrated with reproductions of 121 paint ings, drawings and prints, 13 of them in color, discusses in detail Beckmann*s ca reer as artist and teacher in this country and abroad, and offers a penetrating analysis of his paintings and their iconography. Published by The Museum of Modern Art and printed in Germany, the handsome format of the book--which includes three large foldout illustrations of Beckmann's famous triptychs: Departure. Blindman's Buff and The Argonauts--was designed by Werner Brudi, a young German-born designer now working in New York. Now recognized as one of the leading European painters of the twentieth century, Beckmann1 s modernity lies in his attitude toward experience rather than in formal experiments. Dr. Selz, Curator of Painting and Sculpture Exhibitions at The Museum of Modern Art, writes, "Beckmann, by endowing the dream with precise structure and meticulous detail, belongs to that mainstream of modernism which has its parallels in the writings of Kafka and Joyce, the paintings of de Chirico and Bacon, and the films of Antonioni and Bergman. In all their work the feeling of human estrangement is enhanced by the use of hard physical reality." MAX BECKMANN, which is one of The Museum of Modern Art's major Fall books, is published on the occasion of a large retrospective of the artist's work which will travel to Boston, New York and Chicago in this country, and then be shown at Hamburg and Frankfurt in Germany, and finally at London's Tate Gallery. -
Television and the Cold War in the German Democratic Republic
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages Envisioning Socialism Revised Pages Revised Pages Envisioning Socialism Television and the Cold War in the German Democratic Republic Heather L. Gumbert The University of Michigan Press Ann Arbor Revised Pages Copyright © by Heather L. Gumbert 2014 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (be- yond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2017 2016 2015 2014 5 4 3 2 A CIP catalog record for this book is available from the British Library. ISBN 978– 0- 472– 11919– 6 (cloth : alk. paper) ISBN 978– 0- 472– 12002– 4 (e- book) Revised Pages For my parents Revised Pages Revised Pages Contents Acknowledgments ix Abbreviations xi Introduction 1 1 Cold War Signals: Television Technology in the GDR 14 2 Inventing Television Programming in the GDR 36 3 The Revolution Wasn’t Televised: Political Discipline Confronts Live Television in 1956 60 4 Mediating the Berlin Wall: Television in August 1961 81 5 Coercion and Consent in Television Broadcasting: The Consequences of August 1961 105 6 Reaching Consensus on Television 135 Conclusion 158 Notes 165 Bibliography 217 Index 231 Revised Pages Revised Pages Acknowledgments This work is the product of more years than I would like to admit. -
Volume 7. Nazi Germany, 1933-1945 Hitler's Speech at the Opening Of
Volume 7. Nazi Germany, 1933-1945 Hitler’s Speech at the Opening of the House of German Art in Munich (July 18, 1937) On the day before the start of the “Degenerate Art” exhibition, Hitler concurrently opened the House of German Art in Munich, a new museum designed by architect Paul Ludwig Troost (1873-1934), and its first show, the “Great German Art Exhibition.” The House of German Art was built on the former site of the Glass Palace, a grandly conceived iron and glass exhibition hall dating from the mid-nineteenth century. The Glass Palace had been destroyed in a fire, reportedly the result of arson, on June 6, 1931. At the time of its destruction, the Glass Palace housed an extensive exhibition of German Romantic paintings by masters Caspar David Friedrich (1774-1840), Phillipp Otto Runge (1777-1810), and others. In his opening speech, Hitler referred to the destruction of both the Glass Palace and the works exhibited therein. He mourned the loss of paintings that he perceived as genuinely “German,” the point of comparison being the modern artworks that Hitler reviled and disparaged as Bolshevist, Jewish, foreign, etc. For Hitler, the rehabilitation of Germany in the wake of 1918 was not just a matter of politics or economics but also, and even primarily, a matter of culture and art. Hitler saw the construction of the House of German Art and the organization of the “Great German Art Exhibition” as an opportunity for the Third Reich to define a new concept for a great and truly “German” art. -
Dissident Artists' Associations of Germany 1892-1912
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1984 Dissident Artists' Associations of Germany 1892-1912 Mary Jo Eberspacher Eastern Illinois University This research is a product of the graduate program in History at Eastern Illinois University. Find out more about the program. Recommended Citation Eberspacher, Mary Jo, "Dissident Artists' Associations of Germany 1892-1912" (1984). Masters Theses. 2826. https://thekeep.eiu.edu/theses/2826 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced -
East German Art and Cultural Politics: an Introduction by April A
