Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
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Zwischen Nottaufe Und Nottrauung – Einblicke in Das Leben Felix Mottls
Clarissa Höschel Zwischen Nottaufe und Nottrauung – Einblicke in das Leben Felix Mottls . Eine Hommage zu seinem 160. Geburtstag In der Münchener Musikgeschichte hat er längst seinen festen Platz – der aus Unter St. Veit (Wien) stammende Felix Mottl (1856–1911), der von 1904 bis zu seinem Tod als Generalmusikdirektor an der Isar wirkte. Der Mensch hinter dem Musiker ist hingegen nur wenigen bekannt; selbst die anlässlich seines 150. Geburtstages erschienene Biografe1 porträtiert in erster Linie den Musi- ker. Auch anlässlich seines 100. Todestages (2011) wurde, wenn überhaupt, an den Generalmusikdirektor erinnert – Anlass genug, einige Facetten des Menschen und Mannes Felix Mottl vorzustellen. Gelingen kann ein solches Unterfangen anhand der tagebuchartigen Aufzeich- nungen, die Mottl 1873 be- gonnen hat und die heute in der Bayerischen Staats- bibliothek in München als Teil des Nachlasses Felix Abb. 1: Felix Mottl um 1900. Foto: Max Stufer Kunstverlag. Mona censia. Literaturarchiv und Bibliothek München (Sign. P / a 1129). 1 Frithjof Haas, Der Magier am Dirigentenpult, Karlsruhe 2006. Eine Rezension der Ver- fasserin fndet sich in Musik in Bayern 72 / 73 (2007 / 08), S. 248–254. 157 Clarissa Höschel Mottls aufewahrt werden.2 Mottl hat diese Aufzeichnungen zwar bis kurz vor seinem Tod geführt, doch sind sie nichts weniger als bewusst für die Nachwelt Hinterlassenes. Soweit sie im Original vorliegen, weisen sie einen sehr eigentümlichen Stil auf, denn sie bestehen, vor allem bis zu seiner New- York-Reise (1903), aus mit stichpunktartigen Notizen vollgeschriebenen Ta- schenkalendern, die meist über mehrere Jahre hinweg verwendet wurden. Mottls Schrif ist klein und unleserlich, seine Einträge sind in aller Regel kurz und knapp und bestehen of nur aus einzelnen Worten, die durch Punk- te getrennt sind. -
Design Competition Brief
Design Competition Brief The Museum of the 20th Century Berlin, June 2016 Publishing data Design competition brief compiled by: ARGE WBW-M20 Schindler Friede Architekten, Salomon Schindler a:dks mainz berlin, Marc Steinmetz On behalf of: Stiftung Preußischer Kulturbesitz (SPK) Von-der-Heydt-Straße 16-18 10785 Berlin Date / as of: 24/06/2016 Design Competition Brief The Museum of the 20th Century Part A Competition procedure ..............................................................................5 A.1 Occasion and objective .......................................................................................... 6 A.2 Parties involved in the procedure ........................................................................... 8 A.3 Competition procedure .......................................................................................... 9 A.4 Eligibility ............................................................................................................... 11 A.5 Jury, appraisers, preliminary review ...................................................................... 15 A.6 Competition documents ....................................................................................... 17 A.7 Submission requirements ...................................................................................... 18 A.8 Queries ................................................................................................................. 20 A.9 Submission of competition entries and preliminary review ................................. -
Framed Memories of Berlin
Framed Memories of Berlin Kacmaz Erk, G., & Wilson, C. (2018). Framed Memories of Berlin: Film, Remembrance and Architecture. Architecture and Culture, 6(2), 243-263. https://doi.org/10.1080/20507828.2018.1478513 Published in: Architecture and Culture Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2018 Taylor and Francis. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:02. Oct. 2021 Framed Memories of Berlin: Film, Architecture and Remembrance Abstract Collective memory can be defined as a shared notion of how a social group constructs its past. Architecture and cinema play a major role in the creation of collective memory, buildings by structuring lived experiences and films by framing, re-presenting and fixing those experiences so that they can be collectively revisited. -
