History Festival 17–21/October War Or Peace
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An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson
An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson A Thesis submitted by: Andre Weiss B. A. 1998 Supervisor: Dr. Gavin Stamp Submitted in fulfilment of the requirements for the Master of Architecture Mackintosh School of Architecture, The University of Glasgow September 1999 ProQuest N um ber: 13833922 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13833922 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Contents List of Illustrations ...................................................................................................... 3 Introduction .................................................................................................................9 1. The Previous Claims of an InfluentialRelationship ............................................18 2. An Exploration of the Individual Backgrounds of Thomson and Schinkel .............................................................................................................38 -
Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895)
Private Lives and Collective Destinies: Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895) Dissertation submitted for the degree of Doctor of Philosophy Benedict Keble Schofield Department of Germanic Studies University of Sheffield June 2009 Contents Abstract v Acknowledgements vi 1 Introduction 1 1.1 Literature and Tendenz in the mid-19th Century 1 1.2 Gustav Freytag: a Literary-Political Life 2 1.2.1 Freytag's Life and Works 2 1.2.2 Critical Responses to Freytag 4 1.3 Conceptual Frameworks and Core Terminology 10 1.4 Editions and Sources 1 1 1.4.1 The Gesammelte Werke 1 1 1.4.2 The Erinnerungen aus meinem Leben 12 1.4.3 Letters, Manuscripts and Archival Material 13 1.5 Structure of the Thesis 14 2 Political and Aesthetic Trends in Gustav Freytag's Vormiirz Poetry 17 2.1 Introduction: the Path to Poetry 17 2.2 In Breslau (1845) 18 2.2.1 In Breslau: Context, Composition and Theme 18 2.2.2 Politically Responsive Poetry 24 2.2.3 Domestic and Narrative Poetry 34 2.2.4 Poetic Imagination and Political Engagement 40 2.3 Conclusion: Early Concerns and Future Patterns 44 3 Gustav Freytag's Theatrical Practice in the 1840s: the Vormiirz Dramas 46 3.1 Introduction: from Poetry to Drama 46 3.2 Die Brautfahrt, oder Kunz von der Rosen (1841) 48 3.2.1 Die Brautfahrt: Context, Composition and Theme 48 3.2.2 The Hoftheater Competition of 1841: Die Brautfahrt as Comedy 50 3.2.3 Manipulating the Past: the Historical Background to Die Brautfahrt 53 3.2.4 The Question of Dramatic Hero: the Function ofKunz 57 3.2.5 Sub-Conclusion: Die -
The Changing Depiction of Prussia in the GDR
The Changing Depiction of Prussia in the GDR: From Rejection to Selective Commemoration Corinna Munn Department of History Columbia University April 9, 2014 Acknowledgments I would like to thank my advisor, Volker Berghahn, for his support and guidance in this project. I also thank my second reader, Hana Worthen, for her careful reading and constructive advice. This paper has also benefited from the work I did under Wolfgang Neugebauer at the Humboldt University of Berlin in the summer semester of 2013, and from the advice of Bärbel Holtz, also of Humboldt University. Table of Contents 1. Introduction……………………………………………………………………….1 2. Chronology and Context………………………………………………………….4 3. The Geschichtsbild in the GDR…………………………………………………..8 3.1 What is a Geschichtsbild?..............................................................................8 3.2 The Function of the Geschichtsbild in the GDR……………………………9 4. Prussia’s Changing Role in the Geschichtsbild of the GDR…………………….11 4.1 1945-1951: The Post-War Period………………………………………….11 4.1.1 Historiography and Publications……………………………………11 4.1.2 Public Symbols and Events: The fate of the Berliner Stadtschloss…14 4.1.3 Film: Die blauen Schwerter………………………………………...19 4.2 1951-1973: Building a Socialist Society…………………………………...22 4.2.1 Historiography and Publications……………………………………22 4.2.2 Public Symbols and Events: The Neue Wache and the demolition of Potsdam’s Garnisonkirche…………………………………………..30 4.2.3 Film: Die gestohlene Schlacht………………………………………34 4.3 1973-1989: The Rediscovery of Prussia…………………………………...39 4.3.1 Historiography and Publications……………………………………39 4.3.2 Public Symbols and Events: The restoration of the Lindenforum and the exhibit at Sans Souci……………………………………………42 4.3.3 Film: Sachsens Glanz und Preußens Gloria………………………..45 5. -
Press Release Berlin, 15 February 2019
