Bauhaus and a Spirit of Subtle Resistance State, Including the Fi Rst Old and 1720S

Total Page:16

File Type:pdf, Size:1020Kb

Bauhaus and a Spirit of Subtle Resistance State, Including the Fi Rst Old and 1720S Review beginnings of the welfare starts around the 1710s Bauhaus and a spirit of subtle resistance state, including the fi rst old and 1720s. The collection age pension. embodies a pre-imperial idea It is hard not to be caught of understanding, for two Two items from the up with the director’s reasons. First is so that you exhibition tell revealing enthusiasm as he delves into can trade with the world, stories about life in Germany’s history. Using but if you compare diff erent Germany in the 20th Gutenberg’s Bible, he societies, you can get a better Century. Both have a link portrays Mainz in southern idea of your own. So above all to the Weimar School of Germany as the start-up it’s about tolerance. Architecture and Design, capital of the world in the ‘The major worry for any called the Bauhaus, which 15th century. government in the early 18th pioneered modern design All the skills and century was how you stop civil in the 1920s. Because of its who got their just deserts. connections were there war on the basis of religion. socialist and internationalist Intriguingly, the typeface – advanced metallurgy One of the best ways is to look outlook, the Nazis set out is a product of Bauhaus to make the revolutionary at other religions and then see to destroy it. design. It was made by a movable type, wine presses there’s no one true way. The The fi rst item is a ceramic camp inmate, the communist to provide the model for the point of this collection is to vase, above, by Greta Marks. architect Franz Ehrlich, who fi rst printing press, and the show that we all do the same Displaying African was imprisoned on a charge Frankfurt fair, where thing in diff erent ways and infl uences, it is a striking of treason in 1934. The font Gutenberg could order high there’s no best way.’ piece even today. Goebbels, displayed what MacGregor quality paper from Italy for If you want to see a ‘trophy the Nazi propaganda calls ‘a spirit of subtle delivery every six months. museum’, the place to look is minister, singled it out as resistance’, which the inmates Most important, there was the Louvre which is about the ‘decadent art’. Marks fl ed understood to mean that a large literate population state and France’s place in the to Britain and continued one day the Nazis would linked by the trade network of Mediterranean world. The working but never again get justice. German rivers which ensured British Museum, he insists, is found the inspiration of Ehrlich was set free in he could make a profi t. about the citizen and it is ‘the her early work. 1939 and, uniquely for a ‘You have an unusually high private collection of everyone’. The second is the communist, allowed to work concentration of courts, What’s next after Germany? inscription Jedem das Seine through the Nazi period. each of them with their own An exploration of Australia – to each his due – on the At the end of the war he bureaucracy. So you have the through Aboriginal eyes, gate of Buchenwald was fêted as a hero in the public to support a growing using the Museum’s early and concentration camp, where East Germany. The story book market. There was well-documented collection many Jews and communists of how he negotiated life nowhere else in Europe of Aboriginal material. This were incarcerated, including with two kinds of tyrannical with that concentration of exhibition is being organized two prime ministers of regime does not end there, cities linked by trade routes jointly with the National France, and 56,000 people however. and rivers.’ Museum in Canberra with died. Unlike the more famous ‘We fi nd the story of MacGregor raises his voice the engagement of indigenous inscription on the gate at Ehrlich the good communist in irritation only once, when people, as part of Australia’s Auschwitz, this one faces moving. But when the Stasi I suggest that the British attempt to renegotiate its inwards and was designed to archives were opened, it Museum – ‘the world in one relationship with the past... be seen by prisoners every emerged that he’d been a place’ – can be seen abroad as ‘another piece of history that day. The wording is one of very energetic informant – an imperial venture, showing we need’. the fundamental principles of and one of a very disagreeable Britain’s dominance of the Roman law. The Nazis sort,’ says MacGregor. world, rather than an attempt ‘Germany: Memories of a subverted it to show that it ‘This is a story that makes me to understand it. Nation’ is on at the British was they – not university extremely glad not to have ‘No, imperialism was a later Museum until January 2015 intellectuals – who decided been German at that time.’ phenomenon,’ he responds. and will be broadcast on BBC ‘The museum’s collection Radio 4 through October 46 | the world today | october & november 2014 REVIEWS 04.indd 46 30/09/2014 14:40.
