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Walter Hasenclever
Gregor Ackermann Walter Hasenclever Weitere Hinweise zur Überlieferung seiner Werke Eine Handreichung für seine Leserinnen und Leser . JUNI ONLINES 4 Mönchengladbach 2020 Impressum: JUNI ONLINES werden herausgegeben von Gregor Ackermann und Walter Delabar. Sie sind ausschließlich auf der Website des JUNI Magazins erhältlich und liegen ansonsten nicht im Druck vor. Sie dürfen unentgeltlich heruntergeladen und verwendet werden. Wir bitten bei Verwendung um den eindeutigen Quellenverweis mit Verweis auf die Bezugsquelle (www.juni-magazin.de). Alle Rechte liegen bei den Autoren: © Gregor Ackermann. Zitieren Sie JUNI ONLINES 4 bitte folgendermaßen: Gregor Ackermann: Walter Hasenclever. Weitere Hinweise zur Überlieferung seiner Werke Mönchengladbach 2020 (JUNI ONLINES 4). Auf: juni-magazin.de/Onlines (Datum des Zugriffs). Mönchengladbach, den 28. August 2020 2 Walter Hasenclever Weitere Hinweise zur Überlieferung seiner Werke Eine Handreichung für seine Leserinnen und Leser Die nachfolgenden Hinweise ergänzen und korrigieren die in Hasenclevers Sämtlichen Werken dokumentierte Drucküberlieferung und die kleine Broschüre des Verfassers aus dem Jahr 2015. Erfasst werden nun auch postume Übersetzungen von Hasenclevers Werken; die Berichterstattung wird sukzessive bis in die Gegenwart fortgeführt. Nicht berücksichtigt werden hierbei Unterrichtswerke für den Schulgebrauch und die Angebote der elektronischen Zweit- und Drittverwerter. Beigefügt wurden Nachweise von Adaptionen (zumeist für den Rundfunk), Lesungen im Rundfunk und Verfilmungen. Das Verzeichnis der Autografen wird fortgeschrieben. (Stand: 21. Oktober 2019) Eine Publikation war zum jetzigen Zeitpunkt nicht vorgesehen. Nur äußere Umstände bedingten eine vielleicht voreilige Veröffentlichung. Dank an Stephan Berelsmann, Hans-Joachim Heerde, Dirk Heißerer, Ariane Martin, Ursula Marx, Rainer-Joachim Siegel und Bernhard Veitenheimer für freundliche Hinweise und Unterstützungen. Siglen * = Keine Autopsie. Biographie = Bert Kasties: Walter Hasenclever. -
A Historical Guide to the German Camp in Płaszów 1942–1945
a historical guide to the german camp in płaszów 1942 płaszów in camp german the to guide historical a Ryszard Kotarba A HISTORICAL GUIDE TO THE GERMAN CAMP in płaszów 1942–1945 A map with a visiting route inside – 1945 Ryszard Kotarba A HISTORICAL GUIDE TO THE GERMAN CAMP in płaszów 1942–1945 © Copyright by Institute of National Remembrance – Commission of the Prosecution of Crimes against the Polish Nation, 2014 REVIEVER dr Joanna Lubecka EDITING Rafał Dyrcz TRANSLATION AND PROOFS Kamil Budziarz, Language Link Dorota Plutecka, Language Link PROOFREADING Tytus Ferenc GRAPHIC DESIGN, TYPESETTING AND PRINT Studio Actiff / www.actiff.pl Photos from the collection of the Institute of National Remembrance (1-6, 10, 12-15, 17-27, 29, 31-37, 42-43, 45-46, 48, 52, 55-57, 59), the National Archives in Kraków (7, 9, 11, 16) and Ryszard Kotarba (8, 28, 30, 38-41, 44, 47, 49-51, 53-54, 58). Photo on the cover from the collection of the Institute of National Remembrance. ISBN 978-83-932380-8-8 Foreword In 1939, the Republic of Poland was attacked by Germany (supported by Slovakia) and the Soviet Union. Although France and the UK declared war on Germany, they did not pursue any activities to provide their Polish ally with any real assistance. Despite its total defeat and its entire territory being occupied, Poland did not surrender. Escaping to France and then to the UK, the authorities of the Republic of Poland demonstrated legalism and maintained the continuity of the Polish state. Poland as a state continued to be an actor of international law, and within the Allied bloc, it was the legal representative of all the citizens of the Republic of Poland – regardless of their nationality, religion or political views. -
Family Tree Maker 2005
