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The Godesberg Programme and Its Aftermath
Karim Fertikh The Godesberg Programme and its Aftermath A Socio-histoire of an Ideological Transformation in European Social De- mocracies Abstract: The Godesberg programme (1959) is considered a major shift in European social democratic ideology. This article explores its genesis and of- fers a history of both the written text and its subsequent uses. It does so by shedding light on the organizational constraints and the personal strategies of the players involved in the production of the text in the Social Democra- tic Party of Germany. The article considers the partisan milieu and its trans- formations after 1945 and in the aftermaths of 1968 as an important factor accounting for the making of the political myth of Bad Godesberg. To do so, it explores the historicity of the interpretations of the programme from the 1950s to the present day, and highlights the moments at which the meaning of Godesberg as a major shift in socialist history has become consolidated in Europe, focusing on the French Socialist Party. Keywords: Social Democracy, Godesberg Programme, socio-histoire, scienti- fication of politics, history of ideas In a recent TV show, “Baron noir,” the main character launches a rant about the “f***g Bad Godesberg” advocated by the Socialist Party candidate. That the 1950s programme should be mentioned before a primetime audience bears witness to the widespread dissemination of the phrase in French political culture. “Faire son Bad Godesberg” [literally, “doing one’s Bad Godesberg”] has become an idiomatic French phrase. It refers to a fundamental alteration in the core doctrinal values of a politi- cal party (especially social-democratic and socialist ones). -
Kretanja 13-14 Engl KB.Indd
Kretanja ČASOPIS ZA PLESNU UMJETNOST Kretanja 13/14 _ 1 from Croatian stages: 09 Iva nerina Sibila Which .... ? Jelena Mihelčić Humman Error ... contents editorial: dance/ 04 art: Katja Šimunić ??? ? Maja Marjančić Anka krizmanić .... ? Maja Đurinović The Exhibition... theory: ? Katja Šimunić Three... 2 _ Kretanja 13/14 MilkoSparemblek Intro- duction ?? Maja Đurinović ?? ?? ?? Vjeran Zuppa Svjetlana Hribar Ludio doctus 2+2: Pokret je zbir svega što jesmo ?? Andreja Jeličić 77 Plesno kazalište Milka Bosiljka Perić Kempf Šparembleka u svjetlu teorije Plesati možete na glazbu, umjetnosti kao ekspresije ali i na šum, ritam, tišinu... ?? Darko Gašparović O dramaturgiji Milka Šparembleka ?? Tuga Tarle Oda ljubavi pod čizmom ideologije Kretanja 13/14 _ 3 editorial: n anticipation of the establishment of dance education at the university le- vel in Croatia, which will, according to the founders’ announcements, bring Itogether practical (i. e. classical and contemporary dance techniques) and theoretical dance studies in one institution, Kretanja (Movements), as the only Croatian journal exclusively dedicated to dance art, has from its very fi rst issue (in 2002) published a corpus of texts that can be used as a kind of basis or in- troduction into dance theory, and which should have an important place in the envisaged institution and serve as a platform for institutional and non-instituti- onal researchers of dance. Throughout issues dealing with special themes whe- re dance is positioned in relation to literature, photography, dramaturgy, fi lm or visual arts, along with translations of essays of the most important international dance theoreticians, we have introduced texts that present different examples of knowledge about dance on the path to the much needed dynamically organised dance studies, and we have also presented outstanding creations from the Croa- tian dance scene and promoted domestic authors. -
Virtual Vienna