Recommended publications
  • Geschichte Des Bauhauses
    GESCHICHTE DES BAUHAUSES Kommunistische und sozialdemokratische Bauhäusler für ein gemeinsames Ziel: Vernichtung der faschistischen Diktatur in Deutschland Gerhard Franke Seit mehreren Jahren beschäftige ich mich nun im Rahmen der G estatten Sie, daß ich Ihnen auszugsweise einige Ergebnisse jüng• Bauhausforschung mit der Teilnahme von ehemaligen Angehörigen ster Untersuchungen unterbreite, daß ich berichte über zwei Kom­ des Bauhauses am Widerstandskampf gegen die faschistische munisten und zwei Sozialdemokraten vom Bauhaus, über Waldemar Diktatur und ihre Kriegspolitik. Neues Quellenmaterial konnte ALDER und Franz EHRLICH, über Hans FAUST und Valentin dazu erschlossen werden, manche Tatbestände wurden bekannt, SCHMETZER. manches ist auch heute noch unbekannt. Bereits auf dem internationalen Bauhauskolloquium 1979 konnten Waldemar ALDER, Mitglied der Thälmannschen Partei, gehörte wir feststellen, einer Widerstandsgruppe von neun Kommunisten und parteilosen daß viele ehemalige Angehörige des Bauhauses aktiv am anti­ Antifaschisten an, die im Raum Potsdam 1933/34 sich der faschi­ faschistischen Widerstandskampf teilgenommen haben und auf stischen Diktatur entgegenstellten, indem sie sich organisierten, unterschiedliche Weise Verfolgungen ausgesetzt waren; antifaschistische Schriften verbreiteten und Solidarität mit Ver­ daß ihnen wegen sogenannten „Hochverrats" Prozesse gemacht, folgten und deren Familien übten. A ch t von ihnen verurteilte sie zu hohen Gefängnis- oder Zuchthausstrafen verurteilt, oder die Nazijustiz zu insgesamt 14 Jahren und 9 Monaten Zuchthaus­ auch in Konzentrationslager geworfen wurden, daß mehrere bzw. Gefängnisstrafe. Waldemar ALDER kam in das berüchtigte ihren antifaschistischen Kampf mit dem Leben bezahlen mußten; Zuchthaus Brandenburg-Görden und mußte dort, wie so viele Anti­ daß Bauhäusler, denen wegen sogenannter „staatsfeindlicher faschisten, manche Grausamkeiten der Aufseher erleiden. (Abb. 2) Betätigung" nach dem faschistischen Wehrgesetz 1935 d ie So entzog man ihm u.
    [Show full text]
  • Visual Arts in the Urban Environment in the German Democratic Republic: Formal, Theoretical and Functional Change, 1949–1980
    Visual arts in the urban environment in the German Democratic Republic: formal, theoretical and functional change, 1949–1980 Jessica Jenkins Submitted: January 2014 This text represents the submission for the degree of Doctor of Philosophy (in partial fulfilment of its requirements) at the Royal College of Art Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from this thesis may be published without proper acknowledgment. Author’s Declaration 1. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. 2. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted. Acknowledgements I would like to thank the very many people and institutions who have supported me in this research. Firstly, thanks are due to my supervisors, Professor David Crowley and Professor Jeremy Aynsley at the Royal College of Art, for their expert guidance, moral support, and inspiration as incredibly knowledgeable and imaginative design historians. Without a generous AHRC doctoral award and an RCA bursary I would not have been been able to contemplate a project of this scope. Similarly, awards from the German History Society, the Design History Society, the German Historical Institute in Washington and the German Academic Exchange Service in London, as well as additional small bursaries from the AHRC have enabled me to extend my research both in time and geography.
