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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. -
The Districts of North Rhine-Westphalia
THE DISTRICTS OF NORTH RHINE-WESTPHALIA S D E E N R ’ E S G N IO E N IZ AL IT - G C CO TIN MPETENT - MEE Fair_AZ_210x297_4c_engl_RZ 13.07.2007 17:26 Uhr Seite 1 Sparkassen-Finanzgruppe 50 Million Customers in Germany Can’t Be Wrong. Modern financial services for everyone – everywhere. Reliable, long-term business relations with three quarters of all German businesses, not just fast profits. 200 years together with the people and the economy. Sparkasse Fair. Caring. Close at Hand. Sparkassen. Good for People. Good for Europe. S 3 CONTENTS THE DIstRIct – THE UNKnoWN QUAntITY 4 WHAT DO THE DIstRIcts DO WITH THE MoneY? 6 YoUTH WELFARE, socIAL WELFARE, HEALTH 7 SecURITY AND ORDER 10 BUILDING AND TRAnsPORT 12 ConsUMER PRotectION 14 BUSIness AND EDUCATIon 16 NATURE conseRVAncY AND enVIRonMentAL PRotectIon 18 FULL OF LIFE AND CULTURE 20 THE DRIVING FORce OF THE REGIon 22 THE AssocIATIon OF DIstRIcts 24 DISTRIct POLICY AND CIVIC PARTICIPATIon 26 THE DIRect LIne to YOUR DIstRIct AUTHORITY 28 Imprint: Editor: Dr. Martin Klein Editorial Management: Boris Zaffarana Editorial Staff: Renate Fremerey, Ulrich Hollwitz, Harald Vieten, Kirsten Weßling Translation: Michael Trendall, Intermundos Übersetzungsdienst, Bochum Layout: Martin Gülpen, Minkenberg Medien, Heinsberg Print: Knipping Druckerei und Verlag, Düsseldorf Photographs: Kreis Aachen, Kreis Borken, Kreis Coesfeld, Ennepe-Ruhr-Kreis, Kreis Gütersloh, Kreis Heinsberg, Hochsauerlandkreis, Kreis Höxter, Kreis Kleve, Kreis Lippe, Kreis Minden-Lübbecke, Rhein-Kreis Neuss, Kreis Olpe, Rhein-Erft-Kreis, Rhein-Sieg-Kreis, Kreis Siegen-Wittgenstein, Kreis Steinfurt, Kreis Warendorf, Kreis Wesel, project photos. © 2007, Landkreistag Nordrhein-Westfalen (The Association of Districts of North Rhine-Westphalia), Düsseldorf 4 THE DIstRIct – THE UNKnoWN QUAntITY District identification has very little meaning for many people in North Rhine-Westphalia. -
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. -
Proceedings of the Sixth Rhine Province Assembly. Third Article
Articles in Rheinische Zeitung 1842 Proceedings of the Sixth Rhine Province Assembly. Third Article. Debates on the Law on Thefts of Wood Written: October 1842 [88]; First published: in the Supplement to the Rheinische Zeitung, Nos. 298, 300, 303, 305 and 307, October 25, 27 and 30, November 1 and 3, 1842; Translated: by Clemens Dutt. Signed: a Rhinelander; Transcribed: by [email protected], November 1996. Rheinische Zeitung, No. 298, Supplement, October 25 1842 RZ editorial note: "We regret that we have not been able to publish the second article for our readers. Editorial board of the Rheinische Zeitung." So far we have described two most important state acts of the Provincial Assembly, namely, its confusion over freedom of the press and its unfreedom in regard to the confusion. [2] We have now come down to ground level. Before we proceed to the really earthly question in all its life size, the question of the parcellation of landed property, we shall give our readers some genre pictures which reflect in manifold ways the spirit and, we might say, even the actual physical nature of the Assembly. It is true that the law on thefts of wood, like the law on offences in regard to hunting, forests and fields, deserves to be discussed not only in relation to the Assembly but equally on its own account. However, we do not have the draft of the law before us. Our material is limited to some vaguely indicated additions made by the Assembly and its commission to laws that figure only as paragraph numbers. -
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. -
Evidence from School Inspections in Prussia
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Schueler, Ruth Working Paper Centralized Monitoring, Resistance, and Reform Outcomes: Evidence from School Inspections in Prussia ifo Working Paper, No. 223 Provided in Cooperation with: Ifo Institute – Leibniz Institute for Economic Research at the University of Munich Suggested Citation: Schueler, Ruth (2016) : Centralized Monitoring, Resistance, and Reform Outcomes: Evidence from School Inspections in Prussia, ifo Working Paper, No. 223, ifo Institute - Leibniz Institute for Economic Research at the University of Munich, Munich This Version is available at: http://hdl.handle.net/10419/149545 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu Ifo Institute – Leibniz Institute for Economic Research at the University of Munich Centralized Monitoring, Resistance, and Reform Outcomes: Evidence from School Inspections in Prussia Ruth Schueler Ifo Working Paper No. -
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.