Press Release Berlin, 15 February 2019 Schlüter’s colossal sculptures have arrived in the Humboldt Forum The eight surviving colossal sculptures from the workshop of the famous sculptor and architect Andreas Schlüter have returned to the Schlossplatz – their place of origin. The sandstone figures, which are all on loan from the Staatliche Museen zu Berlin – Stiftung Preußischer Kulturbesitz, were recently transported from the Bode Museum and the Palace Workshop to the Humboldt Forum, where they have been put on display in the Sculpture Hall. When the Humboldt Forum opens at the end of this year, visitors will be able to see these marvellous sculptures, united once more as an intrinsic part of the history of the location. Schlüter’s eight sandstone sculptures originally stood in the Berlin Palace courtyard that bears his name – the Schlüterhof. They were among the few sculptures that were fortunately salvaged from the ruins of the Palace before its demolition in 1950. With the exception of the nineteenth-century copy of Antinous, they were all made in the seventeenth century. Six of the sculptures originally crowned the columns in front of the great courtyard portal, where, at over three metres high, they served as dignified ornamentation for the palace courtyard. They represent a canon of the ideal virtues of a ruler. Meleager, for example, stands for heroism and the protection of his subjects, Apollo symbolizes the nurturing of art and science, whilst Mercury represents the promotion of trade and the economy. The other two[NM1], the robed [ERJ2]female figures Industry and Harmony, adorned the interior wall of Gateway 1. -
Neue Wache (1818-1993) Since 1993 in the Federal Republic of Germany the Berlin Neue Wache Has Served As a Central Memorial Comm
PRZEGLĄD ZACHODNI 2011, No 1 ZbIGNIEw MAZuR Poznań NEUE WACHE (1818-1993) Since 1993 in the Federal Republic of Germany the berlin Neue wache has served as a central memorial commemorating the victims of war and tyranny, that is to say it represents in a synthetic gist the binding German canon of collective memo- ry in the most sensitive area concerning the infamous history of the Third Reich. The interior decor of Neue wache, the sculpture placed inside and the commemorative plaques speak a lot about the official historical policy of the German government. Also the symbolism of the place itself is of significance, and a plaque positioned to the left of the entrance contains information about its history. Indeed, the history of Neue wache was extraordinary, starting as a utility building, though equipped with readable symbolic features, and ending up as a place for a national memorial which has been redesigned three times. Consequently, the process itself created a symbolic palimpsest with some layers completely obliterated and others remaining visible to the eye, and with new layers added which still retain a scent of freshness. The first layer is very strongly connected with the victorious war of “liberation” against Na- poleonic France, which played the role of a myth that laid the foundations for the great power of Prussia and then of the later German Empire. The second layer was a reflection of the glorifying worship of the fallen soldiers which developed after world war I in European countries and also in Germany. The third one was an ex- pression of the historical policy of the communist-run German Democratic Republic which emphasized the victims of class struggle with “militarism” and “fascism”. -
Berlin - Wikipedia
Berlin - Wikipedia https://en.wikipedia.org/wiki/Berlin Coordinates: 52°30′26″N 13°8′45″E Berlin From Wikipedia, the free encyclopedia Berlin (/bɜːrˈlɪn, ˌbɜːr-/, German: [bɛɐ̯ˈliːn]) is the capital and the largest city of Germany as well as one of its 16 Berlin constituent states, Berlin-Brandenburg. With a State of Germany population of approximately 3.7 million,[4] Berlin is the most populous city proper in the European Union and the sixth most populous urban area in the European Union.[5] Located in northeastern Germany on the banks of the rivers Spree and Havel, it is the centre of the Berlin- Brandenburg Metropolitan Region, which has roughly 6 million residents from more than 180 nations[6][7][8][9], making it the sixth most populous urban area in the European Union.[5] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one- third of the city's area is composed of forests, parks, gardens, rivers, canals and lakes.[10] First documented in the 13th century and situated at the crossing of two important historic trade routes,[11] Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[12] Berlin in the 1920s was the third largest municipality in the world.[13] After World War II and its subsequent occupation by the victorious countries, the city was divided; East Berlin was declared capital of East Germany, while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall [14] (1961–1989) and East German territory. -