    [Show full text]
  • Technische Universität Berlin Jedem Das Seine
    Technische Universität Berlin Fakultät I | Institut für Sprache und Kommunikation Fachgebiet Allgemeine Linguistik Sekretariat H42, Straße des 17. Juni 135, 10623 Berlin Masterarbeit zur Erlangung des akademischen Grades Master of Arts (M.A.) zum Abschluss des Masterstudiengangs Sprache und Kommunikation Erstgutachterin: Prof. Dr. Dr. h.c. Monika Schwarz-Friesel Zweitgutachter: Dr. Simon Meier Jedem das Seine Von der Gerechtigkeitsformel zum Synonym von Massenmord? Eine korpuslinguistische Zeitungsanalyse einer nationalsozialistisch belasteten Phrase - eingereicht im Juni 2017 vorgelegt von Julian Gerlach (Matrikelnummer: 361761) Türkenstraße 21 13349 Berlin E-Mail: [email protected] Abstract Diese Arbeit setzt sich kritisch mit der Verwendung nationalsozialistisch belasteter Sprache im öffentlichen Diskurs auseinander. Grundlage hierfür ist die jahrtausendealte Gerechtigkeitsformel suum cuique, zu Deutsch Jedem das Seine, die von den Nationalsozialisten als zynische Inschrift am Innentor des Konzentrationslagers Buchenwald angebracht wurde und bis heute für Leidtragende ein Sinnbild des Nationalsozialismus darstellt. Da die Phrase jedoch ebenfalls für Gerechtigkeit, Individualität oder Gleichheit stehen kann und nicht zu den eindeutigen sprachlichen Pejorisierungsstrategien wie Zigeuner oder Neger gehört, wird sie in Printmedien hochfrequent gebraucht. Weiterhin finden sich zahlreiche Verwendungen der Phrase in der Werbebranche, um beispielsweise für einen hohen Grad an Individualität zu werben. Es herrscht somit kein öffentlicher
    [Show full text]
  • Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
    Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.
    [Show full text]
  • Sleep Like a Bauhaus Master
    P R E S S E M I T T E I L U N G 1. November 2013 Sleep Like a Bauhaus Master The studio building of the Dessau Bauhaus now offers you the opportunity to stay in rooms that were once lived in by Josef Albers, Alfred Arndt, or Franz Ehrlich - and the interior of Marianne Brandt's studio has been reconstructed as well. Visitors to the Bauhaus studio building in Dessau can now stay overnight in rooms that were occupied by Anni and Josef Albers, Gertrud and Alfred Arndt, or Franz Ehrlich in the 1920s. Recent research has made it possible to say exactly who resided in which apartment during the period between 1926 and 1932. These rooms have now been given a personal touch in the form of furni- ture and works of art by the respective members of the Bauhaus. The Preller- haus, as the studio building is called, can once again be experienced in its historical, programmatic function as a collective residence. Why not soak up the heady atmosphere of the 1920s and the wild excitement of life as it went on here at the Bauhaus? The Albers Room: The painter, sculptor and art theoretician Josef Albers (1888-1976) probably oc- cupied room 204 from September 1926 until he moved into a master's house in 1928. The Bauhaus master distinguished himself as a furniture designer, creating remarkable single items of furniture and furniture groups in the 1920s. Among them are an oak wood rack for periodicals and sheet music from 1923, a tea table of oak and white-painted glass from 1927 and a nesting table from 1926.
    [Show full text]
  • Neil Macgregor's German Lesson
    Review Germany, an object lesson Neil MacGregor introduces us to a little known land, Alan Philps writes From the window in Neil is, surprisingly, Germany. newest country in Europe MacGregor’s office you can Germany: Memories of a and now the most powerful, see the swirling crowds of Nation uses 200 objects to tell economically and politically. visitors in the courtyard of the country’s history in a way We need to understand the British Museum. Seven that challenges the British it more.’ million people a year squeeze obsession with Second World The exhibition is timed through the Museum’s War images. for the 25th anniversary of narrow door – almost double It follows the extraordinary the fall of the Berlin Wall in the number in 2000. success of MacGregor’s November. But the relevance MacGregor, director since History of the World in 100 is much more contemporary, 2002, puts the rise in visitors Objects – a series of 100 going to the heart of debates down to the stunning redesign 15-minute BBC radio in Britain about how power of the Great Court inside the broadcasts in which the should be shared among the museum with its glass and director brings to life exotic UK’s home nations and in steel roof which has made the pieces from the museum’s a dysfunctional Europe. museum more visitor friendly. collection. Thanks to his The lesson of the exhibition But much of the credit must beguiling delivery, both is that German history is go to him for his passionate erudite and puckish, the not about one man seizing belief that history should be podcasts have been all power into his hands but central to our understanding downloaded 24 million times.
