“Crime Has No Chance”: the Discourse of Everyday Criminality in the Neue
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Open Etoth Dissertation Corrected.Pdf
The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity. -
State Security and Mapping in the GDR Map Falsification As A
State Security and Mapping in the GDR Map Falsification as a Consequence of Excessive Secrecy? Archiv zur DDR-Staatssicherheit on behalf of the Federal Commissioner for the Records of the State Security Service of the former German Democratic Republic edited by Dagmar Unverhau Volume 7 LIT Dagmar Unverhau (Ed.) State Security and Mapping in the GDR Map Falsification as a Consequence of Excessive Secrecy? Lectures to the conference of the BStU from 8th –9th March 2001 in Berlin LIT Any opinions expressed in this series represent the authors’ personal views only. Translation: Eubylon Berlin Copy editor: Textpraxis Hamburg, Michael Mundhenk Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.ddb.de. ISBN 3-8258-9039-2 A catalogue record for this book is available from the British Library © LIT VERLAG Berlin 2006 Auslieferung/Verlagskontakt: Grevener Str./Fresnostr. 2 48159 Münster Tel.+49 (0)251–620320 Fax +49 (0)251–231972 e-Mail: [email protected] http://www.lit-verlag.de Distributed in the UK by: Global Book Marketing, 99B Wallis Rd, London, E9 5LN Phone: +44 (0) 20 8533 5800 – Fax: +44 (0) 1600 775 663 http://www.centralbooks.co.uk/acatalog/search.html Distributed in North America by: Phone: +1 (732) 445 - 2280 Fax: + 1 (732) 445 - 3138 Transaction Publishers for orders (U. S. only): Rutgers University toll free (888) 999 - 6778 35 Berrue Circle e-mail: Piscataway, NJ 08854 [email protected] FOREWORD TO THE ENGLISH EDITION My maternal grandmother liked maxims, especially ones that rhyme. -
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film. -
Alles Unter Kontrolle?" - Videoüberwachung Der Staatsfeinde
Sendemanuskript Kontraste 06.02.1990 "Alles unter Kontrolle?" - Videoüberwachung der Staatsfeinde Alles unter Kontrolle, Kameras in Aktion. Die Staatssicherheit ist zwar abgeschafft. Doch die Überwachung geht weiter. Hier und heute. Berlin Alexander in diesen Tagen. Vertreter der SPD stellen den DDR-Innenminister am Runden Tisch zur Rede. Markus Meckel, SPD „Gestern hatten wir eine Kundgebung auf dem Alexanderplatz. Es wurde beobachtet, dass die Kameras, die oben auf dem Haus für Elektronik sind, und auch gestern benutzt wurden. Ich möchte nachfragen: ‚Wer saß dahinter? Wo kam dieses Material hin?‘“ Innenminister Lothar Ahrendt, Generalleutnant „Ich darf Ihnen hier wirklich versichern, die dienen nicht der Überwachung und haben nie gedient von irgendwelchen Leuten, sondern die dienen ausschließlich der Beurteilung der Lage in bezug auf die Lösung von polizeilichen Aufgaben.“ Sein Vorgänger, schon unter Ulbricht, danach unter Honecker im Amt, wird konkreter: Ehemaliger Innenminister Friedrich Dickel, Armeegeneral a. D. „Das war im wesentlichen Verkehrsüberwachung. Auch die wichtigsten Verkehrsknotenpunkte der Stadt waren dort auch, um, wie sagt man, verkehrslenkende Maßnahmen durchzuführen.“ Frage: „Gab es auch andere Nutzungen dieser Anlagen?“ „Nein, also, das kann, soviel ich die Dinge kenne, nicht.“ Kontrolle des Straßenverkehrs und sonst gar nichts. Das ist die Unwahrheit. Denn die Kameras sind beweglich, einsetzbar auch für andere Zwecke. Kontraste liegt der Beweis vor: Ein Videoband, gefunden im Ministerium für Staatssicherheit in der Ostberliner Normannenstraße, dokumentiert die Überwachung des Alexanderplatzes am 7. September. Hier im Zentrum von Ostberlin fanden schon vor der Wende spontane Demonstrationen statt. Die Aufnahmen liefen zusammen im Präsidium der Volkspolizei. Und von hieraus gingen sie über direkte Leitung zur Staatssicherheit. -
Anatomie Der Staatssicherheit Geschichte, Struktur Und Methoden — Mfs-Handbuch —
