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Hocquet (Centre Max Weber, Université Jean Monnet - Saint-Étienne) [email protected]
Urbanities, Vol. 3 · No 2 · November 2013 © 2013 Urbanities The Exhibition of Communist Objects and Symbols in Berlin’s Urban Landscape as Alternative Narratives of the Communist Past Marie Hocquet (Centre Max Weber, Université Jean Monnet - Saint-Étienne) [email protected] The objective of this article is to investigate the different approaches at play in the material and symbolic production of the urban space through the study of the transformations of the East-Berlin urban landscape since the German reunification. I will show how the official accounts of the ex-GDR have crystallised in the Berlin urban space through the construction of a negative heritage. I will then focus on how the increase in historic tourism in the capital has contributed to the emergence of legible micro-accounts related to the local communist past in the urban space that compete with the official interpretations of this past. Key words: Berlin, symbolism, communism, heritage Introduction Urban space can be considered as a privileged place where one can observe the work of self- definition undertaken by societies. This is because human beings take their place in a physical environment by materialising their being-in-the-world. The urban landscape is defined by Mariusz Czepczyński as a ‘visible and communicative media through which thoughts, ideas and feelings, as well as powers and social constructions are represented in a space’ (Czepczyński 2010: 67). In the process outlined above, the narrativisation of the past and its inscription in the urban space is a phenomenon of primary importance. Our cities’ landscapes are linked to memory in a dynamic process which constantly urges societies to visualise themselves, to imagine the future and to represent themselves in it. -
Saison 2021 /22 Saison 2021 /22 Herzlich Willkommen! Alte Oper Frankfurt Inhaltsverzeichnis
SAISON 2021 /22 SAISON 2021 /22 HERZLICH WILLKOMMEN! ALTE OPER FRANKFURT INHALTSVERZEICHNIS Einmal mit den Flügeln INHALT schlagen und abheben bitte. Starten Sie mit uns einen Flug über die Alte Oper, mitten ins IM ÜBERBLICK ABONNEMENTS 19 Herz der Stadt! FESTIVALS UND SCHWERPUNKTE 33 KONGRESSE UND EVENTS 51 DAS OFFENE HAUS 55 DANK 73 DIE KONZERTSAISON 2021/22 DIE KONZERTE DER ALTEN OPER TAG FÜR TAG 81 ANGEBOTE DER PARTNER 161 SERVICE 177 NEUE PERSPEKTIVEN So haben Sie das Konzerthaus noch nie gesehen. Halten Sie einfach die Kamera Ihres Smartphones auf den abgebildeten Code, um die Alte Oper aus ungewohnter Perspektive zu entdecken. Oder gehen Sie auf www.alteoper.de/rundflug 2 3 GELEITWORT ZUM PROGRAMM GELEITWORT ZUM PROGRAMM PETER FELDMANN DR. MARKUS FEIN Oberbürgermeister der Stadt Frankfurt am Main Intendant und Geschäftsführer der Alten Oper Frankfurt Vorsitzender des Aufsichtsrats der Alten Oper Frankfurt Es ist gut, Perspektiven zu haben – nicht nur in Krisenzeiten. Sehr geehrte Damen und Herren, Wenn ich das Programm der Alten Oper betrachte, entdecke ich liebe Besucher*innen der Alten Oper, neue Perspektiven in mehrfacher Hinsicht: Es sind einerseits Aus- sichten auf die Rückkehr zur Normalität im Kulturbetrieb. Aber Die Alte Oper ohne Publikum? Das war für uns unvorstellbar, und zugleich zeigen sich andere Blickwinkel. Mich freut, wie sich auch nach Monaten des Lockdowns können und wollen wir uns zahlreiche Projekte auf Frankfurt selbst konzentrieren und in die nicht daran gewöhnen. Zu wichtig ist uns der Dialog mit Ihnen, Stadt hineinwirken. Derzeit sind mehr denn je Zusammenhalt unserem Publikum. Die Alte Oper ist ein Haus, das sich vielfältig und gegenseitiges Verständnis gefordert. -
Met Classics: Berlin
