French and German Cultural Cooperation, 1925-1954 Elana
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Consuetudine, Coutume, Gewohnheit and Ius Commune: an Introduction
Zeitschri des Max-Planck-Instituts für europäische Rechtsgeschichte Rechts R Journal of the Max Planck Institute for European Legal History geschichte g Rechtsgeschichte Legal History www.rg.mpg.de http://www.rg-rechtsgeschichte.de/rg24 Rg 24 2016 234 – 243 Zitiervorschlag: Rechtsgeschichte – Legal History Rg 24 (2016) http://dx.doi.org/10.12946/rg24/234-243 Emanuele Conte Consuetudine, Coutume, Gewohnheit and Ius Commune. An Introduction Dieser Beitrag steht unter einer Creative Commons cc-by-nc-nd 3.0 Abstract Various views of the historical phenomenon of custom coexist in the world’s legal historical schol- arship. Some scholars hold that customs are the primary feature of a people’s autonomy and self- determination in the permanent struggle against the »imperialist« attitudes of major powers. Others try to stay closer to historical sources, where the concept of custom has apparently served as a tool of argumentation that has proven very useful in defending the jurisdictional rights of collective subjects, such as cities, religious communities or regional powers. The key to correctly understanding medieval theories of custom is the relationship between custom and the ius commune. The latter is the complex of normative authorities and doctrinal interpretations produced by jurists from the 12th to the 15th century. This relationship was not as conflictual as some of the legal historical literature depicts. Some examples regarding serfdom, private peace and customary procedures of evidence show how complicated the intertwining of the ius com- mune, customary laws and municipal statutes in thelateMiddleAgescanbe. □× Rg 24 2016 Emanuele Conte Consuetudine, Coutume, Gewohnheit and Ius Commune. An Introduction The issue of the relation between local custom- an extremely strong School of »Germanists« that ary laws and the »common law« (ius commune) is had detached themselves from the typical method- at the root of an imposing tradition of historical ology of the pandectistic scholarship. -
Der Andere Pabst Anmerkungen Zur G
Der andere Pabst Anmerkungen zur G. W. Pabst-Retrospektive der Berliner Filmfestspiele Thomas Brandlmeier, epd Film, Nr. 05, 1997 Die letzte große Pabst-Retrospektive hierzulande wurde 1963/64 von Rudolf Joseph im Münchner Filmmuseum gezeigt. Seither gab es immer wieder kleinere Retrospektiven mit dem Kanon der Meisterwerke, "Die Büchse der Pandora", "Die freudlose Gasse", "Tagebuch einer Verlorenen, "Geheimnisse einer Seele", "Kameradschaft", dann und wann auch noch "Die Liebe der Jeanne Ney", "Westfront 1918", "L'Atlantide", "Abwege", "Der Schatz", "Die 3-Groschen-Oper", "Du haut en bas", "Skandal um Eva", "Don Quichotte", "Die weisse Hölle von Piz Palü". Das sind im wesentlichen die Filme, die unter den Oberbegriff "Pabst – späte 20er Jahre – Neue Sachlichkeit" fallen. Dazu ein bißchen Frühwerk und französische Periode. Der Rest – schamhaft verschwiegen. Die Fallhöhe zwischen "Die Büchse der Pandora" (1928/29) – in meinen Augen der ultimative Pabst-Film – und, sagen wir, "Rosen für Bettina" (1955/56) ist in der Tat gewaltig. Gemessen an der Flut von Filmbüchern, Retrospektiven und filmhistorischen Forschungs- und Rekonstruktionsarbeiten zum Werk von Murnau und Lang ist Pabst, anerkanntermaßen die Nummer Drei der deutschen Filmgeschichte, ziemlich vernachlässigt. So gesehen füllt diese Berliner Gesamt-Retrospektive der Stiftung Deutsche Kinemathek eine große Lücke. Rekonstruktionsarbeit Je stärker der Zerstörungsgrad eines Werks ist, desto drastischer sind die Dejà-vu- Effekte der besonderen Art. "Die Büchse der Pandora" (1928/29) und "Die freudlose Gasse" (1925), in Berlin in rekonstruierten Fassungen vorgestellt, kursieren, vor allem infolge von Zensureingriffen, in höchst unterschiedlichen Versionen. "Immer-wieder- Schreiben einer längst beendeten, zur Unzufriedenheit beendeten Arbeit – dieses Revenanthafte also bezeichnet die höchste Steigerung des Dejà vu nach Seite seines Versäumnis-Choks", schreibt Ernst Bloch. -