East German Art and Cultural Politics: An Introduction By April A. Eisman 1 y On October 7, 1949, the Soviet Zone of Occupation in post-war Germany became the German Democratic r a r b i Republic (GDR, or East Germany). From the beginning, art played an important role in East Germany, where it L m l was viewed as a vital element in the development of the ‘all-around socialist personality.’ Artists were i F A F expected to create art that addressed the people, while the people were expected to be interested in art and E D e to explore their creative side. The form that this art was to take, however, was a source of frequent debate h t y b over the forty-year history of the GDR, and especially in the first two decades of the country’s existence. e s a Although many communist artists had embraced modernism during the Weimar Republic and were persecuted e l e R by the Nazis for both their political and aesthetic beliefs, the East German leadership often had difficulty D V D accepting modernist styles in these early years, in part because of the Soviet Union’s emphasis on a conser - A • vative style of socialist realism. Seeing similarities between the Soviets’ artistic style—one marked by opti - s t r o mism, monumentalism and a straightforward realism—and that of the Nazis, many East German artists, on h S x i the other hand, challenged its suitability for the GDR. The result was a cultural policy marked by freezes and S K R thaws depending on whose views—politicians’ or artists’—had the upper hand. -
Germany in Perspective Geography Introduction the Federal Republic of Germany Sits in the Heart of Europe
COUNTRY IN PERSPECTIVE GERMANY Schloss Neuschwanstein.Palace in Bavaria Flickr / Kay Gaensler DLIFLC DEFENSE LANGUAGE INSTITUTE FOREIGN LANGUAGE CENTER COUNTRY IN PERSPECTIVE | GERMANY TABLE OF CONTENT Geography Introduction ................................................................................................................... 5 Geography and Topological Features ...................................................................... 6 Northern German Plain ......................................................................................6 Central Uplands ...................................................................................................6 The Alpen Foreland and the Alps .....................................................................7 Climate ..................................................................................................................7 Bodies of Water ............................................................................................................ 8 Rivers .....................................................................................................................8 Lakes and Seas ...................................................................................................9 Major Cities ..................................................................................................................10 Berlin ....................................................................................................................10 Hamburg ............................................................................................................ -
Postwar Landscapes: Joseph Bevys and the Reincarnation of German Romanism
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Senior Thesis Projects, 2003-2006 College Scholars 2003 Postwar Landscapes: Joseph Bevys and the Reincarnation of German Romanism Lauren Smith Follow this and additional works at: https://trace.tennessee.edu/utk_interstp3 Recommended Citation Smith, Lauren, "Postwar Landscapes: Joseph Bevys and the Reincarnation of German Romanism" (2003). Senior Thesis Projects, 2003-2006. https://trace.tennessee.edu/utk_interstp3/38 This Project is brought to you for free and open access by the College Scholars at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Senior Thesis Projects, 2003-2006 by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. COLLEGE SCHOLARS PROJECT PROPOSAL APPROVAL . ." 'i;t' " Scholar Mentor Proposed Project Title and Completion Date (semester &year) SU'll\e.~{e.y ~ 3~~~ doo3 COMMITTEE MEMBERS' SIGNATURES (Minimum 3 Required) Cl...vL~ lkkJ..Y2:fi~. · ----",,-l>owtta~'.'.• '. ,~. M~' HM~_ . l . ) 1_______ { ~' . -~ " ... ,'.....+-. ') .. , PLEASE ATTACH A COPY OF THE WRITTEN PROPOSAL TO THIS SHEET, AND RETURN BOTH TO THE COLLEGE SCHOLARS OFFICE (1208 MCCLUNG TOWER). DATE APPROVED ______________ Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren E. Smitil College Scholars Senior Thesis University of Tennessee May 1,2003 Dr. Dorothy Habel, Dr. Tim Hiles, and Dr. Peter Hoyng, presiding committee Contents I. Introduction 3 II. Beuys' Germany: The 'Inability to Mourn' 3 III. Showman, Shaman, or Postwar Savoir? 5 IV. Beuys and Romanticism: Similia similibus curantur 9 V. Romanticism in Action: Celtic (Kinloch Rannoch) 12 VI. Celtic+ ---: Germany's symbolic salvation in Basel 22 VII. -
Turks, Jews, and Other Germans in Contemporary Art an Introduction