FREELANCE watched pastries being made in Demel, went to the opera, visited Schönbrunn and the Belvedere, Virtual drank Grüner Veltliner in the famous cafés – Sperl, Hawelka, Landtmann – and returned many times to the Leopold Museum to look at the Egon Schieles. Parallel to this new physical acquaintance was a Vienna further Vienna reading blitz. I read Schnitzler, almost all of Joseph Roth, Gert Jonke, Thomas Bern- WILLIAM BOYD hard – I even read Vienna’s Ulysses, Robert Musil’s 1,700-page, two-volume masterwork, The Man With- out Qualities. As if a Vienna dam had broken, I was AM IN V IENNA. Or, rather, I should be in then commissioned to write a six-hour mini-series Vienna. Put it this way, I would like to be in about Hitler’s rise to power, 1913–33, the first hour I Vienna, right now, on the Austrian leg of a mini of which dealt with Hitler’s life as an embittered, book tour – Salzburg, Vienna, Zurich, Munich – for paranoid vagrant in Vienna before the First World the reissue in Germany of my novel Die blaue Stunde War began. Then my own Vienna novel swiftly fol- (The Blue Afternoon). But force majeure has inter- lowed, Waiting for Sunrise, about a young English- ceded in the shape of Covid-19 and I can now only man, also set in pre-First World War Vienna, under- visit Vienna in my imagination, in my head. How- taking the talking cure with a disciple of Freud. I ever, Vienna-in-the-head has its compensations. felt I had the city pretty much covered now, what In fact, Vienna was one of four cities I wrote about with my fiction, as a dedicated flâneur of its streets in fiction long before I visited them. -
And Gold 80 Years Ago
HIGHLIGHTS Welcome from our AAAA President ............. 3 AA Superintendent ..................................... 4 The Blue AA High School Principal ........................... 5 AA Elementary Principal ........................... 5 and Gold 80 years ago ............................................... 6 Past Yearbook Dedications ....................... 9 Outstanding Service Award ...................... 11 2019 Sports Hall of Fame Inductees ................. 12 Alfred Almond Central School Spotlight on Alumni ................................... 16 Alumni Newsletter Scholarships Class of 2018 ..................... 20 Summer Campers say Thank You ............ 23 Reunion News ........................................... 24 Alumni News .............................................. 29 Dues Payers .............................................. 33 Donations ................................................... 36 ALMOND--- More than 260 Alfred-Almond Central School alumni gathered at Alfred Memorials ................................................... 42 State’s Central Dining Hall on July 21 for their 58th annual alumni banquet. The theme, Condolences ............................................. 45 “A Blue and Gold Christmas in July” was carried out in the room décor, printed pro- Notice of Annual Membership meeting ..... 46 grams and table decorations. RSVP/Reservation Form ........................... 49 Special guests for the event were the 2018 scholarship winners, who received $40,000 in awards presented by AAAA President Lisa Patrick, -
Daniel Blaufuks B
Daniel Blaufuks b. 1963 Jean-Kenta Gauthier [gallery] [office] [email protected] 5 rue de l’Ancienne-Comédie 47 rue Blanche www.jeankentagauthier.com F-75006 Paris F-75009 Paris 1 Daniel Blaufuks Born in 1963 in Portugal, lives in Libon, Portugal. --- Formation: AR.CO, Lisbon, Portugal, 1989 Royal College of Art, London, UK, 1993 Watermill Center, New York City, USA, 1994 International Studio and Curatorial Program, New York City, USA, 2001-2002 Location One, New York City, USA, 2003 PhD, University of Wales, Cardiff, UK, 2017 Professor / teaching experiences: AR.CO, ETIC, EPI, Maumaus (co-founder), IPA, Atelier de Lisbon, Lisbon, Portugal SESC, Rio de Janeiro, Faculdade de Belas Artes, Lisbon, Portugal Masterclasses in institutions (selection): Consortium, Universidade Católica, Lisbon, Portugal Universidade Nova de Lisbon, Lisbon, Portugal Faculdade de Belas-Artes, Lisbon, Portugal Faculdade de Belas-Artes, Porto, Portugal Universidade do Minho, Braga, Portugal University of Minnesota, Minneapolis, USA Mount Holyoke College, South Hadley, Massachussets, USA Kahn Institute, Smith College, Northampton, Massachussets, USA Hampshire College, Amherst, Massachussets, USA Summer School, Universidade Católica, Lisbon, Portugal Jean-Kenta Gauthier [gallery] [office] [email protected] 5 rue de l’Ancienne-Comédie 47 rue Blanche www.jeankentagauthier.com F-75006 Paris F-75009 Paris 2 Awards and nominations: nomination, Deutsche Boerse Award, 2015 Best Portuguese Documentary, IndieLisboa, 2011 Best proposal, LOOP, Barcelone, 2008 -
