The 1936 Olympic Games in Berlin
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Berger ENG Einseitig Künstlerisch
„One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945. -
Arani, Miriam Y. "Photojournalism As a Means of Deception in Nazi-Occupied Poland, 1939– 45." Visual Histories of Occupation: a Transcultural Dialogue
Arani, Miriam Y. "Photojournalism as a means of deception in Nazi-occupied Poland, 1939– 45." Visual Histories of Occupation: A Transcultural Dialogue. Ed. Jeremy E. Taylor. London,: Bloomsbury Academic, 2021. 159–182. Bloomsbury Collections. Web. 23 Sep. 2021. <http:// dx.doi.org/10.5040/9781350167513.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 23 September 2021, 13:56 UTC. Copyright © Jeremy E. Taylor 2021. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 7 Photojournalism as a means of deception in Nazi-occupied Poland, 1939–45 Miriam Y. Arani Introduction Outside Europe, the conflicting memories of Germans, Poles and Jews are hard to understand. They are informed by conflicts before and during the Second World War. In particular, the impact of Nazism in occupied Poland (1939–45) – including the Holocaust – is difficult to understand without considering the deceitful propaganda of Nazism that affected visual culture in a subliminal but crucial way. The aim of this chapter is to understand photographs of the Nazi occupation of Poland as visual artefacts with distinct meanings for their contemporaries in the framework of a specific historical and cultural context. I will discuss how Nazi propaganda deliberately exploited the faith in still photography as a neutral depiction of reality, and the extent of that deceit through photojournalism by the Nazi occupiers of Poland. In addition, I will outline methods through which to evaluate the reliability of photographic sources. For the purposes of reliability and validity, I use a large, randomized sample with all kinds of photographs from archives, libraries and museums in this study. -
International Olympic Committee, Lausanne, Switzerland
A PROJECT OF THE INTERNATIONAL OLYMPIC COMMITTEE, LAUSANNE, SWITZERLAND. WWW.OLYMPIC.ORG TEACHING VALUESVALUES AN OLYYMPICMPIC EDUCATIONEDUCATION TOOLKITTOOLKIT WWW.OLYMPIC.ORG D R O W E R O F D N A S T N E T N O C TEACHING VALUES AN OLYMPIC EDUCATION TOOLKIT A PROJECT OF THE INTERNATIONAL OLYMPIC COMMITTEE, LAUSANNE, SWITZERLAND ACKNOWLEDGEMENTS The International Olympic Committee wishes to thank the following individuals for their contributions to the preparation of this toolkit: Author/Editor: Deanna L. BINDER (PhD), University of Alberta, Canada Helen BROWNLEE, IOC Commission for Culture & Olympic Education, Australia Anne CHEVALLEY, International Olympic Committee, Switzerland Charmaine CROOKS, Olympian, Canada Clement O. FASAN, University of Lagos, Nigeria Yangsheng GUO (PhD), Nagoya University of Commerce and Business, Japan Sheila HALL, Emily Carr Institute of Art, Design & Media, Canada Edward KENSINGTON, International Olympic Committee, Switzerland Ioanna MASTORA, Foundation of Olympic and Sport Education, Greece Miquel de MORAGAS, Centre d’Estudis Olympics (CEO) Universitat Autònoma de Barcelona (UAB), Spain Roland NAUL, Willibald Gebhardt Institute & University of Duisburg-Essen, Germany Khanh NGUYEN, IOC Photo Archives, Switzerland Jan PATERSON, British Olympic Foundation, United Kingdom Tommy SITHOLE, International Olympic Committee, Switzerland Margaret TALBOT, United Kingdom Association of Physical Education, United Kingdom IOC Commission for Culture & Olympic Education For Permission to use previously published or copyrighted -
Thomas Demand Roxana Marcoci, with a Short Story by Jeffrey Eugenides
Thomas Demand Roxana Marcoci, with a short story by Jeffrey Eugenides Author Marcoci, Roxana Date 2005 Publisher The Museum of Modern Art ISBN 0870700804 Exhibition URL www.moma.org/calendar/exhibitions/116 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art museumof modern art lIOJ^ArxxV^ 9 « Thomas Demand Thomas Demand Roxana Marcoci with a short story by Jeffrey Eugenides The Museum of Modern Art, New York Published in conjunction with the exhibition Thomas Demand, organized by Roxana Marcoci, Assistant Curator in the Department of Photography at The Museum of Modern Art, New York, March 4-May 30, 2005 The exhibition is supported by Ninah