Stern and Löbl Family Genealogy Website - www.sternmail.co.uk/genealogy/ Name Name Birth location <Unnamed> Aida <Unnamed> Clara <Unnamed> Minna <Unnamed> Montoya ? Rosa ? ? Rabbi ? New York, USA ? Pauline ? ? Sarah ? ? Susie ? ? Tatiana ? ? Tina ? ? Walter ? ? Yael ? 1 Wife 1 3rd Thomas HERZ 3rd 3rd Charles WARREN 3rd Houston, TX, USA ABEL Marga Susanna Susie WERTHEIM ABEL Cologne, Germany ABEL Siegfried ABEL Cologne, Germany ABELES Rosi ABELES Waltsch ABELES Sara ABELES Waltsch Abenheimer Ruth Abenheimer Abenheimer Karl Abenheimer Mannheim Abraham Abraham Abraham Abraham ABRAHAM Feist ABRAHAM Meudt, Germany ABRAHAM Fraidgem ABRAHAM Quirnbach, Germany ABRAHAM Harry ABRAHAM ABRAHAM Ruth Helen ABRAHAM San Fransisco, Calif. ABRAHAM Lisette ABRAHAM ABRAHAM Hertz ABRAHAM ABRAHAM Nathan ABRAHAM Brandoberndorf, Germany Abraham Roeschen Abraham ABRAHAMOV Adva ABRAHAMOV Kibbutz Yakum, Israel ABRAHAMS Jaqueline ABRAHAMS Glasgow ABRAME Bernard ABRAME ABRAME Smadar ABRAME Afula, Israel Abrams Ellen Abrams ACKERMAN Hannchen ACKERMAN ACKERMANN Emma ACKERMANN Wiesloch ACKERMANN Simon ACKERMANN ADAMKIEWICZ Else ADAMKIEWICZ ADAMKIEWICZ Hugo ADAMKIEWICZ Adanso Isabel Jabat Adanso Adelson Eugene Adelson Adelson Lorraine Adelson Adelson Robert Adelson Adelson Robert Adelson ADLER Anselm ADLER Adler Berta Adler ADLER Eva ADLER ADLER Jette ADLER Edelfingen ADLER Gale ADLER ADLER Joel ADLER Floehau Adler Max Adler Wurzburg ADLER Meta ADLER Urspringen, Germany ADLER Rebeka ADLER Arnetz Gr Adler Josef Adler Adler Richard Adler ADLER Ruth ADLER ADLER Selig ADLER -
Stories of Becomingan Art Educator
Stories of Becoming an Art Educator: Opening a Closed As part of my research dissertation I collected tales of Israeli art Door teachers and studied the ways they negotiated their teaching identi- Nurit Cohen Evron ties within and against their schools’ normative discourses. I learned 1 Faculty of the Arts, Beit-Berl College, Israel that being and becoming an art teacher involved an ongoing pro- cess of negotiation between personal and professional experiences, ABstraCT knowledge and beliefs, and the school’s discourse. Their beliefs and This paper describes recollections of my personal experiences in Israel and identities couldn’t be separated from the socio-cultural environments their interplay with my decisions as an art educator. These stories are examples of how the borders between the professional, the personal, and the institu- and the discourses in which and through which they were constantly tional are blurred. Becoming and being an art educator in a country which is (re)constructed (Cohen Evron, 2004). Our identities as teachers are deeply affected by a long-standing, deep-rooted, stubborn, and violent conflict, I neither fixed nor are they an inventory of knowledge or technical pro- struggle to find ways to teach art in a meaningful way and to react to the culture cedures of teaching experience. We continually reconstruct our views of conflict through critical art pedagogy. of ourselves in relation to others, workplace characteristics, profes- sional purposes, and cultures of teaching. Furthermore, we bring to Becoming an Art Educator our teaching profession our personal and institutional biographies The question of what is involved in the process of becoming a good (Connelly & Clandinin, 1999; Sivertsen, 1994). -
ISRAELISCHE GRAFIK.Pdf
RUBRIK AUSGABE 3 | 2015 21 Yigal Ozeri, geb. 1958 in Israel, lebt in New York Fotos: Slobodan Ciric Fotos: Die INW lädt vom 11. Oktober bis 15. Oktober zu einer Ausstellung ein, welche im Theater Nestroyhof Hamakom, Nestroyplatz 1, 1020 Wien im Rahmen der israelischen Theaterwoche (siehe S. 41) stattfindet und die einen Querschnitt israelischer Grafik bietet. Der Kurator dieser Präsentation ist der in Israel sehr bekannten Kunst- und Kulturmanager Doron Polak. Die Werke sind auch käuflich zu erwerben. Unter dem Titel „Rishumon” gibt es zusätzlich eine bemerkens- werte und berührende Darbietung zweier Künstler, die zeitlose Themen wortlos, begleitet mit Musik von Shaul Ben Amitai, auf