Daniel Blaufuks-Paris Photo
Nos 60 anos da Revolução Cubana, Daniel On the 60 years of the Cuban Revolution, Blaufuks mostra nesta edição da feira Paris Photo DANIEL BLAUFUKS Daniel Blaufuks shows a photographic diptych um conjunto de trabalhos em que se destaca um taken after Fidel Castro’s death capturing what díptico fotográfico que representa o que aparenta seems to be an old man’s solitude and ser a solidão e orfandade de um homem idoso orphanhood of this longtime leader. The other depois da morte do líder histórico. Outros works from the series Cuba reveal a trabalhos da mesma série - Cuba - revelam um suspended time as if it were an index of tempo suspenso como se fosse um índice da displacement after the passage of a perda do sentido de pertença depois da transfiguring reality. passagem de uma realidade transfiguradora. The series "The Business of Living”, inspired by A série de "O Ofício de Viver" é um trabalho, Cesare Pavese's diaries, is about the inspirado nos diários de Cesare Pavese, sobre a experience of time and the memories that experiência do tempo e das recordações que remain after the passing days. Living as a restam dos dias que passam. Viver como um ofício, business, as something that requires its own como algo que necessita da sua própria ordem, order, as a task taken place in some office, como se tratasse de uma tarefa em algum sometimes a mechanical and bureaucratic escritório e da necessidade, por vezes mecânica e need, tidying up time: waking up, eating, burocrática, de arrumar o tempo: acordar, comer, thinking, doing, working, sleeping, living. -
Gesamtkunstwerk-Film
SPIELFILMPRODUKTIONEN BENDESTORF Unterstrichene Titel sind einsehbar 1947 BIS 1952 FILMTITEL JAHR REGIE PRODUKTION DARSTELLER Menschen in Gottes Hand 1947 Rolf Meyer Junge Film-Union Paul Dahlke, Marie Angerpointner Wege im Zwielicht 1947 Gustav Fröhlich Junge Film-Union Gustav Fröhlich, Sonja Ziemann Die Söhne des Herrn Gaspary 1948 Rolf Meyer Junge Film-Union Lil Dagover, Hans Stüwe Diese Nacht vergess' ich nie 1948 Johannes Meyer Junge Film-Union Winnie Markus, Gustav Fröhlich Das Fräulein und der Vagabund 1949 Albert Benitz Junge Film-Union Eva Ingebg. Scholz, Dietmar Schönherr Der Bagnosträfling 1949 Gustav Fröhlich Junge Film-Union Paul Dahlke, Käthe Dorsch Dreizehn unter einem Hut 1949 Johannes Meyer Junge Film-Union Ruth Leuwerik, Inge Landgut Dieser Mann gehört mir 1949 Paul Verhoeven Junge Film-Union Heidemarie Hatheyer, Gustav Fröhlich Die wunderschöne Galathee 1949 Rolf Meyer Junge Film-Union Hannelore Schroth, Victor de Kowa Die Lüge 1950 Gustav Fröhlich Junge Film-Union Sybille Schmitz, Will Quadflieg Der Fall Rabanser 1950 Kurt Hoffmann Junge Film-Union Hans Söhnker, Inge Landgut Melodie des Schicksals 1950 Hans Schweikart Junge Film-Union Brigitte Horney, Victor de Kowa Taxi-Kitty 1950 Kurt Hoffmann Junge Film-Union Hannelore Schroth, Carl Raddatz Die Sünderin 1950 Willi Forst Styria-Film GmbH & Hildegard Knef, Gustav Fröhlich Junge Film-Union Professesor Nachtfalter 1950 Rolf Meyer Junge Film-Union Johannes Heesters, Maria Litto Hilfe, ich bin unsichtbar 1951 E. W. Emo Junge Film-Union Theo Lingen, Fita Benkhoff Sensation in San Remo 1951 Georg Jacoby Junge Film-Union Marika Rökk, Peter Pasetti Es geschehen noch Wunder 1951 Willi Forst Junge Film-Union Hildegard Knef, Willi Forst Die Csardasfürstin 1951 Georg Jacoby Styria-Film GmbH & Marika Rökk, Johannes Heesters Junge Film-Union Königin der Arena 1952 Rolf Meyer Corona Film Maria Litto, Hans Söhnker SPIELFILMPRODUKTIONEN BENDESTORF 1952 BIS 1959 FILMTITEL JAHR REGIE PRODUKTION DARSTELLER Der Verlorene 1951 Peter Lorre A. -
Beyond Social Democracy in West Germany?