Landeszentrale Für Politische Bildung Baden-Württemberg, Director: Lothar Frick 6Th Fully Revised Edition, Stuttgart 2008
BADEN-WÜRTTEMBERG A Portrait of the German Southwest 6th fully revised edition 2008 Publishing details Reinhold Weber and Iris Häuser (editors): Baden-Württemberg – A Portrait of the German Southwest, published by the Landeszentrale für politische Bildung Baden-Württemberg, Director: Lothar Frick 6th fully revised edition, Stuttgart 2008. Stafflenbergstraße 38 Co-authors: 70184 Stuttgart Hans-Georg Wehling www.lpb-bw.de Dorothea Urban Please send orders to: Konrad Pflug Fax: +49 (0)711 / 164099-77 Oliver Turecek [email protected] Editorial deadline: 1 July, 2008 Design: Studio für Mediendesign, Rottenburg am Neckar, Many thanks to: www.8421medien.de Printed by: PFITZER Druck und Medien e. K., Renningen, www.pfitzer.de Landesvermessungsamt Title photo: Manfred Grohe, Kirchentellinsfurt Baden-Württemberg Translation: proverb oHG, Stuttgart, www.proverb.de EDITORIAL Baden-Württemberg is an international state – The publication is intended for a broad pub- in many respects: it has mutual political, lic: schoolchildren, trainees and students, em- economic and cultural ties to various regions ployed persons, people involved in society and around the world. Millions of guests visit our politics, visitors and guests to our state – in state every year – schoolchildren, students, short, for anyone interested in Baden-Würt- businessmen, scientists, journalists and numer- temberg looking for concise, reliable informa- ous tourists. A key job of the State Agency for tion on the southwest of Germany. Civic Education (Landeszentrale für politische Bildung Baden-Württemberg, LpB) is to inform Our thanks go out to everyone who has made people about the history of as well as the poli- a special contribution to ensuring that this tics and society in Baden-Württemberg. -
Eugen Bolz (PDF)
EUGEN BOLZ Württembergischer Staatspräsident 1928 – 1933 EUGEN BOLZ – Biographie 15.12.1881 15.3.1933 Geboren in Rottenburg am Neckar als zwölftes Ablösung als Staatspräsident zugunsten von Kind einer alteingesessenen katholischen Kauf- NSDAP-Gauleiter Wilhelm Murr. Nach seiner mannsfamilie Entlassung aus der Haft auf dem Hohenasperg ab Juli 1933 erzwungener Rückzug ins Privat- 1900 – 1909 leben. Jurastudium und Referendariat 1942 – 1944 1912 – 1933 Verbindung zum Widerstandskreis um den Reichstagsabgeordneter und württembergischer ehemaligen Leipziger Oberbürgermeister Carl Landtagsabgeordneter der Zentrumspartei Goerdeler. Bolz war in einer Regierung nach Hitler als Reichskultusminister vorgesehen. 1919 – 1923 Württembergischer Justizminister 12.8.1944 Nach dem gescheiterten Attentat vom 20. Juli 1920 1944 Verhaftung und schwere Folterungen Heirat mit Maria Hoeneß aus Ulm. Im März 1922 Geburt der Tochter Mechthild. 21.12.1944 Unter dem Vorsitz von Roland Freisler vom 1923 – 1933 Volksgerichtshof in Berlin zum Tode verurteilt Württembergischer Innenminister 23.1.1945 Titelseite Eugen Bolz Porträtbüste von 1928 – 1933 Hinrichtung im Strafgefängnis Berlin-Plötzensee Fritz von Graevenitz (1950) Staatspräsident von Württemberg durch das Fallbeil Eugen Bolz vor dem Volksgerichtshof in Berlin Sterbeurkunde EUGEN BOLZ – Württembergischer Staatspräsident 1928 – 1933 Die Villa Reitzenstein war von 1928 bis 1933 Als Hitler daraufhin in die Stadthalle auswei- Amtssitz des württembergischen Staatspräsi- chen musste und das Sendekabel, das die Rede denten Eugen Bolz. Von seinem Schreibtisch in übertragen sollte, gekappt wurde, stand der der Bibliothek aus steuerte er zusammen mit noch amtierende Staatspräsident Bolz unge- einer kleinen Ministerrunde das Land Württem- rechtfertigterweise unter Sabotageverdacht. berg durch eine unruhige Zeit. „Weder links noch rechts zu regieren, sondern vernünftig“, Wenige Wochen später, nach der Machtüber- war sein politisches Credo. -