Met Classics: Berlin Dear Traveler, Please join Museum Travel Alliance from May 24-30, 2021 on Met Classics: Berlin. Enjoy behind-the-scenes explorations of Berlin's most fascinating museums and art spaces, including Sammlung Boros, a dazzling private collection of contemporary art housed in an above-ground World War II-era bunker. Delight in a curator-led exclusive tour of the Jewish Museum Berlin, Europe's largest museum devoted to Judaism, housed within a zinc-paneled architectural masterpiece designed by Daniel Libeskind to reflect the tensions of German- Jewish identities. We are delighted that this trip will be accompanied by Chris Noey as our lecturer from The Metropolitan Museum of Art. This trip is sponsored by The Metropolitan Museum of Art. We expect this program to fill quickly. Please call the Museum Travel Alliance at (855) 533-0033 or (212) 302-3251 or email [email protected] to reserve a place on this trip. We hope you will join us. Sincerely, Jim Friedlander President MUSEUM TRAVEL ALLIANCE 1040 Avenue of the Americas, 23rd Floor, New York, NY 10018 | 212-302-3251 or 855-533-0033 | Fax 212-344-7493 [email protected] | www.museumtravelalliance.com BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB Travel with Met Classics The Met BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB -
Revision Guide – History Around Us Stasi Prison
The Gryphon School GCSE HISTORY UNIT 3: HISTORY AROUND US The Prohibited District: Berlin Hohenschonhausen REVISION GUIDE 1 The exam: You will take one exam of one hour for this unit. You will be required to answer TWO questions out of a choice of three. Note: Each school has chosen a different site to study, so questions will always refer to “your site” rather than Hohenschonhausen. SPECIMEN PAPER: As part of your GCSE (9–1) History B (Schools History Project) course you have studied a historical site and what remains of it today. Refer to features from the site as well as other sources you have studied and your own knowledge of the past to help you with the questions below. You may find it helpful to draw a simple sketch of the site you have studied before you start. This may remind you of its main features. You are advised to spend no more than three minutes doing this. In your answers, you may include simple sketches of features that can be seen at your site if you think this will help you to explain your ideas. Answer any two questions 1. Did your site change dramatically over its history? Use physical features of the site and other sources as well as your knowledge to support your answer. [20] Spelling, punctuation and grammar [5] 2. Explain how we can know that your site was important to people at a particular time in its history. Use physical features of the site and other sources as well as your knowledge to support your answer. -
PRESS RELEASE for Immediate Release
PRESS RELEASE For immediate release MAAZEL: MAHLER CYCLE 2011 London’s only complete Mahler symphony cycle led by a single conductor 2011 is a year of major worldwide Mahler celebrations and the Philharmonia Orchestra is marking this event by bringing Lorin Maazel, one of the world’s finest Mahlerians, to London to perform a heroic one-man journey through all ten Mahler symphonies and four major orchestral song cycles over ten concerts from April-October 2011. Maazel and the Philharmonia presented the first complete Mahler symphony cycle in London 33 years ago, in 1978-9. This series also includes concerts in Basingstoke, Bristol, Gateshead, Hull, Manchester and Warwick, a 13-concert tour to France, Germany, Italy and Luxembourg and a tour of the Far East in spring 2012. As the only full symphony cycle in London taking place with a single conductor, this promises to be a very special exploration of the work of the great composer. Soloists include Michelle DeYoung, Simon Keenlyside, Sarah Fox, Matthias Goerne, Stefan Vinke and Sarah Connolly. The series also includes the Lieder eines fahrenden Gesellen, Rückert- Lieder, Des Knaben Wunderhorn and Das Lied von der Erde. Lorin Maazel said of Mahler, and of his own relationship with Mahler’s music: “He was a complete human being who had this genius for spanning the complete gamut of human emotions in sound. It’s the human quality, the person behind the notes as well as the music behind the notes that fascinates me. I really feel as if I’ve come to know Gustav Mahler, the person, intimately -