He Big “Mitte-Struggle” Politics and Aesthetics of Berlin's Post
Martin Gegner he big “mitt e-struggl e” politics and a esth etics of t b rlin’s post-r nification e eu urbanism proj ects Abstract There is hardly a metropolis found in Europe or elsewhere where the 104 urban structure and architectural face changed as often, or dramatically, as in 20 th century Berlin. During this century, the city served as the state capital for five different political systems, suffered partial destruction pós- during World War II, and experienced physical separation by the Berlin wall for 28 years. Shortly after the reunification of Germany in 1989, Berlin was designated the capital of the unified country. This triggered massive building activity for federal ministries and other governmental facilities, the majority of which was carried out in the old city center (Mitte) . It was here that previous regimes of various ideologies had built their major architectural state representations; from to the authoritarian Empire (1871-1918) to authoritarian socialism in the German Democratic Republic (1949-89). All of these époques still have remains concentrated in the Mitte district, but it is not only with governmental buildings that Berlin and its Mitte transformed drastically in the last 20 years; there were also cultural, commercial, and industrial projects and, of course, apartment buildings which were designed and completed. With all of these reasons for construction, the question arose of what to do with the old buildings and how to build the new. From 1991 onwards, the Berlin urbanism authority worked out guidelines which set aesthetic guidelines for all construction activity. The 1999 Planwerk Innenstadt (City Center Master Plan) itself was based on a Leitbild (overall concept) from the 1980s called “Critical Reconstruction of a European City.” Many critics, architects, and theorists called it a prohibitive construction doctrine that, to a certain extent, represented conservative or even reactionary political tendencies in unified Germany. -
WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY ......................................... -
The Night of Museums – a Boost Factor for the Cultural Dimension of Tourism in Bucharest
HUMAN GEOGRAPHIES – Journal of Studies and Research in Human Geography 8.1 (2014) 55–63. ISSN-print: 1843–6587/$–see back cover; ISSN-online: 2067–2284–open access www.humangeographies.org.ro (c) Human Geographies —Journal of Studies and Research in Human Geography (c) The authors THE NIGHT OF MUSEUMS — A BOOST FACTOR FOR THE CULTURAL DIMENSION OF TOURISM IN BUCHAREST Daniela Dumbrăveanua*, Anca Tudoricua, Ana Crăciuna a Faculty of Geography, University of Bucharest, Romania Abstract: Several media and research sources have recently flagged out and insisted significantly on a new process of concern to tourism planners in Bucharest. The Night of Bucharest Museums has initially been a quite isolated, museum focussed and rather individualistic event which has progressively developed over the past ten years into a cultural process involving several cultural institutions. Among the institutions involved in this growing event museums are still predominant but not sole. Most of the participant members into the event have developed complex and dynamic programmes comprising sections of joint institutional events mostly having to do with exposing the public to local culture. This brief comparative analysis of this progressive event development identifies changes to the extent and with particular regard to the cultural dimension of it in close connection to the potential of local tourism development. This paper is mainly attempting to answer the question regarding to what extent the public of such event has become tourist. The paper also aims to focus on more specific aspects and issues concerning the main aim by sketching a brief overview regarding the attitudes and perceptions of people regularly attending an event such the European Night of Museums in Bucharest. -