    [Show full text]
  • Architecture, Identity, and Migration in a Socialist Model City
    Yale University EliScholar – A Digital Platform for Scholarly Publishing at Yale Masters of Environmental Design Theses Yale School of Architecture 5-2020 Heimat im Wartezimmer: Architecture, Identity, and Migration in a Socialist Model City Holly Bushman Yale University, [email protected] Follow this and additional works at: https://elischolar.library.yale.edu/envdesign Part of the Environmental Design Commons Recommended Citation Bushman, Holly, "Heimat im Wartezimmer: Architecture, Identity, and Migration in a Socialist Model City" (2020). Masters of Environmental Design Theses. 1. https://elischolar.library.yale.edu/envdesign/1 This Thesis is brought to you for free and open access by the Yale School of Architecture at EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Masters of Environmental Design Theses by an authorized administrator of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Heimat im Wartezimmer: Architecture, Identity, and Migration in a Socialist Model City Holly M. Anderson Bushman B.S. Bates College, 2016 A thesis submitted to the faculty of the Yale School of Architecture in partial fulfillment of the requirements for the degree of: Master of Environmental Design Yale University May 2020 _________________________________________ Keller Easterling Principal Advisor and M.E.D. Program Chair _________________________________________ Elihu Rubin Reader Abstract: Eisenhüttenstadt, the first “socialist model city” designed and constructed in the German Democratic Republic (GDR), provides an opportunity to scrutinize the relationship between state conceptions of architectural design and national identity in the early 1950s. Known as Stalinstadt until 1961, the community was founded in eastern Brandenburg in 1950 as housing for workers at the nearby ironworks Eisenhüttenkombinat Ost “J.
    [Show full text]
  • Bauhaus-Moderne in Der
    Eine Sonder aus stellung des A special exhibition celebrating alltag formen! shaping everyday life! Doku mentations zentrums the Bauhaus centenary in 2019 bauhaus-moderne bauhaus modernism Alltagskultur der DDR in in der ddr in the gdr Eisenhüttenstadt im Rahmen 9th April 2019 to 5th January 2020 des Bauhaus Jubiläums 2019 Opening: 7th April 2019 at 2 p.m. 9. April 2019 bis 5. Januar 2020 Eröffnung: 7.4.2019, 14 Uhr presseinformation press information alltag formen! shaping everyday life ! bauhaus-moderne bauhaus modernism in der ddr in the gdr [1] Stapelbarer Stahlrohrstuhl [1] Stackable tubular steel alltag formen! shaping everyday life! Modell 3101, Werksentwurf: chair Modell 3101, factory bauhaus-moderne bauhaus modernism VEB Stima Stendal, 1959/60 design: VEB Stima Stendal, [2] Simson S 50, Entwurf: Lutz 1959/60 in der ddr in the gdr Rudolph, Karl Clauss Dietel, [2] Simson S 50, design: Lutz Hersteller: VEB Fahrzeug und Rudolph, Karl Clauss Dietel, Gerätewerk Simson Suhl, 1967 manufacturer: VEB Fahrzeug und Gerätewerk Simson Suhl, 1967 Eine Sonder aus stellung des A special exhibition celebrating alltag formen! shaping everyday life! Doku mentations zentrums the Bauhaus centenary in 2019 bauhaus-moderne bauhaus modernism Alltagskultur der DDR in in der ddr in the gdr Eisenhüttenstadt im Rahmen 9th April 2019 to 5th January 2020 des Bauhaus Jubiläums 2019 Opening: 7th April 2019 at 2 p.m. 9. April 2019 bis 5. Januar 2020 Eröffnung: 7.4.2019, 14 Uhr presseinformation press information alltag formen! shaping everyday life ! bauhaus-moderne bauhaus modernism in der ddr in the gdr Anlässlich des Bauhaus-Jubiläums 2019 präsentiert das Do- As part of the Bauhaus centenary in 2019, the Documen- kumentationszentrum Alltagskultur der DDR im tation Centre of Everyday Culture of the GDR in brandenburgischen Eisenhüttenstadt ab dem 7.
    [Show full text]
  • Bauhaus · Modernism · Design 
    Bauhaus · Modernism · Design Editorial The State Bauhaus School was founded in 1919 and became more than just a world-famous school of architecture and art: The Bauhaus was a trailblazer, representing the modernism movement that gained interna- tional acclaim. Today it is considered to be the most influential German cultural export of the 20th century. The Bauhaus stands for great ideas in both design and social reform. It significantly shaped architecture, art, and design, and its influence has lasted up until the present day. Experi- ments in form and colour, architectural icons and everyday design, wild parties and minimalist buildings are closely associated with the Bauhaus. The roots of this modern movement — how it evolved, how it inspired and polarised — can all be experienced in and around Weimar more impressively than in almost any other region. Revolution. New begin- nings. Departure into a new era in Germany’s first democracy, which was also founded in Weimar in 1919. Full of hope, with the absolute will to design and to change. Courage to experiment and zest for life. But also: Arguments and contradiction. Rejection. Expulsion. In Weimar and the surrounding cities of Jena, Erfurt, and Gera, along with the nearby countryside, the bountiful architectural testimonials, the artistic works and historical venues, the current exhibitions and events explain the suspenseful history of the Bauhaus and modernism. Travellers in Thuringia not only find the heritage left by the international artistic avantgarde during the Bauhaus era, but they can also discover the in spiring designers who are working there today and will continue to do so in the future.