BEYOND SOCIAL DEMOCRACY IN WEST GERMANY? William Graf I The theme of transcending, bypassing, revising, reinvigorating or otherwise raising German Social Democracy to a higher level recurs throughout the party's century-and-a-quarter history. Figures such as Luxemburg, Hilferding, Liebknecht-as well as Lassalle, Kautsky and Bernstein-recall prolonged, intensive intra-party debates about the desirable relationship between the party and the capitalist state, the sources of its mass support, and the strategy and tactics best suited to accomplishing socialism. Although the post-1945 SPD has in many ways replicated these controversies surrounding the limits and prospects of Social Democracy, it has not reproduced the Left-Right dimension, the fundamental lines of political discourse that characterised the party before 1933 and indeed, in exile or underground during the Third Reich. The crucial difference between then and now is that during the Second Reich and Weimar Republic, any significant shift to the right on the part of the SPD leader- ship,' such as the parliamentary party's approval of war credits in 1914, its truck under Ebert with the reactionary forces, its periodic lapses into 'parliamentary opportunism' or the right rump's acceptance of Hitler's Enabling Law in 1933, would be countered and challenged at every step by the Left. The success of the USPD, the rise of the Spartacus move- ment, and the consistent increase in the KPD's mass following throughout the Weimar era were all concrete and determined reactions to deficiences or revisions in Social Democratic praxis. Since 1945, however, the dynamics of Social Democracy have changed considerably. -
Revisiting Zero Hour 1945
REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs. -
Taking the Cure: a Stay at Thomas Mann's "The Magic Mountain" Philip Bmntingham
Taking the Cure: A Stay at Thomas Mann's "The Magic Mountain" Philip Bmntingham THERE ARE THOSE who say that the human The subject of Shakespeare's play is race is infected by two sicknesses: the the spiritual malaise of one man. In Tho- sickness of the body and the sickness of mas Mann's 1924 novel, The Magic Moun- the spirit. In fact, both afflictions are po- tain, the subject, as so many critics have tentially fatal. The first sickness can be told us, is the malaise of an entire group traced to a number of causes: namely, an of people, indeed a generation. These outside intrusion (infection), or an inner critics—too numerous to mention—have failure (malfunction). The second sick- suggested that Mann's intent was to use ness comes solely from within: emotional illness as a metaphor for the condition of distress, deep anxiety, or that decline pre-World War I European society. sometimes called failure of the will. A Such a theme would be an ambitious mixture of the two sicknesses sometimes one, to be sure. Novels normally do not happens; and it has been proven that the attempt to describe the decay of an entire sickness of the mind often can affect the society—how could they? Novels are not health of the body—and cause what is tracts or scientific reports, and whenever called psychosomatic illness. they attempt to become either of these In Shakespeare's Hamlet, the hero suf- things, such as we find in as Robert Musil's fers from the second sickness, and it de- The Man Without Qualities (1930-43), they bilitates him so much that he contem- are no longer fiction but prose seminars. -
WG Sebald and Outsider