and Michael Lynne, and The International Council, The Contemporary Arts Council, and The Junior Associates of The Museum of Modern Art. This publication is made possible by Anna Marie and Robert F. Shapiro. Produced by the Department of Publications, The Museum of Modern Art, New York Edited by Joanne Greenspun Designed by Pascale Willi, xheight Production by Marc Sapir Printed and bound by Dr. Cantz'sche Druckerei, Ostfildern, Germany This book is typeset in Univers. The paper is 200 gsm Lumisilk. © 2005 The Museum of Modern Art, New York "Photographic Memory," © 2005 Jeffrey Eugenides Photographs by Thomas Demand, © 2005 Thomas Demand Copyright credits for certain illustrations are cited in the Photograph Credits, page 143. Library of Congress Control Number: 2004115561 ISBN: 0-87070-080-4 Published by The Museum of Modern Art, 11 West 53 Street, New York, New York 10019-5497 (www.moma.org) Distributed in the United States and Canada by D.A.P./Distributed Art Publishers, New York Distributed outside the United States and Canada by Thames & Hudson Ltd., London Front and back covers: Window (Fenster). -
Quantifying Hitler's Salon: Patrick J. Jung
Quantifying Hitler’s Salon: A Statistical Analysis of Subjects at the Great German Art Exhibition, 1937-1944 Patrick J. Jung Department of Humanities, Social Science, and Communication Milwaukee School of Engineering Milwaukee, Wisconsin 53202, USA Email: [email protected] Abstract: In recent decades, scholars have reassessed earlier historical interpretations that argued German art produced during the Nazi era was little more than kitsch. This reassessment has occurred in part due to the increased accessibility to the various sources required to thoroughly research Nazi-era art. The availability of the artistic oeuvre of the Third Reich has been enhanced by the 2012 launch of the online database Grosse deutsche Kunstausstellung, 1937-1944. This database makes possible a quantitative analysis of the artworks exhibited at Adolf Hitler’s annual art exhibition, the Grosse deutsche Kunstausstellung (Great German Art Exhibition), from 1937 to 1944. Tabulating the information found in this database indicates that landscapes and related works constituted the dominant subject category. Portraits, nudes, and depictions of animals were also significant, but overtly political art was uncommon. The subjects of Nazi-era art reflected the racial ideology of the Third Reich, but several subject categories remain largely unexamined in this respect. This essay provides statistical evidence that supports many of the scholarly interpretations concerning these subject categories and suggests new directions for future research. Keywords: Third Reich, Nazi-era art, Great German Art Exhibition, Adolf Hitler Introduction: Reassessing Nazi-Era Art Prior to the 1970s, art historians generally dismissed Nazi-era art as mere kitsch and the product of a dictatorship that had suppressed modernist styles. -
Seeking Integrity Through Sports
Standing Up for What’s Right: Seeking Integrity Through Sports Sports are a large part of both high school and our country today. Fans wear exotic outfits, create amusing chants, and spend all kinds of money just to watch the teams they love. Athletes have the opportunity of not only entertaining the fans but also teaching lessons about life through their actions on the field and off the field. Today, there are many stories about college players accepting money to play, players hurting their girlfriends, and players not respecting officials. Despite this, there are also many positive athletes out there. Integrity is regularly built into athletics. Integrity is associated with honesty, but it’s more than being honest and fair. Integrity is who you are; it comes from inside you. It’s following your moral intuition no matter what the situation, and doing the right thing whether people are watching or not. Both of these ideas are vital to integrity. These ideas of integrity can be seen in athletes through sports today. One of these athletes was Luz Long. Although the 1936 Olympic Games in Berlin were dominated by African-American sprinter Jesse Owens, there was also a lesser-known German sprinter, Luz Long. Before we get to him, I’m going to tell you about Jesse Owens. For most athletes, Jesse Owens' performance would be the accomplishment of a lifetime. In 45 minutes, he established three world records and tied another. That was merely an appetizer for Owens. Owens' story is one of a high-profile sports star making a statement that transcended athletics spilling over into the world of global politics. -
