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Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
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Journal Director: R. Gulli e-ISSN 2421-4574 Vol. 7, No. 1 (2021) Issue edited by Editor in Chief: R. Gulli Cover illustration: Azulejos, Casa de Pilatos, Seville. © Renato Morganti, 2017 Editorial Assistants: C. Mazzoli, D. Prati e-ISSN 2421-4574 Vol. 7, No. 1 (2021) Year 2021 (Issues per year: 2) Journal Director Riccardo Gulli Scientific Committee Construction History and Preservation Santiago Huerta, Antonio Becchi, Camilla Mileto, Amedeo Bellini, Stefano Della Torre, Alberto Grimoldi, Claudio Varagnoli, Tullia Iori, Antonello Sanna, Renato Morganti, Giovanni Fatta, Marco Dezzi Bardeschi, Corrado Fianchino Construction and Building Performance Matheos Santamuris, Francisco Javier Neila González, M. Hyle, John Richard Littlewood, Gianfranco Carrara, Riccardo Nelva, Enrico Dassori, Marina Fumo Building and Design Technology Maurizio Brocato, José Luis Gonzalez, Emilio Pizzi, Francesco Polverino, Raffaella Lione, Angelo Salemi, Giorgio Cacciaguerra, Enrico Sicignano, Antonella Guida Editor in Chief Riccardo Gulli Assistant Editors Marco D’Orazio, Annarita Ferrante, Enrico Quagliarini Editorial Assistants Cecilia Mazzoli, Davide Prati Scientific Society Partner: Ar.Tec. Onlus c/o DICEA, Università Politecnica delle Marche, Polo Montedago, Via Brecce Bianche 12 60131 Ancona - Italy Phone: +39 071 2204587 Email: [email protected] [email protected] Media Partner: Edicom Edizioni Via I Maggio 117 34074 Monfalcone (GO) - Italy Phone: +39 0481 484488 Vol. 7, No. 1 (2021) e-ISSN 2421-4574 TEMA: Technologies Engineering Materials Architecture TEMA: Technologies Engineering Materials Architecture Vol. 7, No. 1 (2021) e-ISSN 2421-4574 Editorial Discipline and research: borders and frontiers 5 Renato Morganti DOI: 10.30682/tema0701a CONSTRUCTION HISTORY AND PRESERVATION Representation and knowledge of historic construction: HBIM for structural use in the case of Villa Palma-Guazzaroni in Terni 8 Edoardo Currà, Alessandro D’Amico, Marco Angelosanti DOI: 10.30682/tema0701b Displacement and deformation assessment of timber roof trusses through parametric modelling. -
Depliant-English.Pdf
The Sacro Monte of Varallo is the most ancient and most evocative of all the sacred mountains in the area of Piedmont and LombardY Detail of the Square of the Law Courts Varallo Carcoforo Rimella SEMPIONE Fobello Omegna Rima Lago Maggiore Lago d’Orta Gravellona Rimasco Orta Alagna Balmuccia Civiasco Gozzano Scopello Arona VARALLO Sesto Calende Borgomanero Valduggia Borgosesia Gallarate A26 he “Sacro Monte” (Sacred Mountain) of Varallo is the most ancient MALPENSA MILANO and most evocative of all the sacred mountains in the area of Piedmont Gattinara Romagnano Ticino T and Lombardy. Its origin is due to an ingenious idea of a Milanese monk, Sesia Agognate Bernardino Caimi, who after many years in Palestine, decided to rebuild in TORINO Greggio MILANO these rocks the same Holy Places. Due to the war with Turkey, it was difficult A4 Biandrate NOVARA to make the journey to the Holy Land. We are at the end of 1400. So the New VERCELLI GENOVA ALESSANDRIA Jerusalem is born. From 1500 the first shrines (Nazareth, Bethlehem, Calvary and the Holy Sepulchre) were annexed to a much larger project, wished for Times of Masses Sacro Monte di Varallo by S. Carlo Borromeo, who, through images and sculptures (45 shrines, 800 SOLAR TIME: h. 9,30-11,30-16 SS. Mass weekdays 16 statues) developped beautifully the story of our salvation. In this place, im- SUMMER TIME: h. 9,30-11,30-17 SS. Mass weekdays 1 The Basilica “How could you forget the Sacro Monte of Varallo with mersed in natural and enchanting surroundings, the pilgrim of 2000 can still Chapel 1 its many beautiful shrines. -
Sacro Monte Di Varallo
SACRI MONTI DI PIEMONTE E LOMBARDIA - UNESCO WORLD HERITAGE Briga (CH) SACRO MONTE DI VARALLO Locarno (CH) Surface area: 22 hectares United Nations Sacri Monti del Piemonte Riserva speciale DOMODOSSOLA Educational, Scientific and e della Lombardia Sacro Monte Cultural Organization Iscritti nella lista del Patrimonio di Varallo Lugano (CH) Mondiale nel 2003 Elevation: 455 - 650 metres GHIFFA SS33 Environment: Mountain SS34 Verbania OSSUCCIO SS340 Aosta-Ginevra (CH) VARESE Como Sacro Monte VARALLO ORTA A26 SP229 A9 OROPA A8-A26 A5 SP299 A8 SP144 Borgomanero di Varallo Biella Romagnano SP338 Venezia SP230 A4 PROTECTED AREA Cuorgné Ivrea The Sacro Monte di Varallo is the most important of the SS565 A4-A5 Novara MILANO Valperga pre-alpine Sacro Monte both for its artistic and historical Vercelli Bologna BELMONTE A4 Firenze significance and for its