West Side Story
To Our Readers ow can something be as fresh, as bril Hliant, as explosively urgent as "West Side Story," and be 50 years old? How can this brand new idea for the American theatre have been around for half a century? Leonard Bernstein used to say that he wished he could write the Great American Opera. He was still designing such a project shortly before his death. But in retrospect, we can say that he fulfilled his wish. "West Side Story" is performed to enthusiastic audiences in opera houses around the world - recently in La Scala and, before this year is out, at the Theatre du Chatelet in Paris. Is there a Broadway revival in the works? The signs are highly auspicious. In this issue, we celebrate "West Side Story": its authors, its original performers, and its continuing vital presence in the world. Chita Rivera regrets that, due to scheduling conflicts, she was unable to contribute to this issue by print time. [ wEst SIDE ·sronv L "West Side Story" continues to break ground to this very day. Earlier this year, the show was performed by inmates at Sing Sing. A few months later, it was presented as part of a conflict resolution initiative for warring street gangs in Seattle. And if there's a heaven, Leonard Bernstein was up there dancing for joy last summer while Gustavo Dudamel led his sensational 200-piece Simon Bolfvar Youth Orchestra in the "Mambo" at the Proms in London. The audience went bonkers. Check it out: http://www.dailymotion.com/swf/ 6pXLfR60dUfQNjMYZ There are few theatrical experiences as reliably thrilling as a student production of "West Side Story". -
Dunkles Kapitel
Das Programmheft für die Ausstellungen und Veranstaltungen im April, Mai und Juni 2019 Dunkles Kapitel Meister der Renaissance Die Konkurrenten Andrea Mantegna und Giovanni Der Expressionist Emil Nolde war Opfer Bellini prägten die Malerei der italienischen Renaissance der NS-Kulturpolitik. Doch das ist nicht die ganze Geschichte – eine Ausstellung Was macht eigentlich ...? im Hamburger Bahnhof beleuchtet ein Claudia Kanowski entwickelt eine neue Sammlungs- dunkles Kapitel im Leben des Künstlers präsentation zum Porzellan im Kunstgewerbemuseum In KooperatIon mIt eDItorIaL Inhalt 4 nachrichten aus den museen 6 michael eissenhauer, emil nolde: Generaldirektor der Staatlichen museen zu Berlin „Deutsch, stark, herb und innig“ 10 Was macht eigentlich ...? 12 ausstellungen und Veranstaltungen 22 Neue museumsshop 23 Kalender für april, Wahrheiten mai und Juni emil nolde, der große expressionist, war jahrelange Forschung an der nationalgale- für mich seit der Kindheit ein steter Beglei- rie der Staatlichen museen zu Berlin. Ge- 30 ter. In meinem elternhaus hing der Dumont- meinsam mit der nolde Stiftung Seebüll Kinder und Familien In der frühen renaissance herrschte in Italien eine Kunstkalender, in dem er jedes Jahr mit präsentiert sie nun eine große Schau im Donatellos mindestens ein oder zwei Blättern vertre- Hamburger Bahnhof, die nolde und sein ten war. meist waren es Blumenbilder, von Werk in verschiedenen phasen beleuchtet: große Begeisterung für die antike. Sie förderte 31 denen es hieß, sie seien in noldes Garten im von seiner großen popularität vor 1933 David adressen, preise, Öffnungszeiten nicht nur den medizinischen Fortschritt, etwa in nordfriesischen Seebüll entstanden. als ich über Versuche der positionierung während im Überblick diesen Garten zum ersten mal mit eigenen des „Dritten reiches“ bis zur nolde-Vereh- der anatomie, sondern auch künstlerische experimente. -
Virtual Germans