Cultural Exchange and the Olympic Games Annexation Debate
Editor Lynne M. O’Hara Copy Editor Nan Siegel, HISTORYNET NHD is Endorsed by: American Association for State and Local History National Council for History Education American Historical Association National Council on Public History Federation of State Humanities Councils National Council for the Social Studies Lewis and Clark Trail Heritage Foundation Organization of American Historians National Association of Secondary School Principals Society for American Archivists This Publication is Sponsored by: NHD is also generously supported by: Kenneth E. Behring Albert H. Small Southwest Airlines. Proud to be the Official Airline of National History Day The Joe Weider Foundation WEM 2000 Foundation of the Dorsey & Whitney Foundation 4511 Knox Road Phone: 301-314-9739 Suite 205 Fax: 301-314-9767 College Park, MD 20740 Email: [email protected] Website: www.nhd.org ©2015 National History Day. May be duplicated for educational purposes. Not for resale. IBSN: 978-0-9962189-0-0 Table of Contents Exploration, Encounter, Exchange in History 2 Editor’s Notebook 36 Immigrant Women and the American Experience 3 What is National History Day? 44 Alumni Search 4 Theme Narrative LESSON PLANS ESSAYS 46 Reform Begins in the United States 7 Sample Topics List 52 An Empire in the East?: The Philippine 9 Cultural Exchange and the Olympic Games Annexation Debate 14 From Calcutta to the Canefields of the 57 At the Crossroads of World War I and the Caribbean: How Exploration, Encounter, Bureau of Indian Affairs: A Case Study of and Exchange Shaped the Indo-Caribbean -
WWII CAMPAIGN in NORTH AFRICA, SICILY and ITALY 2021
RESPONSIBILITY: Valor Tours, Ltd. acts only as an agent in providing all the services in connection with the tour described in this brochure, and cannot assume responsibility for injury, death, damage or loss due to delays, mechanical defects or failure of any nature aboard aircraft, buses, ships, ship's tenders or zodiacs, or any other means of conveyance, accommodation, or other services resulting directly or indirectly from any acts of God, dangers incident to the sea, fire, breakdown of machinery or equipment, acts of government, other authorities de jure or de facto, wars (whether declared or not), hostilities and civil disturbances, acts of terrorism, strikes, riots, thefts, pilferage, PRESENTS… epidemics, quarantine, medical or customs regulations or procedures, defaults, delays or cancellations, or changes from any causes beyond our control, or any loss or damage resulting from improperly issued passports, visas, travel documents, and that neither we nor any of our affiliates shall become WWII CAMPAIGN in liable for any additional expenses of liability sustained or incurred by a tour member as a result of the foregoing causes. The airlines concerned are not to be held responsible for any act or omission or events during the time the passenger is not aboard the aircraft or conveyance. The passenger contract NORTH AFRICA, SICILY in use shall constitute the sole contract between the carrier and the purchaser of the tour and/or the passenger and the carrier. The right is reserved, should the circumstances warrant it, to alter the AND ITALY 2021 itinerary or the sequence of places visited. The right is reserved to substitute hotels for other hotels of a similar category. -
The Definite Article Via Roma 60 33100 Udine I S S U E 3 7 Summer 2012 0432 501252