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. -
Stiftelsen Norsk Okkupasjonshistorie, 2014
Stiftelsen norsk Okkupasjonshistorie, 2014 SNO Stiftelsen norsk Okkupasjonshistorie, 2014 NARVA 1944: THE WAFFEN-SS I AND THE BATTLE FOR EUROPE I It SNO HISTORY BOOKSHOP 2 THE BROADWAY, FRIERN BARNET ROAD, LONDON N11 30U ~1~r, 01 ·3688568 -~-:..'~~:-,: .- Books Bought • Sold Stiftelsen norsk Okkupasjonshistorie, 2014 I I NARVA 1944: THE WAFFEN-SS AND THE BATTLE FOR EUROPE I Richard Landwehr Illustrated by Ramiro Bujeiro SNO BIBLIOPHILE LEGION BOOKS, INC. Box 612 Silver Spring, Maryland 209010612 Stiftelsen norsk Okkupasjonshistorie, 2014 Copyright © 1981 by Bibliophile Legion Books, Inc. This book is respectfully dedicated to the soldiers of the III. SS Panzer Corps (Germanic), living and BIBUOPHILE LEGION BOOKS, INC. dead. You will not be forgotten! P.O. Box 612 Silver Spring, Maryland 209010612 Library of Congress Cataloging in Publication Data Landwehr, Richard Narva 1944: The Waffen·SS and the Battle for Europe Bibliography: p. 184 1. World War U, 1939·1945-Regimental histories-Germany -Waffen'SS (Germanisches). SS-Panzer·Korps, Ill. 2. Waffen·SS (Germanisches). SS·Panzer·Korps, Ill-History. 3. World War II, 1939·1945-Campaigns-E!;tonia. 4. Estonia-History-German - occupation, 1941·1944.1. Title. D757.85.L36 940.54'13'43 81-18009 ISBN 0·918184-02-9SNO AACR2 rvlanufactured in the United States of America Stiftelsen norsk Okkupasjonshistorie, 2014 CONTENTS Page Foreword ............................................................................. 11 NOTE TO THE READER Chapter I On the Oranienbaum Front .......................................... 15 The reader will notice that the place names in Estonia and 11 Red Offensive Latvia appear in Estonian, Latvian, English, and German. This ..................................................... 24 was due to the fact that the author used these spellings from the III Retreat from the Oranienbaum Front 33 original research material when writing the book. -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
British Imperialism in Books from the “Third Reich”
Empire and National Character: British Imperialism in Books from the “Third Reich” Victoria Jane Stiles, MA, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2015 Abstract This thesis examines the variety of representations and rhetorical deployments of the theme of British Imperialism within books published in the “Third Reich”. The thesis considers these books not only as vehicles for particular ideas and arguments but also as consumer objects and therefore as the product of a series of compromises between the needs of a host of actors, both official and commercial. It further traces the origins of the component parts of these texts via the history of reuse of images and extracts and by identifying earlier examples of particular tropes of “Englishness” and the British Empire. British imperial history was a rich source of material for National Socialist writers and educators to draw on and lent itself to a wide variety of arguments. Britain could be, in turns, a symbol of “Nordic” strength, a civilisation in decline, a natural ally and protector of Germany, or a weak, corrupt, outdated entity, controlled by Germany’s supposed enemies. Drawing on a long tradition of comparing European colonial records, the British Empire was also used as a benchmark for Germany’s former imperial achievements, particularly in moral arguments regarding the treatment of indigenous populations. Through its focus on books, which were less ephemeral than media such as newspaper and magazine articles, radio broadcasts or newsreels, the thesis demonstrates how newer writings sought to recontextualise older material in the light of changing circumstances. -
OBJ Datastream