Richard Wagner in München
Richard Wagner in München MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben von Hartmut Schick Band 76 Richard Wagner in München. Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 RICHARD WAGNER IN MÜNCHEN Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 Herausgegeben von Sebastian Bolz und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Dezember 2015 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2015 Buch&media GmbH, München © 2015 der Einzelbeiträge bei den AutorInnen Satz und Layout: Sebastian Bolz und Friedrich Wall Printed in Germany · ISBN 978-3-86906-790-2 Inhalt Vorwort ..................................................... 7 Abkürzungen ................................................ 9 Hartmut Schick Zwischen Skandal und Triumph: Richard Wagners Wirken in München ... 11 Ulrich Konrad Münchner G’schichten. Von Isolde, Parsifal und dem Messelesen ......... 37 Katharina Weigand König Ludwig II. – politische und biografische Wirklichkeiten jenseits von Wagner, Kunst und Oper .................................... 47 Jürgen Schläder Wagners Theater und Ludwigs Politik. Die Meistersinger als Instrument kultureller Identifikation ............... 63 Markus Kiesel »Was geht mich alle Baukunst der Welt an!« Wagners Münchener Festspielhausprojekte .......................... 79 Günter -
Freer Sackler Fact Sheet
Fact Sheet Freer|Sackler Smithsonian Institution ABOUT THE FREER|SACKLER The Freer Gallery of Art and Arthur M. Sackler Gallery, located on the National Mall in Washington, DC, comprise the Smithsonian’s museum of Asian art. The Freer|Sackler contains one of the most important collections of Asian art in the world, featuring more than 40,000 objects dating from the Neolithic period to the present day, with especially fine groupings of Islamic art; Chinese jades, bronzes, and paintings; and the art of the ancient Near East. The museum also contains important masterworks from Japan, ancient Egypt, South and Southeast Asia, and Korea, as well as a noted collection of American art. The Freer|Sackler is committed to expanding public knowledge of the collections through exhibitions, research, and publications. As of 2016, the Freer building is closed for renovation. It will reopen in 2017 with modernized technology and infrastructure, refreshed gallery spaces, and an enhanced Eugene and Agnes E. Meyer Auditorium. Visit asia.si.edu/future for more information. BACKGROUND AND COLLECTIONS Charles Lang Freer, a self-taught connoisseur, began purchasing American art in the 1880s. With the encouragement of American artist James McNeill Whistler (1834–1903), Freer also began to collect Asian art, assembling a preeminent group of works. In 1904, Freer offered his collection to the nation, to be held in trust by the Smithsonian Institution. The Freer Gallery of Art opened to the public in 1923—the first Smithsonian museum dedicated to fine art. The Freer’s collection spans six thousand years and many different cultures. Besides Asian art, the Freer houses a collection of nineteenth- and early twentieth-century American art, including the world’s largest number of works by Whistler. -
List of Contents
List of Contents Foreword 7 The Architectural History of Berlin 9 The Buildings 25 Gothic St. Nikolaikirche (St. Nicholas Church, Mitte) 16 • St. Marienkirche (St. Mary's Church) 18 • St. Nikolaikirche (St. Nicholas Church, Spandau) 20 • Dorfkirche Dahlem (Dahlem Village Church) 22 Renaissance Jagdschloss Grunewald (Grunewald Hunting Palace) 24 • Zitadelle Spandau (Spandau Citadel) 26 • Ribbeckhaus (Ribbeck House) 28 Baroque Palais Schwerin (Schwerin Palace) 30 • Schloss Köpenick (Köpenick Palace) 32 • Schloss Friedrichsfelde (Friedrichsfelde Palace) 34 • Schloss Charlottenburg (Charlottenburg Palace) 36 • Zeughaus (Armoury) 38 • Parochialkirche (Parochial Church) 40 • Sophienkirche (Queen Sophie Church) 42 • Staatsoper (State Opera) Unter den Linden and Hedwigskathedrale (St. Hedwig's Cathedral) 44 • Humboldt- Universität (Humboldt University) and Alte Bibliothek (Old Library) 46 • Ephraim-Palais (Ephraim