Anatomie der Staatssicherheit Geschichte, Struktur und Methoden — MfS-Handbuch — Bitte zitieren Sie diese Online-Publikation wie folgt: Angela Schmole: Abteilung 26. Telefonkontrolle, Abhörmaßnahmen und Videoüberwachung (MfS-Handbuch). Hg. BStU. Berlin 2009. http://www.nbn-resolving.org/urn:nbn:de:0292-97839421301962 Mehr Informationen zur Nutzung von URNs erhalten Sie unter http://www.persistent-identifier.de/ einem Portal der Deutschen Nationalbibliothek. Vorbemerkung Das Handbuchprojekt »Anatomie der Staatssicherheit« ist eines der ältesten Vorhaben des Forschungsbereiches der Bundesbeauftragten für die Stasi-Unterlagen (BStU). Es wurde bereits im Jahr 1993 begonnen – wenige Monate nach der Gründung der Abteilung »Bil- dung und Forschung« und stellt dem wissenschaftlichen Fachpublikum wie auch anderen interessierten Nutzern von Stasi-Akten in kontinuierlich erscheinenden Teillieferungen umfassendes Grundwissen zum MfS zur Verfügung: die Entwicklung der Gesamtinstituti- on MfS in ihrem historischen Kontext, die Geschichte seiner wichtigsten Arbeitsbereiche, grundlegende Darlegungen zu den hauptamtlichen und inoffiziellen Mitarbeitern sowie verschiedene Übersichten und Materialien zur Struktur des MfS und ihrer Entwicklung, Kurzbiographien des Leitungspersonals und eine Edition der wichtigsten Grundsatzdoku- mente. Das »MfS-Handbuch« folgt der Verpflichtung der BStU zur »Aufarbeitung der Tätigkeit des Staatssicherheitsdienstes durch Unterrichtung der Öffentlichkeit über Struk- tur, Methoden und Wirkungsweise des Staatssicherheitsdienstes« -
On the Origin and Composition of the German East-West Population Gap
DISCUSSION PAPER SERIES IZA DP No. 12031 On the Origin and Composition of the German East-West Population Gap Christoph Eder Martin Halla DECEMBER 2018 DISCUSSION PAPER SERIES IZA DP No. 12031 On the Origin and Composition of the German East-West Population Gap Christoph Eder Johannes Kepler University Linz Martin Halla Johannes Kepler University Linz, CD-Lab Aging, Health, and the Labor Market, IZA and Austrian Public Health Institute DECEMBER 2018 Any opinions expressed in this paper are those of the author(s) and not those of IZA. Research published in this series may include views on policy, but IZA takes no institutional policy positions. The IZA research network is committed to the IZA Guiding Principles of Research Integrity. The IZA Institute of Labor Economics is an independent economic research institute that conducts research in labor economics and offers evidence-based policy advice on labor market issues. Supported by the Deutsche Post Foundation, IZA runs the world’s largest network of economists, whose research aims to provide answers to the global labor market challenges of our time. Our key objective is to build bridges between academic research, policymakers and society. IZA Discussion Papers often represent preliminary work and are circulated to encourage discussion. Citation of such a paper should account for its provisional character. A revised version may be available directly from the author. IZA – Institute of Labor Economics Schaumburg-Lippe-Straße 5–9 Phone: +49-228-3894-0 53113 Bonn, Germany Email: [email protected] www.iza.org IZA DP No. 12031 DECEMBER 2018 ABSTRACT On the Origin and Composition of the German East-West Population Gap* The East-West gap in the German population is believed to originate from migrants escaping the socialist regime in the German Democratic Republic (GDR). -
Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List
ARS LIBRI ELECTRONIC LIST #59 MODERN ART : NEW ACQUISITIONS Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763 Electronic List 59: Modern Art: New Acquisitions 1 BUCHHOLZ, ERICH. Design for a portfolio. Original composition in red gouache, black ink and gold metallic paint, on textured ochre leatherette, mounted on a red buckram slipcase, with inserted red buckram chemise and inner sleeve of white Bütten paper, reinforced with loose panels of cardboard. Painted panel: 368 x 275 mm. (ca. 14 1/2 x 10 3/4 inches). Slipcase: 423 x 325 mm. (ca. 16 5/8 x 12 3/4 inches). This large and majestically impressive handmade portfolio represents a variation of Buchholz’s painted wooden relief, “Roter Kreis im Goldkreis,” of 1922, of which Ingrid Weisenmayer has commented “Der Dreiklang der Farben Schwarz, Gold und Rot steigert die Wirkung der einzelnen Farben noch zusätzlich. Es ist charakteristisch, dass Buchholz, der sich so vehement von jeglicher Kunsttradition distanzieren wollte, auf mittelalterliche Traditionen zurückgreift, und diese in einen modernen Kontext stellt” (Weisenmayer, in Gassen/Mengden). Comparison might equally be made with another painted panel of 1923, Buchholz’s “Neue Tafel Nr. 70.” These and similar motifs were reprised by the artist many times, through late in his career. Slight rippling of the panel at foot; a little light rubbing, otherwise in fine, bright condition. [Berlin, n.d.]. $4,500.00 Gassen, Richard W. & Mengden, Lida von (hrsg.): Erich Buchholz. Graphik, Malerei, Relief, Architektur, Typographie (Köln, 1998), c.f. -