Berlin Program for Advanced German & European Studies Berlin Program Summer Workshop Virtual Germans June 19-20, 2014 Freie Universität Berlin Preliminary Program In her travels through Eastern Europe in the 1990s, the writer Ruth Ellen Gruber noted that non-Jews were embracing, creating, and marketing an idea of Jewishness that had little to do with the Jews who had lived in the region before the Holocaust. Through practices and cultural products, these “virtual Jews” had come in dialog with “their own visions of Jews and Jewish matters, and themselves.” In recent years, the historian Winson Chu has adapted this concept to show the enactment of a “virtually German” culture that serves commercial interests, European reconciliation, and cosmopolitan credentials in Poland today. In 2014, the Berlin Program summer workshop will invite papers that expand upon the idea of “virtual Germans” in a variety of constellations, including Germans and German-speakers who have fashioned new identities for themselves abroad, people living in Germany of diverse backgrounds whose German belonging is contested, as well as constructions of Germanness in the virtual realm of cyberspace and in the classroom. This workshop will pay special attention to the global flow of “Germanness” as well as to its local constructions. By exploring such representations and contestations, we can see how new definitions of Germanness arise and how new inclusions and exclusions are made. Thursday, June 19 9:00-9:15 Arrival & Coffee 9:15-9:30 Opening Remarks & Introduction 9:30-11:00 -
Zur Repräsentation Von Geschichte Und Kultur Des Alten Orients in Großen Europäischen Museen: Die Analyse Der Dauerausstel
Zur Repräsentation von Geschichte und Kultur des Alten Orients in großen europäischen Museen: Die Analyse der Dauerausstellungen in den vorderasiatischen Museen im Louvre, British Museum und Pergamonmuseum Inaugural- Dissertation zur Erlangung des Doktorgrades am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin vorgelegt von Hussein Bakkor aus Idleb/ Syrien Berlin 2011 1. Gutachter: Prof. Dr. Dominik Bonatz 2. Gutachter: Prof. Dr. Reinhard Bernbeck Tag der mündlichen Prüfung: 14. November 2011 ii Hiermit versichere ich, dass ich die vorlegende Arbeit mit dem Titel „Zur Repräsentation von Geschichte und Kultur des Alten Orients in großen europäischen Museen: Die Analyse der Dauerausstellungen in den vorderasiatischen Museen im Louvre, British Museum und Pergamonmuseum“ selbstständig und ohne Benutzung anderer als der von mir angegebenen Hilfsmittel verfasst habe. Alle Stellen, die wortgetreu oder sinngemäß aus anderen Veröffentlichungen entnommen sind, sind als solche kenntlich gemacht. Die vorliegende Studie hat an noch keiner anderen Stelle als akademische Abschlußabrabeit vorgelegen. Berlin, im Juni 2011 …………………………………………………………. iii Vorwort Die vorliegende Studie wurde von der Aleppo Universität gefördert. Ich danke der Universität für ihre Unterstützung und auch für die Flexibilität, als es um eine Konzeptionsänderung und damit um eine Verlängerung der Forschungsdauer ging. Meinen besonderen Dank möchte ich meinem Betreuer Herrn Prof. Dr. Dominik Bonatz aussprechen. Er hat mir mit seinem unerschütterlichen Optimismus die Entstehung dieser Arbeit überhaupt erst möglich gemacht und diese dann kritisch und wohlwollend begleitet. Des weiteren bin ich Herrn Prof. Dr. Reinhard Bernbeck für die fachliche Unterstützung und für die Übernahme des Zweitgutachtens zu Dank verpflichtet. Danken möchte auch Herrn Prof. Dr. Hartmut Kühne, Frau Prof. Dr. Susan Pollock und Frau Dr. -
Information Munich Airport from a to Z
/Information Munich Airport from A to Z Living ideas – Connecting lives Contents 1 Contents Overview 2 Overview plan of the airport 4 Terminal 1 and München Airport Center (MAC) 6 Terminal 2 8 Terminal 2 satellite Service at the airport 10 Service Centers 11 Service from A to Z 28 Service for passengers with disabilities 30 Cafés, bars and restaurants 34 Hotels 35 »municon« conference center 36 Travel market 37 Airlines 38 Visitors Park Transport links 40 Road network 41 Parking 42 Rapid transit rail (S-Bahn) 44 Bus connections 46 Transfer services 2 Overview 3 /Overview plan of the airport Access to/from A92 Deggendorf expressway and Erding 41 Terminal 1 Nord Nordallee 1 5 F 41 A Süd Hotel 52 Access to/from General 2 26 35 A92 München-Deggendorf Hotel Aviation expressway and Freising