Writing from the Periphery: W. G. Sebald and Outsider Art by Melissa Starr Etzler A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Winfried Kudszus, Chair Professor Anton Kaes Professor Anne Nesbet Spring 2014 Abstract Writing from the Periphery: W. G. Sebald and Outsider Art by Melissa Starr Etzler Doctor of Philosophy in German and the Designated Emphasis in Film Studies University of California, Berkeley Professor Winfried Kudszus, Chair This study focuses on a major aspect of literature and culture in the later twentieth century: the intersection of psychiatry, madness and art. As the antipsychiatry movement became an international intervention, W. G. Sebald’s fascination with psychopathology rapidly developed. While Sebald collected many materials on Outsider Artists and has several annotated books on psychiatry in his personal library, I examine how Sebald’s thought and writings, both academic and literary, were particularly influenced by Ernst Herbeck’s poems. Herbeck, a diagnosed schizophrenic, spent decades under the care of Dr. Leo Navratil at the psychiatric institute in Maria Gugging. Sebald became familiar with Herbeck via the book, Schizophrenie und Sprache (1966), in which Navratil analyzed his patients’ creative writings in order to illustrate commonalities between pathological artistic productions and canonical German literature, thereby blurring the lines between genius and madness. In 1980, Sebald travelled to Vienna to meet Ernst Herbeck and this experience inspired him to compose two academic essays on Herbeck and the semi-fictionalized account of their encounter in his novel Vertigo (1990). -
Pressemitteilung Pressekonferenz 6. Juli, 11
Pressemitteilung 13. Juni 2005 Marika Rökk (1913 bis 2004) Präsentation des Nachlasses 7. Juli bis 4. September 2005 im Filmmuseum Berlin Pressekonferenz 6. Juli, 11 Uhr Filmmuseum Berlin im Filmhaus, 1. Obergeschoss Potsdamer Straße 2 10785 Berlin Für das Pressegespräch stehen zur Verfügung: Hans Helmut Prinzler Direktor des Filmmuseums Berlin Werner Sudendorf Leiter der Sammlungen des Filmmuseums Berlin Gabriele Jacoby Schauspielerin (Tochter von Marika Rökk) Marika Rökk in HALLO JANINE, D 1939, R.: Carl Boese Der Nachlass wird im 1. Obergeschoss präsentiert. Der Eintritt ist frei. Öffnungszeiten: Di bis So 10 bis 18 Uhr, Do 10 bis 20 Uhr Informationen: Tel. 030 / 300 903 - 0, www.filmmuseum-berlin.de Die Eröffnung findet am 6. Juli um 19 Uhr im Filmmuseum Berlin statt. Nach der Be- grüßung durch Hans Helmut Prinzler sprechen Peter Schamoni, Gabriele Jacoby und Cornelia Froboess. Aus diesem Anlass zeigen wir am Tag der Eröffnung um 17 Uhr im Kino Arsenal im Filmhaus den Film KORA TERRY (D 1940, R.: Georg Jacoby, 102 Min.; mit Marika Rökk, Will Quadflieg, Josef Sieber u. a.). Der Kartenvorverkauf erfolgt über das Kino Arsenal, Tel. 030 / 269 55 - 100. Weitere Informationen sowie druckfähiges Bildmaterial erhalten Sie bei der Pressestelle: (Interviewwünsche mit Frau Jacoby und Frau Froboess nehmen wir gern entgegen.) Heidi Berit Zapke, Tel. 030 / 300 903 – 820 oder [email protected] Um Ihre Anmeldung zur Pressekonferenz wird gebeten unter Tel. 030 / 300 903 – 820. www.filmmuseum-berlin.de 1 Marika Rökk (1913 bis 2004) Präsentation des Nachlasses 7. Juli bis 4. September 2005 im Filmmuseum Berlin Als Marika Rökk 1935 mit dem Zirkusfilm LEICHTE KAVALLERIE (D 1935, R.: Werner Hochbaum) ihre Filmkarriere in Deutschland beginnt, ist sie 21 Jahre alt, doch aus dem "Ufa-Baby" - zuvor schon als "wildes Bretterkind" in Tanzshows in Paris, New York und Budapest bekannt - wird rasch ein Star des deutschen Revue- und Operettenfilms.