40 Jahre Polizeiruf 110 40 Jahre „Polizeiruf 110“ 40 Jahre „Polizeiruf 110“
am Sonntag, 26. Juni 2011, um 20.15 Uhr 40 Jahre Polizeiruf 110 40 Jahre „Polizeiruf 110“ 40 Jahre „Polizeiruf 110“ Inhalt 4 VORWORT Volker Herres , Programmdirektor Erstes Deutsches Fernsehen 6 40 JAHRE „POLIZEIRUF 110“ – EINE INTERESSANTE ZEITREISE Thomas Gaevert , Journalist und Autor „POLIZEIRUF 110“ AKTUELL: DIE ERMITTLER STELLEN SICH VOR 10 - Kommissar Hanns von Meuffels und Polizistin Anna Burnhauser Das Team aus München (BR) 12 - Hauptkommissare Herbert Schmücke und Herbert Schneider, Oberkommissarin Nora Lindner Das Team aus Halle (MDR) 14 - Hauptkommissar Alexander Bukow und Profilerin Katrin König Das Team aus Rostock (NDR) 16 - Kriminalhauptkommissarin Olga Lenski und Polizeihauptmeister Horst Krause Das Team aus Potsdam ( RBB ) DER „POLIZEIRUF 110“ 2011 IM ERSTEN 19 - … und raus bist du! (NDR) 20 - DER JUBILÄUMS-„POLIZEIRUF 110“ – Die verlorene Tochter (RBB ), am 26. Juni 2011, 20.15 Uhr 24 - Cassandras Warnung (BR) 25 - Inschallah (BR) 26 - Blutige Straße (MDR) 27 - Zwei Brüder (RBB ) 28 EINE LEICHE IM KELLER – DER VERBOTENE „POLIZEIRUF 110: IM ALTER VON …“ Eine in der DDR verbotene und niemals gezeigte Folge wird rekonstruiert am Donnerstag, 23. Juni 2011, 20.15 Uhr im MDR-Fernsehen 30 ZAHLEN, DATEN, FAKTEN 34 STATISTIK ALLER „POLIZEIRUF 110“-FOLGEN 42 DIE KOMMISSARE DES „POLIZEIRUF 110“ Folge 1 - 320 – die Einsatzliste 3 40 Jahre „Polizeiruf 110“ Vorwort 40 Jahre mögen sich nach einer langen Zeit anhören, im sich im Krimi, wie kaum in einem anderen Genre, auf - Fernsehgeschäft sind vier Jahrzehnte eine Ewigkeit! Aber greifen. Im Idealfall sehen wir eine bis zur letzten Minute mit seinen 40 Jahren ist der„Polizeiruf 110“ kein bisschen spannende Geschichte, die ohne erhobenen Zeigefinger in die Jahre gekommen: Aktuell und spannend wie eh und auskommt, in der wir aber eine Menge über die Mecha - je feiert er seinen Geburtstag! Für uns ist dieses Jubiläum nismen von Macht und Geld lernen können. -
The Fall of the Wall: the Unintended Self-Dissolution of East Germany’S Ruling Regime
COLD WAR INTERNATIONAL HISTORY PROJECT BULLETIN, ISSUE 12 /13 131 The Fall of the Wall: The Unintended Self-Dissolution of East Germany’s Ruling Regime By Hans-Hermann Hertle ast Germany’s sudden collapse like a house of cards retrospect to have been inevitable.” He labeled this in fall 1989 caught both the political and academic thinking “whatever happened, had to have happened,” or, Eworlds by surprise.1 The decisive moment of the more ironically, “the marvelous advantage which historians collapse was undoubtedly the fall of the Berlin Wall during have over political scientists.”15 Resistance scholar Peter the night of 9 November 1989. After the initial political Steinbach commented that historians occasionally forget upheavals in Poland and Hungary, it served as the turning very quickly “that they are only able to offer insightful point for the revolutions in Central and Eastern Europe and interpretations of the changes because they know how accelerated the deterioration of the Soviet empire. Indeed, unpredictable circumstances have resolved themselves.”16 the Soviet Union collapsed within two years. Along with In the case of 9 November 1989, reconstruction of the the demolition of the “Iron Curtain” in May and the details graphically demonstrates that history is an open opening of the border between Hungary and Austria for process. In addition, it also leads to the paradoxical GDR citizens in September 1989, the fall of the Berlin Wall realization that the details of central historical events can stands as a symbol of the end of the Cold War,2 the end of only be understood when they are placed in their historical the division of Germany and of the continent of Europe.3 context, thereby losing their sense of predetermination.17 Political events of this magnitude have always been The mistaken conclusion of what Reinhard Bendix the preferred stuff of which legends and myths are made of. -