Zentralallee Visitors Park B Terminal 1 Terminal 2 T2 satellite Terminal G Südallee MAC H C 81 Access to Terminal 1 27 Wartungsallee 3 7 Access to Terminal 2 for meeters and greeters 80 D 20 West 80 Access to Terminal 2 for parkers Ost Foothpath Cargo Terminal 4 8 E 25 Terminal 1 Rail services (S-Bahn) T1 consists of the departure/arrival areas (A–D and Parking The rapid transit rail lines S1 and S8 alternately Internet F) plus an arrival-only area (E). All facilities for han- P1–P5, P7, P8 and serve the stops »Besucherpark« (Visitors Park) and www.munich- dling passengers are located at level 04 (street level). P20 in the direct »Flughafen München« (Munich Airport) about every airport.de vicinity of the Passengers and terminals ten minutes. -
17:30 Hrs Atlantic Fish and Seafood in a Root Vegetable Stock with Saffron
12:00 – 17:30 hrs 12:00 – 17:30 hrs Premier Cru Brut …………………....…..…….... ……………………………………………………..…….. marinated in high quality olive oil, served with roasted garlic parisienne ..……………………...…………….... …….……………..………. Atlantic fish and seafood in a root vegetable stock Brut Rosé ………………………………………….….. with saffron and herb baguette thinly sliced veal with tuna sauce and caper apples ..……...….. with fresh dill ………………..………..…….. with mustard-dill sauce, avocado and apple …………...….….. ……..…….……… Gravad Lax finely pickled, mild smoked salmon, strong smoked salmon, salmon tartare with dill, …………….….…. cream horseradish5, mustard-dill sauce, butter and toast2 ….. cut by hand, with fried quail egg and roasted Parisienne ...…... Riesling sparkling wine, bottle fermentation ..….... Palatinate, Germany …………..……………........….. Buffalo mozzarella, sun-ripened date tomatoes, rocket salad, Romana lettuce hearts, Caesar’s dressing, crispy Bacon2,3 …..... grilled aubergine, giant white beans, caramelised radicchio, dark balsamic dressing and croûtons ….………………........... ………………….…..…………………... “Ried Obere Point” …………………………...….…. (vegan) Family Piewald, Wachau, Austria ….……...……….. with light mustard cream, mushrooms and herb mousseline Lupine, edamame, beetroot hummus, smoked tofu, au gratin, basmati rice …………....…………...……...……… avocado, pomegranate, mango, cashews, ………......……...…. mango-lime chilli dressing ………...........……….......………... M. Molitor, quality wine Mosel, Germany .............. Robiola Fresca Di Capra, Tegernsee hay-milk Camembert, ……..………......…….. -
Exploring the Altes Museum the Altes Museum Or Old Museum Was
1 Sara Marcus 12-11-18 From Royalty to Bourgeoisie: Exploring the Altes Museum The Altes Museum or Old Museum was constructed in Berlin between 1824-30 by Karl Friedrich Schinkel (1781-1841). Originally known as the “Königliches Museum,” it was commissioned by King Friedrich Wilhelm III of Prussia for the purpose of being the first public art museum in Prussia as well as the first royal museum. As the relationship in the 19th century changed between art, the observer, and who should be a part of that experience, the Altes Museum was erected to embody the idea of Berlin as a center of learning and culture, and to elevate its citizens in the presence of art. The Berlin Museum emerged from a small group of the ruling class and it was first officially demanded and proclaimed by the Art Academy under Friedrich Wilhelm II. (Das Berliner Museum entsteht aus einer kleinen Gruppe der herrschenden Schicht. Öffntlich wurde es zuerst gefordrt und verkundet… in der Kunstakademie unter Friedrich Wilhelm II.)1 After the Wars of Liberation, his son, King Friedrich Wilhelm III, continued to advocate for the foundation of a public art museum to display the collection of artifacts that Prussia had amassed over the years. During the reign of Napoleon, Prussian art was forcefully taken to be displayed in Paris, which alerted the Prussian people that a permanent home to show off their national heritage was necessary.2 While ideas for a museum were already in the air, it is safe to say that the main reason why construction started when it did was in response to Napoleon’s looting.