die Bühne bringen – schauspielerisch Svetlana Ben und malerische Interpretation Ophira Avisar. Ein Ereignis das man nicht versäumen möge. In der Beilage finden Sie einige Künstler dieser sehenswerten Ausstellung. ISRAELISCHE KUNSTGRAPHIK HENIE WESTBROOK ie führt uns zu einem Rundgang durch Ozeri nützt die Techniken der Graphik, um Lea Nikel lebte und arbeitete in Tel Aviv, bole auf, indem er ihnen über ihren wichtige Stationen der Kunstentwicklung sich neben seinen Collagen wieder seinen Paris und New York, studierte in den Studios Symbolwert hinaus, neue Bedeutung scha. Israels, von den Anfängen in der Man- zeichnerischen Ursprüngen zuzuwenden. mit Streichmann und Stemazky und zeichnet Er situiert sie innerhalb der Modernen Kunst Sdatszeit bis zu zeitgenössischen Arbeiten und Auch Zvika Kantor arbeitet im Druckmedium sich durch einen unverkennbar lyrischen Ex- und platziert sie gleichzeitig innerhalb der is- vermittelt uns die Ausstellung ein who is who parallel zu seinen Computerarbeiten. pressionismus, starker Farbigkeit und kalligra- raelischen Kunst. der israelischen Kunstszene – von der Grün- In der Ausstellung wird eine Graphik von phischen Elementen aus. -
Reform Or Consensus? Choral Synagogues in the Russian Empire
arts Article Reform or Consensus? Choral Synagogues in the Russian Empire Vladimir Levin The Center for Jewish Art, the Hebrew University of Jerusalem, Jerusalem 9190501, Israel; [email protected] Received: 5 May 2020; Accepted: 15 June 2020; Published: 23 June 2020 Abstract: Many scholars view the choral synagogues in the Russian Empire as Reform synagogues, influenced by the German Reform movement. This article analyzes the features characteristic of Reform synagogues in central and Western Europe, and demonstrates that only a small number of these features were implemented in the choral synagogues of Russia. The article describes the history, architecture, and reception of choral synagogues in different geographical areas of the Russian Empire, from the first maskilic synagogues of the 1820s–1840s to the revolution of 1917. The majority of changes, this article argues, introduced in choral synagogues were of an aesthetic nature. The changes concerned decorum, not the religious meaning or essence of the prayer service. The initial wave of choral synagogues were established by maskilim, and modernized Jews became a catalyst for the adoption of the choral rite by other groups. Eventually, the choral synagogue became the “sectorial” synagogue of the modernized elite. It did not have special religious significance, but it did offer social prestige and architectural prominence. Keywords: synagogue; Jewish history in Russia; reform movement; Haskalah; synagogue architecture; Jewish cultural studies; Jewish architecture 1. Introduction The synagogue was the most important Jewish public space until the emergence of secular institutions in the late nineteenth century. As such, it was a powerful means of representation of the Jewish community in its own eyes and in the eyes of the non-Jewish population. -
About Your Next Sale
About your next sale About your sale Title of the sale Interiors 16 Place and date of the sale April 17, 2016| Tel Aviv Hours 7:00 pm Buyer Premium % 15% commission Place and Dates of the exhibition (before the sale) Matsart Tel Aviv Gallery 15 Frishman St. Tel Aviv Opening hours of the exhibition PREVIEW & AUCTION 15 Frishman St. Tel Aviv Sun-Thu 11 am - 6 pm Fri - 11 am - 3 pm Names of the valuators Oren Migdal / Lucien Krief Expert Email + number phone used by customers to ask you questions about the Yehudit Ratzabi sale [email protected] +972-2-625109 / -972-3-3810001 1 Menashe Kadishman 1932-2015 (Israeli) Sheep head acrylic on canvas 30 x 30 cm (12 x 12 in.) signed lower left and again on the reverse Other Notes: Accompanied by a certificate of authenticity signed by the artist. Location: Israel. For estimated delivery time please contact us. $600-800 2 Menashe Kadishman 