peter chametzky Turks, Jews, and Other Germans in Contemporary Art An Introduction The urge to migrate is no less “natural” than the urge to settle. Kwame Anthony Appiah One might argue, in fact, that it is simply irresponsible for European states to continue to allow significant segments of their populations to be driven by nostalgia for homogeneity. There is no longer room to pretend that European countries will return to some imagined, idealized state of ethnic and cultural sameness. Rita Chin ich werde deutsch ch werde deutsch (I become German) provides the provocative Ititle for a series begun in 2008 of large-scale, staged photographs by German photographer Maziar Moradi. Born in Tehran in 1975, Moradi’s series 1979 told the story of his own family’s experience in and emigra- tion from Islamic revolutionary Iran and won the German Photographic Society’s biennial Otto Steinert Prize in 2007. In Ich werde deutsch each image presents a transitional moment, now experienced in Germany, within extended geopolitical narratives of migration not limited to the artist’s family or to Iran. Moradi has described the series: I become German tells the stories of young migrants who have left their homelands and begun a new life in Germany, but through their families have grown up with a different cultural background. I’ve collected stories from these young people with a migration background (Menschen mit Migrationshintergrund) from childhood to adulthood . They relate problems . but also positive experiences and transformations . This project is a continuation of my work about my family, 1979 . but this time it’s about the next genera- tion, their children.1 655 THE MASSACHUSETTS REVIEW Peter Chametzky Many of the photographs in Ich werde deutsch depict single, contem- plative figu es in evocative settings. -
From Holy German Art to Degenerate Art: Nazi Ideology and Opera
Bard College Bard Digital Commons Senior Projects Fall 2020 Bard Undergraduate Senior Projects Fall 2020 From Holy German Art to Degenerate Art: Nazi Ideology and Opera Jingyi Zhou Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2020 Part of the German Language and Literature Commons, and the Music Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Zhou, Jingyi, "From Holy German Art to Degenerate Art: Nazi Ideology and Opera" (2020). Senior Projects Fall 2020. 37. https://digitalcommons.bard.edu/senproj_f2020/37 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Fall 2020 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. From Holy German Art to Degenerate Art: Nazi Ideology and Opera Senior Project submitted to The Division of Languages and Literatures of Bard College by Jingyi Zhou Annandale-on-Hudson, New York December 2020 Acknowledgement I would like to express my deepest and most sincere gratitude to my project advisor and German professor Franz Kempf, who has always given me untiring support, insightful advice, and warm encouragement. I can’t imagine the completion of this project without his help and support. My thanks also go to Professor Peter Laki. Our meetings during the summer gave me a deeper understanding of this topic as well as clearer planning for my project. I also want to thank Professor Stephanie Kufner who first introduced this amazing topic to me last year. -
View. Theories and Practices of Visual Culture
29 View. Theories and Practices of Visual Culture title: “Stranger in One’s Own Country”: Afro-Germans and Post-Unification Memory Contests in Laura Horelli’s "Namibia Today" and the Works of Ingrid Mwangi Hutter author: Justyna Balisz-Schmelz source: View. Theories and Practices of Visual Culture 29 (2021) URL: https://www.pismowidok.org/en/archive/2021/29-images-and-imageries- of-race-histories/foreign-in-own-country publisher: Widok. Foundation for Visual Culture affiliation: The Polish National Film, Television and Theatre School in Lodz Institute of Polish Culture, University of Warsaw The Institute of Literary Research of the Polish Academy of Sciences Justyna Balisz-Schmelz "Stranger in One's Own Country" “Stranger in One’s Own Country”: Afro- Germans and Post-Unification Memory Contests in Laura Horelli’s "Namibia Today" and the Works of Ingrid Mwangi Hutter Changing the story isn’t enough in itself, but it has often been foundational to real changes […]. Which means that every conflict is in part a battle over the story we tell, or who tells and who is heard.1 es ist ein blues in Schwarzweiß es ist ein blues das wieder vereinigte deutschland feiert sich wieder 1990 ohne immigrantInnen flüchtlinge jüdische und schwarze menschen… es feiert in intimem kreis es feiert in weiss2 In the above-quoted poem, blues in schwarz weiss, published in a 1995 volume of the same title, May Ayim, a Black German poet and activist, identifies the new dividing lines which sprang up unnoticed amid the euphoria of reunification and polarized German society once again. As ideological and geopolitical divisions fell, economic and ethnic inequality surged, while the nationalism-inflected rhetoric championing German solidarity for all citizens – Black Germans ostensibly included – was a clear signal that they would be excluded from the post-unification symbolic community.