Architecture in Berlin. a Walk Through History Instructor
Course title: Architecture in Berlin. A Walk through History Instructor: Dr. Gernot Weckherlin Email address: [email protected] Track: A-Track Language of instruction: English Contact hours: 48 (6 per day) ECTS-Credits: 5 Prerequisites: Students should be able to speak and read English at the upper intermediate level (B2) or higher. Course description This course gives a wide overview of the development of public and private architecture in Berlin during the 19th, 20th and 21st centuries. Following an introduction to the urban development and architectural history of the Modern era, the Neo-Classical period will be surveyed with special reference to the works of Schinkel. This will be followed by classes on architecture of the German Reich after 1871, which was characterized by both modern and conservative tendencies and the manifold activities during the time of the Weimar Republic in the 1920s such as the Housing Revolution. The architecture of the Nazi period will be examined, followed by the developments in East and West Berlin after the Second World War. The course concludes with a detailed review of the city’s more recent and current architectural profiles, including an analysis of the conflicts concerning the re-design of Berlin after the Cold War and the German reunification. Seven walking tours to historically significant buildings and sites are included (Unter den Linden, Gendarmenmarkt, New Housing Estates, Chancellory, Potsdamer Platz, Holocaust Memorial etc.). The course aims to offer a deeper understanding of the interdependence of Berlin’s architecture and the city’s social and political structures. It considers Berlin as a model for the highways and by-ways of a European capital in modern times. -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
HUF-10P-Formatiert-Final-1-150316 EN LA Ab LA
The Humboldt-Forum is ► an international meeting point and forum for the world The Humboldt-Forum aims to improve our understanding of the globalised world in which we live by raising questions and also searching for solutions. It is our goal to promote interaction between different cultures and to increase mutual understanding. In today’s mediated world, geographical distances / dimensions are less and less determining factors for many people. However, this change has not been accompanied by an increase in genuine understanding for one another, so it is all the more important to support this understanding, and to highlight developments in relationships between cultures and societies. The forum seeks to illuminate the tasks with which we are faced – in our cultures, societies, economies, and politics. ► a new home for equal rights, tolerance and democracy The Berlin Palace and the square where it is situated look back on a turbulent history. Even as the palace conjures notions of the building’s historical identity, the reconstructed palace will primarily serve as the home of the Humboldt-Forum; and thus help foster a respectful and equitable world community founded on the principle of diversity. History, however, will not be buried in the process: a number of freely accessible areas will address the palace’s history and reveal traces of the past. ► a historical, present, and future obligation Following in the spirit of Alexander and Wilhelm von Humboldt, the brothers who give the Humboldt-Forum its name and conceptual ideas, the forum is characterised by its cosmopolitan worldview and democratic consciousness. Actors and partners of the Humboldt-Forum committed to this tradition include the Stiftung Preussischer Kulturbesitz (Prussian Cultural Heritage Foundation) with its two National Museums, the Berlin State, with especially the Humboldt-Universität zu Berlin, as well as the Stiftung Berliner Schloss – Humboldt Forum (Berlin Palace – Humboldt Forum Foundation). -
History and Memory in International Youth Meetings Authors Ludovic Fresse, Rue De La Mémoire Ines Grau, Aktion Sühnezeichen Friedensdienste E.V
Pedagogical Vade mecum History and memory in international youth meetings Authors Ludovic Fresse, Rue de la Mémoire Ines Grau, Aktion Sühnezeichen Friedensdienste e.V. Editors Sandrine Debrosse-Lucht and Elisabeth Berger, FGYO Manuscript coordination Pedagogical Vade mecum Corinna Fröhling, Cécilia Pinaud-Jacquemier and Annette Schwichtenberg, FGYO Graphic design Antje Welde, www.voiture14.com History and memory We would like to thank the members of the working group “How can we take a multi-perspective approach to history in youth meetings while meeting the goals of peace education and of a reinforced awareness of European citizenship?”: in international Claire Babin, Aktion Sühnezeichen Friedensdienste e.V. Konstantin