Alexander Archipenko at the Edge of the Lake 1927 Oil on Canvas 33 1/8 X 27 1/4 Inches (84.1 X 69.2 Cm) - Including Frame Signed on Recto (ARCH 2)
Alexander Archipenko At the Edge of the Lake 1927 Oil on canvas 33 1/8 x 27 1/4 inches (84.1 x 69.2 cm) - including frame Signed on recto (ARCH 2) PROVENANCE Estate of Alexander Archipenko Frances Archipenko Gray, New York (by bequest) Private collection, New York EXHIBITED 1928, Anderson Galleries, New York City, Archipenko, cat. no. 86 1929, Arts Club of Chicago, Chicago, Illinois, An Exhibition of Sculpture and Paintings by Alexander Archipenko, cat. no. 35 1929, Braxton Galleries, Hollywood, California, The Archipenko Exhibition, cat. no. 52 1929, J.B. Speed Memorial Museum, Louisville, Kentucky, Exhibition of Sculpture and Paintings by Alexander Archipenko, cat. no. 24 1931, Renaissance Gallery, Montecito, California, Archipenko, checklist no. 31 1932, John Levy Galleries, New York City, A. Archipenko Exhibition of New Works, cat. no. 50 1933, Mills College Art Museum, Oakland, California, Exhibition of Sculpture and Painting by Alexander Archipenko, cat. no. 32 2009, Galerie Thomas, Munich, Germany, Alexander Archipenko: Skulpturen, Sculptures, cat. ill. pp. 42, 43 LITERATURE See "Exhibitions" Janusz Maria Brzeski Prawo w obrazach ["Law in Pictures"]1934 Collage of vintage gelatin silver print & halftone cut-outs with gouache on buff stock 5 1/8 x 14 1/4 inches (13 x 36.2 cm) Initialed & dated on recto (BRZE 10) PROVENANCE Estate of Janusz Maria Brzeski, Kraków EXHIBITED New York, Ubu Gallery, Polish Avant-Garde, 1920-1945, April 9-May 16, 1998 New York, Ubu Gallery, Selections from Gallery Inventory, July 25-November 12, 2013 Janusz -
Eastern Europe in 1968 Kevin Mcdermott · Matthew Stibbe Editors Eastern Europe in 1968
Eastern Europe in 1968 Kevin McDermott · Matthew Stibbe Editors Eastern Europe in 1968 Responses to the Prague Spring and Warsaw Pact Invasion Editors Kevin McDermott Matthew Stibbe Sheffeld Hallam University Sheffeld Hallam University Sheffeld, UK Sheffeld, UK ISBN 978-3-319-77068-0 ISBN 978-3-319-77069-7 (eBook) https://doi.org/10.1007/978-3-319-77069-7 Library of Congress Control Number: 2018934657 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affliations. -
Josef Albers Change Direction, 1942 Josef Albers Kam 1920, Nach Dem
Josef Albers 1888 Bottrop, D – 1976 New Haven, Connecticut, USA Change Direction, 1942 Öl auf Spanplatte/Oil on chipboard Erworben/Acquired 1985 Daimler Art Collection Stuttgart/Berlin Josef Albers kam 1920, nach dem Studium in Berlin, Essen Having studied in Berlin, Essen and Munich, Albers, aged 32 at und München, bereits 32-jährig ans Bauhaus in Weimar und the time, moved to Weimar in 1920 to continue his studies at studierte zunächst bei Johannes Itten. Als Leiter der the Bauhaus, initially under Johannes Itten. As head of the Glaswerkstatt gab Albers Kurse in Materialkunde und glass workshop, Albers taught material science and influenced beeinflusste als Bauhaus-Meister über zehn Jahre mehrere several generations of Bauhaus students in the course of ten Generationen von Studenten. Albers erste abstrakte Bilder years. Albers’ first abstract pictures date back to the year datieren in das Jahr 1913, aber erst seine Glasfenster- 1913, but it was not before the 1930s that his glass window entwürfe der 1930er Jahre markieren prägnante Entwick- drafts reflected distinctive development steps towards a lungsschritte zu visuell wahrnehmbarer Räumlichkeit auf visually perceptible three-dimensionality on a level surface. planer Fläche. Zwischen 1941–42 entwickelt Albers die Serie Albers worked on the Graphic Tectonic series in 1941–42, to Graphic Tectonic, zu welcher auch die Arbeit Change which the work called Change Direction, 1942, belongs: Direction, 1942, gehört: Mehrere einander überlappende Several overlapping pictorial levels are folded out by means of Bildebenen in unterschiedlicher Farbigkeit werden durch ein a structure of white lines. Movements in opposite directions weißes Liniengefüge wechselseitig aufgeklappt. Gegen- meet in front of a diagonal surface in a brownish shade.