Wallace, Andrew 2019 History Thesis Title: The Eldest Daughter of the Church: France, the Vatican, and the Memory of the Great War Advisor: Chris Waters Advisor is Co-author: None of the above Second Advisor: Released: release now Authenticated User Access: No Contains Copyrighted Material: No The Eldest Daughter of the Church France, the Vatican, and the Memory of the Great War By Andrew E. Wallace Chris Waters, Advisor A thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honors in History WILLIAMS COLLEGE Williamstown, Massachusetts April 15, 2019 Table of Contents Acknowledgements ......................................................................................................... iii Introduction ..................................................................................................................... 1 Chapter 1, Weapons of Peace: Debates in the Chamber of Deputies ........................... 19 Chapter 2, The Common Father and His Faithful: Catholics Respond .......................... 46 Chapter 3, Voila l’Ennemi! The Popular Press and the Reprise..................................... 70 Conclusion .................................................................................................................... 95 Bibliography ................................................................................................................ 101 Acknowledgements The original idea for this thesis came from two classes I took in the spring semester of 2018 in Paris, which -
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. -
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfilm Master
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessingiiUM-I the World's Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8812304 Comrades, friends and companions: Utopian projections and social action in German literature for young people, 1926-1934 Springman, Luke, Ph.D. The Ohio State University, 1988 Copyright ©1988 by Springman, Luke. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 COMRADES, FRIENDS AND COMPANIONS: UTOPIAN PROJECTIONS AND SOCIAL ACTION IN GERMAN LITERATURE FOR YOUNG PEOPLE 1926-1934 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Luke Springman, B.A., M.A. -
1 Vorbemerkung Das Gesprochene Wort in Der Öffentlichkeit Hatte Für
Vorbemerkung „Schwaden verdorbener Literatur liegen über dem Lande und machen das Atmen unmöglich. Der [...] Massenmensch hat das Recht zu denken, zu reden und zu schreiben für sich allein usurpiert, er hat allen anderen den Mund verboten und, vor Widerspruch sicher, macht er von seinem Prärogativ auf eine Weise Gebrauch, daß einem Hören und Sehen vergeht und man die liberale Demokratie verfluchen möchte, die jedermann Lesen und Schreiben gelehrt hat.“1 Das gesprochene Wort in der Öffentlichkeit hatte für die faschistischen Führer größte Bedeutung. Ihre Reden erfüllten jedoch eher eine liturgische Funktion, als daß sie der didaktischen Vermittlung der jeweiligen Ideologie gedient hätten. Die Ansprache selbst wurde in ein kultisches Zeremoniell integriert; was vorgetragen wurde, war letztlich von minderer Bedeutung im Vergleich zur aufwendigen und bewußt gesteuerten Inszenie- rung der Reden. Adolf Hitler und Benito Mussolini brachten zwar zeitweilig ihre Ge- danken zu Papier, und auch der NS-Chefideologe Alfred Rosenberg verfaßte seinen Mythus des 20. Jahrhunderts, nach Martin Broszat die „Bibel des Nationalsozialismus“2. Aber in der Praxis wurden die Bücher weit weniger gelesen, als man ihrer Verbreitung nach annehmen sollte, und auch in ihnen wurde schließlich der Primat des gesprochenen Wortes vor der schriftlichen Darstellung der Ideologie betont.3 Auf diesem Weg drang die NS-Ideologie allmählich ins Bewußtsein eines großen Teils der Bevölkerung. Die traditionelle Gattung der Politikerrede wurde mit einem spezifischen Pathos aufge- laden, das die Zuhörer als echt empfanden.4 Direkte Anreden bestimmter Gruppen der 1 Mann, Thomas, Achtung, Europa!, in: Ders., Essays Bd. 4: Achtung, Europa! 1933-1938, Frankfurt am Main 1995, S. 156. 2 Broszat, Martin, Der Nationalsozialismus.