1932-2015 (Israeli) Herd of sheep panda on paper 36 x 28 cm (14 x 11 in.) signed lower right Other Notes: Location: Israel. For estimated delivery time please contact us. $120-180 3* Yohanan Simon 1905-1976 (Israeli) Surrealist landscape, 1964 oil on canvas 36 x 46 cm (14 x 18 in.) signed in English lower left, signed in Hebrew and dated lower right, inscribed on the reverse Other Notes: Location: USA. For estimated delivery time please contact us. $4,800-5,500 4 Gila Stein b.1945 (Israeli) Mother and child bronze 24 x 16 x 12 cm (9 x 6 x 5 in.) signed and numbered '8/25' Other Notes: Location: Israel. -
Download Catalogue
F i n e J u d a i C a . printed booKs, manusCripts, Ceremonial obJeCts & GraphiC art K e s t e n b au m & C om pa n y thursday, nov ember 19th, 2015 K est e n bau m & C o m pa ny . Auctioneers of Rare Books, Manuscripts and Fine Art A Lot 61 Catalogue of F i n e J u d a i C a . BOOK S, MANUSCRIPTS, GR APHIC & CEREMONIAL A RT INCLUDING A SINGULAR COLLECTION OF EARLY PRINTED HEBREW BOOK S, BIBLICAL & R AbbINIC M ANUSCRIPTS (PART II) Sold by order of the Execution Office, District High Court, Tel Aviv ——— To be Offered for Sale by Auction, Thursday, 19th November, 2015 at 3:00 pm precisely ——— Viewing Beforehand: Sunday, 15th November - 12:00 pm - 6:00 pm Monday, 16th November - 10:00 am - 6:00 pm Tuesday, 17th November - 10:00 am - 6:00 pm Wednesday, 18th November - 10:00 am - 6:00 pm No Viewing on the Day of Sale This Sale may be referred to as: “Sempo” Sale Number Sixty Six Illustrated Catalogues: $38 (US) * $45 (Overseas) KestenbauM & CoMpAny Auctioneers of Rare Books, Manuscripts and Fine Art . 242 West 30th street, 12th Floor, new york, NY 10001 • tel: 212 366-1197 • Fax: 212 366-1368 e-mail: [email protected] • World Wide Web site: www.Kestenbaum.net K est e n bau m & C o m pa ny . Chairman: Daniel E. Kestenbaum Operations Manager: Jackie S. Insel Client Relations: Sandra E. Rapoport, Esq. Printed Books & Manuscripts: Rabbi Eliezer Katzman Rabbi Dovid Kamenetsky (Consultant) Ceremonial & Graphic Art: Abigail H. -
F Ine J Udaica
F INE J UDAICA . HEBREW PRINTED BOOKS, MANUSCRIPTS &CEREMONIAL ART K ESTENBAUM & COMPANY TUESDAY, JUNE 29TH, 2004 K ESTENBAUM & COMPANY . Auctioneers of Rare Books, Manuscripts and Fine Art Lot 340 Catalogue of F INE J UDAICA . HEBREW PRINTED BOOKS, MANUSCRIPTS &CEREMONIAL ART Including Judaic Ceremonial Art: From the Collection of Daniel M. Friedenberg, Greenwich, Conn. And a Collection of Holy Land Maps and Views To be Offered for Sale by Auction on Tuesday, 29th June, 2004 at 3:00 pm precisely ——— Viewing Beforehand on Sunday, 27th June: 10:00 am–5:30 pm Monday, 28th June: 10:00 am–6:00 pm Tuesday, 29th June: 10:00 am–2:30 pm Important Notice: The Exhibition and Sale will take place in our New Galleries located at 12 West 27th Street, 13th floor, New York City. This Sale may be referred to as “Sheldon” Sale Number Twenty Four. Illustrated Catalogues: $35 • $42 (Overseas) KESTENBAUM & COMPANY Auctioneers of Rare Books, Manuscripts and Fine Art . 12 West 27th Street, 13th Floor, New York, NY 10001 • Tel: 212 366-1197 • Fax: 212 366-1368 E-mail: [email protected] • World Wide Web Site: www.Kestenbaum.net K ESTENBAUM & COMPANY . Chairman: Daniel E. Kestenbaum Operations Manager & Client Accounts: Margaret M. Williams Press & Public Relations: Jackie Insel Printed Books: Rabbi Bezalel Naor Manuscripts & Autographed Letters: Rabbi Eliezer Katzman Ceremonial Art: Aviva J. Hoch (Consultant) Catalogue Photography: Anthony Leonardo Auctioneer: Harmer F. Johnson (NYCDCA License no. 0691878) ❧ ❧ ❧ For all inquiries relating to this sale please contact: Daniel E. Kestenbaum ❧ ❧ ❧ ORDER OF SALE Printed Books: Lots 1 – 224 Manuscripts: Lots 225 - 271 Holy Land Maps: Lots 272 - 285 Ceremonial Art:s Lots 300 - End of Sale Front Cover: Lot 242 Rear Cover: A Selection of Bindings List of prices realized will be posted on our Web site, www.kestenbaum.net, following the sale. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Links in a chain: Early modern Yiddish historiography in the northern Netherlands (1743-1812) Wallet, B.T. Publication date 2012 Document Version Final published version Link to publication Citation for published version (APA): Wallet, B. T. (2012). Links in a chain: Early modern Yiddish historiography in the northern Netherlands (1743-1812). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 LINKS IN A CHAIN A IN LINKS UITNODIGING tot het bijwonen van de LINKS IN A CHAIN publieke verdediging van mijn proefschrift Early modern Yiddish historiography from the northern Netherlands, 1743-1812 LINKS IN A CHAIN Early modern Yiddish historiography from the northern the northern Yiddish historiography from Early modern Early modern Yiddish historiography in the northern Netherlands, 1743-1812 op vrijdag 2 maart 2012 om 11.00 uur in de Aula van de Universiteit van Amsterdam, Singel 411. -
Schindler's Ark
Schindler's Ark by Thomas Keneally, 1935– Published: 1982 Serpentine Publishing Co. Ltd. J J J J J I I I I I Table of Contents Dedication Author‘s Note Prologue & Chapter 1 … thru … Chapter 38 Epilogue Appendix J J J J J I I I I I TO THE MEMORY OF OSKAR SCHINDLER, AND TO LEOPOLD PFEFFERBERG, WHO BY ZEAL AND PERSISTENCE CAUSED THIS BOOK TO BE WRITTEN Author‘s Note In 1980 I visited a luggage store in Beverly Hills, California, and inquired the prices of briefcases. The store belonged to Leopold Pfefferberg, a Schindler survivor. It was beneath Pfefferberg’s shelves of imported Italian leather goods that I first heard of Oskar Schindler, the German bon vivant, speculator, charmer, and sign of contradiction, and of his salvage of a cross section of a condemned race during those years now known by the generic name Holocaust. This account of Oskar’s astonishing history is based in the first place on interviews with 50 Schindler survivors from seven nations—Australia, Israel, West Germany, Austria, the United States, Argentina, and Brazil. It is enriched by a visit, in the company of Leopold Pfefferberg, to locations that prominently figure in the book: Cracow, Oskar’s adopted city; Płaszów, the scene of Amon Goeth’s foul labor camp; Lipowa Street, Zablocie, where Oskar’s factory still stands; Auschwitz- Birkenau, from which Oskar extracted his women prisoners. But the narration depends also on documentary and other information supplied by those few wartime associates of Oskar’s who can still be reached, as well as by the large body of his postwar friends. -
Baron, Salo W. Papers, Date (Inclusive): 1900-1980 Collection Number: M0580 Creator: Baron, Salo W
http://oac.cdlib.org/findaid/ark:/13030/ft509nb07b No online items Guide to the Salo W. Baron Papers, 1900-1980 Processed by Polly Armstrong, Patricia Mazón, Evelyn Molina, Ellen Pignatello, and Jutta Sperling; reworked July, 2011 by Bill O'Hanlon Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc © 2002 The Board of Trustees of Stanford University. All rights reserved. Guide to the Salo W. Baron M0580 1 Papers, 1900-1980 Guide to the Salo W. Baron Papers, 1900-1980 Collection number: M0580 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc Processed by: Polly Armstrong, Patricia Mazón, Evelyn Molina, Ellen Pignatello, and Jutta Sperling; reworked July, 2011 by Bill O'Hanlon Date Completed: 1993 June Encoded by: Sean Quimby © 2002 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Baron, Salo W. Papers, Date (inclusive): 1900-1980 Collection number: M0580 Creator: Baron, Salo W. Extent: ca. 398 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: The Baron Papers comprise the personal, professional, and research material of Salo Baron and occupy approximately 398 linear feet. As of July 1992 the papers total 714 boxes and are arranged in 11 series, including correspondence, personal/biographical, archival materials, subject, manuscripts, notecards, pamphlets, reprints, and books, manuscripts (other authors), notes, photo and audio-visual.