Palace) 48 • Deutscher Dom (German Dome Church) and Französischer Dom (French Dome Church) 50 • Die Stadt- palais (Town Palaces) Unter den Linden 52 Classicism Schloss Bellevue (Bellevue Palace) 54 • Brandenburger Tor (Branden- burg Gate) 56 • Pfaueninsel (Peacock Island) 58 • Neue Wache (New Guardhouse) 60 • Schauspielhaus / Konzerthaus (Playhouse/ Concert Hall) 62 • Friedrichswerdersche Kirche (Friedrichswerder Church) 64 • Altes Museum (Old Museum) 66 • Schloss Klein-Glienicke List of Contents 13 Bibliografische Informationen digitalisiert durch http://d-nb.info/1008901288 (Klein-Glienicke Palace) 68- Blockhaus Nikolskoe and St. -
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. -
Best for Kids in Berlin"
"Best for Kids in Berlin" Realizzata per : Cityseeker 39 Posizioni indicati Radisson Blu Hotel, Berlin "Extravagance Redefined" This unique hotel features a 25-metre high aquarium, a spa area with pool and free WiFi. It is centrally located opposite Berlin Cathedral, 700 metres from Alexanderplatz Square. The Radisson Blu Hotel, Berlin offers stylish, air-conditioned rooms with flat-screen TVs and laptop safes. High-quality toiletries and a hairdryer are provided in the modern bathrooms. All rooms are non-smoking and many have a balcony. Guests can enjoy drinks at the Atrium Bar, featuring an impressive aquarium. The elegant HEat restaurant serves international dishes and a daily breakfast buffet, and also has a terrace. A take-away breakfast is available. Guests can also download free e-magazines via the hotel app. A large pool, sauna and gym are featured in the Radisson Blu’s spa and wellness area, and massages can be booked. The hotel is located next to the River Spree, and lies just a 5-minute walk from Museum Island and Hackescher Markt’s trendy shops and restaurants. +49 30 23 8280 www.radissonblu.de/hotel- [email protected] Karl-Liebknecht-Strasse 3, berlin m Berlino The Circus Hostel "In Berlin's Hippest District" This hostel is particularly popular among backpackers from English- speaking countries, although the staff also speak French, Italian and Russian. Guests can stay in one of the spacious dormitories with gleaming wooden floors and large, airy windows. Small rooms are also available for a small surcharge. Email access, luggage storage and bike-hire are all part by Booking.com of the service. -
Musekamp on Stangl, 'Risen from Ruins: the Cultural Politics of Rebuilding East Berlin'
H-Urban Musekamp on Stangl, 'Risen from Ruins: The Cultural Politics of Rebuilding East Berlin' Review published on Friday, September 11, 2020 Paul Stangl. Risen from Ruins: The Cultural Politics of Rebuilding East Berlin. Stanford: Stanford University Press, 2018. 352 pp. $65.00 (cloth), ISBN 978-1-5036-0320-2. Reviewed by Jan Musekamp (University of Pittsburgh) Published on H-Urban (September, 2020) Commissioned by Alexander Vari (Marywood University) Printable Version: http://www.h-net.org/reviews/showpdf.php?id=54596 Beyond Socialist Remodeling: Rebuilding East Berlin, 1945-61 Given its tumultuous history, it is not surprising that numerous scholars focus on postwar Berlin’s changing urban landscape. This is an interdisciplinary endeavor, with architects, urban planners, historians, and art historians looking at the city from markedly different perspectives.[1] Paul Stangl is a geographer by training and adds to this growing body of scholarship on the divided city. His focus is on the twenty-five years between the end of the Second World War and the construction of the infamous Berlin Wall—a time when Germany and the entire European continent “rose from ruins,” as the GDR national anthem put it. However, the Berlin case is unique for a number of reasons. First, the former German capital quickly developed into the front city of the Cold War. Second, as a result of this geopolitical background, both East and West Berlin served as showcases of the ideologies clashing here. Third, Berlin soon became a truly divided city in both spatial and ideological ways. Here, architects and urban planners often had to make decisions that followed not only general trends in urban planning but also ideological guidelines or directives.