    [Show full text]
  • “Indestructible Idea” of the Bauhaus and Its East German Reception
    FROM AN “ALIEN,HOSTILE PHENOMENON” TO THE “POETRY OF THE FUTURE”: ON THE BAUHAUS RECEPTION IN EAST GERMANY, 1945–70 Wolfgang Thöner The “Indestructible Idea” of the Bauhaus and its East German Reception The Bauhaus, the most influential modern design movement of the twen- tieth century, made its presence felt in East Germany (meaning the Soviet Zone of Occupation from 1945 to 1949 and, later, the German Democratic Republic) not only through its intellectual and material legacy, but also through the activities of former teachers and students from the school. The reaction to this legacy was always a politically charged affair in East Germany, linked with fundamental questions of culture, lifestyle, or, as it was called in the GDR, the socialist way of life.1 When one considers the legacy of the Bauhaus, particularly its adap- tation in different cultural contexts, it is important to distinguish the Bauhaus reception from the general reception of modern art.2 Through- out its existence, from 1919 through 1933, the Bauhaus considered itself part of an international avant-garde. Decades after the school was closed, Ludwig Mies van der Rohe spoke of the “indestructible idea” of the Bauhaus, without specifying whether this idea was more a question of style in the art-historical sense or, rather, one of lifestyle.3 The Bauhaus strove to shape the human environment comprehensively; in this regard, it was much more effective and complex than other institutions and movements concerned with design. It was a school which developed and applied new pedagogical methods; it was active in the fields of architec- ture, urban planning, landscape design, industrial design, and graphic design, as well as in the fine arts.
    [Show full text]
  • Und Kunstschmiede Andreas Schwarz Mit Der
    27. September 2019 Vortrag „Gotha glüht“ 2 Metallbau- und Kunstschmiede Ilmtalschmiede Schwarz Wir, Andreas und Benedikt Schwarz betreiben ein junges, dynamisches Familien- Unternehmen im nahe bei Weimar gelegenen Hetschburg. Seit ich 1990 meine unternehmerische Tätigkeit in Hetschburg aufgenommen habe, bin ich in den in den Bereichen Kunstschmiede, Metallgestaltung, Metallbau, Biegeservice und Restauration tätig. Unsere Philosophie ist es, durch qualitativ hochwertiges Handwerk und kundenorientiertes Handling unsere Arbeiten zu unserer Kunden vollsten Zufriedenheit auszuführen. Neben flexiblen und termingerechten Arbeiten liegen unsere Stärken in der Konzeption und Planung der auszuführenden Arbeiten. Inzwischen arbeitet auch Benedikt nach seiner Meisterausbildung in meinem Unternehmen. Gemeinsam gehen wir täglich die Aufgaben unseres Unternehmens an. Seit 2018 habe wir neben der Kunstschmiede den Blick in Richtung Tradition gewandt und unsere Ilmtalschmiede direkt am Ufer der Ilm eröffnet. Mit alter Technik und traditionellen Techniken sind wir hier unterwegs, Interessierten die Schmiedekunst nahe zu bringen. Lehrgänge und Vorführungen, aber auch geselliges Zusammensein und Schauschmieden sind hier zu erleben. Benedikt bringt hier die Kunst des Messerschmiedens ein. 27. September 2019 Vortrag „Gotha glüht“ 3 Zusammenarbeit der Metallbau- und Kunstschmiede Andreas Schwarz mit der Stiftung Gedenkstätten Buchenwald und Mittelbau-Dora Weithin sichtbar erhebt sich auf dem Ettersberg bei Weimar das Mahnmal für die Opfer der nationalsozialistischen
    [Show full text]
  • King's Research Portal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Schreiter, K., & Ravasi, D. (Accepted/In press). Institutional Pressures and Organizational Identity: The Case of Deutsche Werkstätten Hellerau in the GDR and Beyond, 1945–1996. BUSINESS HISTORY REVIEW. Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research 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 Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]