KEEP TALKING THE DEFINITE ARTICLE VIA ROMA 60 33100 UDINE I S S U E 3 7 SUMMER 2012 0432 501252 S P E C I A L P O I N T S O F INTEREST: Kip Talking Two Olympic Sport Is An Art by Maurizio Costantini Quizzes! The Prize Article I love football, and that’s an idol, for a colour, for a victory depends on just a London 2012 because you can see 11 country, the Olympics are single sportsperson. Facts players organized a sort of global So the more victories are together in order to competition in order to gained by the Italian team, And many more create a show for people establish which are the the more honours and interesting who consider football as a values in the world of world respect we will get! articles from you kind of art like sculpture, every single country. Yes, What is even more painting, dance, theatre because the results are amazing to me is that the INSIDE THIS and cinema. the mirror of the country. result of 4 years of ISSUE: The Olympic games are The more you are able to preparation and training Sport Is An Art 1 the highest point of all organize your team from depends on just one day! this! childhood at school, the Good luck Italy! Kip Talking 1 They should be a show better performances you involving every country in will reach. The Ancient 2 the whole world, but for Where a country Olympics fans that are interested in is not well Not the Triumph 2 sport with a passion for organized the but the Struggle A Promise for 3 London 2012 All Spectacle and 3 No Athletics Kip Talking The Italian team at the Opening Ceremony in Beijing 2008 Politics and 4 Intrigue A Good 5 I remember my parents but today the medals table with the same nickname. -
Eterni Secondi
La citazione di pag. 56 è tratta da Dialoghi con Leucò, Cesare Pavese © 2014 Giulio Einaudi editore S.p.A., Torino La citazione di pag. 73 è tratta da Il suono dell’ombra, Alda Merini © 2018 Mondadori Libri S.p.A., Milano, per gentile concessione degli Eredi e dell’Editore SToRiE Da La citazione di pag. 81 è tratta da Vita d’un uomo, Giuseppe Ungaretti LA scUgNiZzErIa dI scAmPiA © 2018 Mondadori Libri S.p.A., Milano, per gentile concessione degli Eredi e dell’Editore La citazione di pag. 149 è tratta da Isole nella corrente, Ernest Hemingway iLlUsTrAtO Da © 2013 Mondadori Libri S.p.A., Milano, per gentile concessione dell’Editore LoReNzO CoNtI La citazione di pag. 173 è tratta da Da questa parte del mare, Gianmaria Testa © 2016 Giulio Einaudi editore S.p.A., Torino © 2019 Edizioni EL, via J. Ressel 5, 34018 San Dorligo della Valle (Trieste) ISBN 978-88-6656-513-0 www.edizioniel.com INTRODUZIONE UNA PIAZZA DI SPACCIO A Morena. Alcune persone le amerò tutta la vita. DI LIBRI Altre, anche dopo. A QUARANT’ANNI dalla nascita di Scampia, abbiamo aperto la prima libreria del quartiere: si chiama «La Scugnizzeria», ovvero la casa degli scugnizzi, i ra- gazzi di strada. Quando si entra nella nostra libreria, un cartello dice: «Piazza di Spaccio di libri». Dove prima si ven- deva droga, ora si spacciano libri. Per comprare un libro nell’Area Nord di Napoli, prima, bisognava per- correre dieci chilometri: otto fermate della metropo- litana. Oggi ci sono scaffali con libri gratuiti, i libri «sospesi»: c’è gente che compra libri per chi non può permetterselo. -
The Price of Speaking Out
nº 27 - MAY 2016 SPORT AS A PEACEBUILDING TOOL IN DEPTH The Price of Speaking Out Toni Padilla Sports editor of the newspaper ARA “Many friends treated us like heroes. But we had been expelled from the Olympic Vi- llage and my career was ruined. In the eyes of sports officials I was a traitor.” Tommie Smith recalled with some bitterness the day his name went down in history. Both he and John Carlos, standing on the podium of the Olympic Stadium in Mexico City, in 1968, raised their black-gloved fists while the US national anthem was played in their honor for winning the gold and bronze medals in the 200-meter race. “It wasn’t a ges- ture against the United States. It wasn’t a gesture against anyone. It was a gesture of black pride. If it was against anything, it was against racism,” argued Carlos. Both the International Olympic Committee (IOC) and the US Olympic Committee, however, did not forgive this act of political interference in the Olympic Games, a supposedly sporting event. And two Olympic medalists were ostracized for having wanted to do their part in the fight against racism at a time when a fierce debate was raging over the subject in the United States. The IOC, like the majority of organizations that control sporting events, claims that sport should not be used to talk about politics. But the Olympic movement was poli- ticized very quickly by decision of the IOC. Even back in 1906, when the so-called In- tercalated Games were held in Athens -an experiment that took place only once, and that aimed to allow the Greeks to organize intermediate games- athletes had no way of registering individually, but instead had to do so through National Olympic Com- mittees.