naturalistic make-up, rich in SP460 Roma M. Dallago SP590 A26-A4 A26 autochthonous and exotic plants arranged following the Serralunga Photo SP457 Casale Monferrato patterns of the Italian Renaissance gardens which aimed at CREA TORINO emphasizing the nearby architectural structures. Although Savona Moncalvo Alessandria-Genova the territory of the Reserve has been profoundly altered by man, after years of gradual abandonment, the forest covering has slowly been returning floral elements that Access to the Sacred Mount is free of charge have developed and today accounts for more than 421 HOW TO GET THERE species. Inside the sacred area, the natural environment Note: Access by bus is subject to specific rules and payment has been strongly shaped by man to resemble the typical Info and permits: Municipal Police of Varallo - tel +39 0163 562727 gardens of Renaissance Italy. -
Terracotta Tableau Sculpture in Italy, 1450-1530
PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy. -
The Sacro Monte of Varallo As a Physical Manifestation of the Spiritual Exercises Ryan Gregg
The Sacro Monte of Varallo as a Physical Manifestation of the Spiritual Exercises Ryan Gregg Still an active religious institution, the Sacro Monte, or Sa- Despite Longo’s insightful discussion, scholars have failed cred Mountain, of Varallo in Italy’s Piedmont region is the to examine the most significant alteration made at the Sacro culmination of more than four centuries of construction, in- Monte during the sixteenth century, the addition of grilles. To tention, and use. The complex now consists of forty-three chap- aid in the implementation of Borromeo’s plan, gates and grilles els set within a forested park traversed by pathways (Figure were added to all of the chapels, barring a pilgrim from entry 1). Each chapel displays a scene from the life of Jesus com- and restricting his participation in the scene to that of dis- posed of three-dimensional polychromed figure groups, illu- tanced observer. This paper examines the addition of the grilles sionistic frescoes, and assorted props, such as tables, chairs, in terms of how it affected the spatial experience of the viewer and table settings (Figure 2). The created scenes resemble as dictated by Post-Tridentine doctrine. Specifically, it con- tableaux vivants in their lifelikeness, a quality enhanced by siders these barriers in terms of the Spiritual Exercises and the original freedom of a pilgrim to physically enter the chap- what Loyola termed the meditative “composition of place.”4 els and walk through the scenes, becoming, in effect, a par- Beginning with a brief discussion of the origins and early ticipant in the action. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Jerusalem in Renaissance Italy the Holy Sepulchre on the Sacro Monte of Varallo
Jerusalem In Renaissance Italy 215 Chapter 9 Jerusalem in Renaissance Italy The Holy Sepulchre on the Sacro Monte of Varallo Bram de Klerck The iconography of St Charles Borromeo (1538–84) contains some interesting instances of the kneeling saint in the immediate vicinity of the recumbent fig- ure of the deceased Christ. The Saviour’s largely nude body, head sometimes still crowned with thorns, is placed on a catafalque or marble slab. An example is a painting executed after 1615 for the Church of Santi Carlo e Giustina in Pa- via, by the Milanese artist Giulio Cesare Procaccini (1574–1625), now in Milan, Pinacoteca di Brera (Fig. 9.1). The work represents St Charles, dressed as a car- dinal, kneeling and looking up to an angel who is pointing at the body of Christ.1 What is especially striking in this painting and images like it is that they suggest the real presence of the sixteenth-century Milanese archbishop at Christ’s bier. By uniting the figures of Christ and St Charles in one and the same space, realistically proportioned to each other, the painters emphasize that, to the saint, the body of the dead Christ is almost tangible. It is as if, long after the biblical events of Christ’s crucifixion and burial, Borromeo found a miraculous way to go back in time some one-and-a-half millennia to find the Saviour’s body inside the hermetically closed tomb. However improbable the scene may appear, these paintings reflect a spe- cific religious experience and practice, as they are documented in the earliest written accounts of Charles Borromeo’s life. -
Giovanni Battista Braccelli's Etched Devotions Before the Vatican
Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de). -
Victory of Samson XVII Century