Dittrich, Volksbund Deutsche Kriegsgräberfürsorge e.V. Ludovic Fresse, Rue de la Mémoire youth meetings Ines Grau, Aktion Sühnezeichen Friedensdienste e.V. Claire Keruzec, Aktion Sühnezeichen Friedensdienste e.V. Bernard Klein, Centre international Albert Schweizer, Volksbund Deutsche Kriegsgräberfürsorge e.V. Jörn Küppers, Interju e.V. Julie Morestin, Volksbund Deutsche Kriegsgräberfürsorge e.V. Johanna Reyer Hannah Röttele, Universität Göttingen Torsten Rutinowski, Transmedia Michael Schill, Europa-Direkt e.V. Richard Stock, Centre européen Robert Schuman Garance Thauvin Dorothée Malfoy-Noël, OFAJ / DFJW Karin Passebosc, OFAJ / DFJW for their contributions. Translation Claire Elise Webster and Jocelyne Serveau Copyright © OFAJ / DFJW, 2016, 2019 Print Siggset ISBN 978-2-36924-004-4 4 5 PREFACE The French “Rue de la Mémoire” association is a pedagogical laboratory Commemorations surrounding the Centenary of the First World War have shown how dedicated to working with history and memory as vectors of active closely historical recollection and political activity are linked. This is especially true with citizenship. -
Cultural Contact Point Serbia Office Ministry of Culture and Media of The
Cultural Contact Point Serbia Office Ministry of Culture and Media of the Republic of Serbia YUropa Conference & Šporet Workshops 11th – 14th Septembar 2013 September 11th The Cultural Centre of Belgrade / KCB — ARTGET Gallery 6, Knez Mihailova Street Balkan-Arab Exchange Platform Roberto Cimetta Fund and Cultural Contact Point Serbia Office with the support of the Ministère de la Culture et de la Communication de la République Française and Institut français de Serbie 14.00 – 19.00 Enlightening hidden passes: the reality of cultural mobility between Balkans, Europe and the Arab world Welcome words Angie Cotte, General Secretary RCF Lola Joksimović, Head of office CCP Introductory word Encounter of two “diverse” world cultural regions Prof. Dr Milena Dragićević-Šešić, UNESCO Chair for Cultural Policy and Management/ University of Arts in Belgrade Ferdinand Richard, Chairman of the Roberto Cimetta Fund Jean-Luc Goester, Cultural Counselor & Director of the Institut français de Serbie Nicolaus Keller, Director, Austrian Cultural Forum Belgrade, President EUNIC Participating experts from Arab countries: ABI AZAR Lamia [Zoukak Theatre Company] Lebanon • ACHOUR Lotfi, Theatre Director, Tunisia / France • BOUDOU Karima, Curator [L’Appartment 22] Rabat, Morocco • EVAZZADEH Vahid, Theatre Director [Goossun Art-illery] Iran / Denmark • MARTHA Samar, Director [Art School] Palestine • SALEM Alma, Programme Manager for the Arts [British Council] Beirut, Lebanon • SALIH Kamel, Director [Pop in Djerba] Tunisia • SOLIMAN Abeer, Writer and Project manager -
Ankauf Reimarherbst-Erläuterungsbericht
Wiedererrichtung des Berliner Schlosses 771828 Bau des Humboldt-Forums im Schlossareal Berlin Erläuterungstext Wettbewerbsentwurf Leitidee des Entwurfes ist es mit dem Bau des Humboldt-Forums den städtebaulichen Raum entsprechend des historischen Vermächtnisses wieder herzustellen und den Dialog mit den angrenzenden Strukturen wieder aufzunehmen. Diesem Ansatz folgend wird die Stereometrie des ehemaligen Berliner Schlosses mit zwei Höfen und dem Apothekerflügel aufgenommen und neu interpretiert. Raum Der Baukörper definiert und hierarchisiert Räume: den städtischen Außenraum, Schlossplatz, Schlossfreiheit und Schlossterrassen mit Lustgarten, die öffentlichen Höfe, die Agora und die internen Atrien. Transparenz Die Verknüpfung dieser Räume eröffnet Blickbeziehungen zwischen den städtischen Räumen und aus dem Gebäude in typologisch differenzierte Freiräume. Städtebau Mit der Kubatur des ehemaligen Schlosses und des Apothekerflügels werden stadträumliche Kanten und das historische Platzgefüge wieder hergestellt. Das Alte Museum und der Dom erhalten mit dem „Neubau“ das historische Gegenüber und der Lustgarten seine historische Einfassung. Kolonnaden Die räumliche Fassung wird durch das Motiv der Kolonnaden verstärkt, die vom Alten Museum übernommen und über den Säulengang des Berliner Doms über die Karl-Liebknecht-Strasse hinweg zum Humboldtforum überleiten und direkt ins Neue Gebäude führen. Höfe Der Erhalt der beiden Höfe in ihrer ursprünglichen Größe und Offenheit war höchste Priorität, um das Humboldt-Forum, so wie ehemals das Berliner Schloss, ganzheitlich in das Gewebe der städtischen Struktur einzubinden. Im Inneren des Gebäudes erinnert der zentrale Luftraum in der Agora an den historischen Eishof. Durchwegung Das Humboldt-Forum nimmt die historischen Erschließungs- und Blickachsen auf und führt den Besucher über alle fünf historischen Portale in die offenen und miteinander verbundenen Höfe. Beide Höfe sind durch Kolonnaden räumlich gegliedert.