anticSwiss 29/09/2021 09:41:35 http://www.anticswiss.com Victory of Samson XVII century FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Villa Stampanoni Antiques Style: Gaiba Alta epoca Height:200cm 393386233246 Width:152cm Material:Olio su tela Price:29.000€ DETAILED DESCRIPTION: Extraordinary work depicting Samson victorious over the Philistines drinking from a donkey's jaw datable to the mid-17th century, oil on canvas. The unprecedented and vast canvas framed by a frame carved with gold leaf, shows in all its splendor some typical characteristics of the Bergamo painters, in particular that of Giovanni Stefano Danedi known as il Montalto (Treviglio 1612 - Milan 1690). Declaration of authenticity drawn up by Dr. Vittorio Preda - Expert Old Master Paintings Paris. Restoration carried out by Dr. Daniela Galoppi - Fine Arts of Sienne and Arezzo Oil on canvas, Height 200 cm x Width 152 cm (78.74 inc x 59.84 inc) GIOVANNI STEFANO DANEDI: Born in Treviglio in 1612, Giovanni Stefano Danedi is the most important exponent of a family of artists which includes, among others, his brother Giuseppe - three years older and also known by the nickname of Montalto - with whom he executed several works. Giovanni Stefano would have been in Milan, in the thirties of the seventeenth century, a pupil of Morazzone. And in fact, after the discovery of the Lamentation over Christ, today in the Castelvecchio Museum in Verona, it is clear how his artistic beginnings are linked precisely to the influence of Morazzone and the youthful style of Francesco Cairo, evident in two canvases such as Herodias with the head of the Baptist (Milan, Civic Collections of Art of the Castello Sforzesco) and the Miracle of the mule (1645) in the basilica of Treviglio. -
Bollettino 2017 1 Low.Pdf
SPED. IN ABB. POST. ART. 2 COMMA 20/C LEGGE 662/96 SPED. IN ART. ABB. POST. VERCELLI DI FILIALE P S M Mensile a cura dellamministrazione Vescovile del Santuario, in collaborazione con la Unione Redazione Mariana (URM) Direttore Responsabile: Giuliano Temporelli. Con Approvazione Ecclesiastica. Autorizzazione Tribunale di Vercelli n° 45 del 30/01/1953. SACRO MONTE DI VARALLO ORARIO FUNZIONI Cenni Storici FESTIVO - SS. Messe: ore 9,30 -11,30 - 16 (17 ora legale) Rosario: ore 15,30 (16,30 ora legale) FERIALE Il Sacro Monte di Varallo è l’opera di noscere meglio ai suoi contemporanei. due grandi uomini di Chiesa e di nu- Tornatovi alla fine d’ottobre del S. Messa: ore 16 (ore 17 ora legale) merosi uomini d’arte capeggiati da Gau- 1584 per attendere al bene della sua ani- Rosario: ore 16,30 (ora legale) denzio Ferrari. ma, pensò di valorizzarlo con la costru- ore 15,30 (ora solare) I due uomini di Chiesa sono: il beato zione di nuove cappelle che illustrassero - Prima domenica di ogni mese ore 9,30 Bernardino Caìmi, frate francescano, in modo più completo l’opera di Gesù. e nel Triduo in preparazione al e San Carlo Borromeo, arcivescovo di Valorizzò il progetto di riordino 1° novembre: Milano. Fra Bernardino Caìmi attuò a del Sacro Monte stilato nel 1567 Santa Messa per la «Compagnia Varallo l’idea che gli era maturata nell’a- dall’Arch. Galeazzo Alessi e, adat- della Buona Morte». nimo durante la sua dimora in Terra tandolo al suo schema, volle che si - Ogni primo sabato del mese alle ore 16 Santa. -
Capitolo 2. I Sacri Monti Di Piemonte E Lombardia
POLITECNICO DI TORINO Collegio di Ingegneria Edile Corso di Laurea Magistrale in Ingegneria Edile Tesi di Laurea Magistrale HBIM e GIS 3D per la gestione del patrimonio architettonico: il caso del Sacro Monte di Varallo Relatore Prof. Andrea Maria Lingua Correlatori Candidata Arch. Francesca Matrone Prof. Marco Zerbinatti Isabella Palazzo Luglio 2020 Indice ABSTRACT ................................................................................................................. 1 INTRODUZIONE ....................................................................................................... 2 1 PATRIMONIO CULTURALE: RISORSA DA VALORIZZARE E TRASMETTERE ........................................................................................................ 4 1.1 PROGETTO MAIN10ANCE ................................................................................... 5 1.1.1 Tecnologie e strumenti ............................................................................................... 6 1.1.2 Presupposti per un database interoperabile e multi-scala: analisi degli Standard ..... 7 1.1.3 Progettazione di un database ................................................................................... 12 Modello concettuale di Main10ance ................................................................................................. 13 Modello logico di Main10ance ......................................................................................................... 14 2 I SACRI MONTI DI PIEMONTE E LOMBARDIA ....................................