Thematische Bibliographien / Alfred Ploetz

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Auswahl der wissenschaftlichen Literatur zum Thema „Alfred Ploetz“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 5. Februar 2022

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Zeitschriftenartikel zum Thema "Alfred Ploetz"

Virant, Špela. „“Tell him anyway”: Zu Uwe Timms Roman Ikarien“. Acta Neophilologica 52, Nr. 1-2 (17.12.2019): 153–66. http://dx.doi.org/10.4312/an.52.1-2.153-166.

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Der Roman Ikarien (2017) von Uwe Tim ist in Deutschland der Nachkriegszeit verortet, wo Wagner einem jungen amerikanischen Offizier die Lebensgeschichte des Eugenikers Alfred Ploetz erzählt. Obwohl Timm einen historischen Stoff verarbeitet, werden im Roman aktuelle und philosophische Themen angesprochen. Timm verfolgt dabei Ideen, Denkmuster und Denkfehler, die zu Gewalt, Rassismus und Genozid führen können. Er entwickelt aber auch literarische Gegenbilder dazu. Da sich Timm bereits seit Jahrzehnten in seinen Werken mit diesen Themen beschäftigt, wird der Roman Ikarien im Kontext seines Œuvres und der Geschichte von Utopien gestellt, auf die schon der Romantitel verweist.

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Schmuhl, Hans-Walter. „Rezension: Emanzipation und Eugenik. Die Briefe der Frauenrechtlerin, Rassenhygienikerin und Genetikerin Agnes Bluhm an den Studienfreund Alfred Ploetz aus den Jahren 1901â1938 von Johanna Bleker, Svenja Ludwig“. Berichte zur Wissenschaftsgeschichte 32, Nr. 4 (Dezember 2009): 386–87. http://dx.doi.org/10.1002/bewi.200901443.

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McAleavey, Maia. „The Plot of Bigamous Return“. Representations 123, Nr. 1 (2013): 87–116. http://dx.doi.org/10.1525/rep.2013.123.1.87.

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This article traces a single plot—the plot of bigamous return—through a range of genres and texts, including Mary Elizabeth Braddon’s Lady Audley’s Secret (1862) and Alfred Tennyson’s “Enoch Arden” (1864), concentrating on Elizabeth Gaskell’s Sylvia’s Lovers (1863). Arguing that plot is a more productive heuristic than genre, this article investigates the intersection of literary currents in one historical moment with the long durée of a recurring story, powerfully present in nautical ballads and melodrama.

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Zavadska, Galina, und Ilona Bagele. „THE SYNTHESIS OF PAINTING AND MUSIC: WASSILY KANDINSKY – ALFRED SCHNITTKE“. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (28.05.2021): 727–34. http://dx.doi.org/10.17770/sie2021vol4.6190.

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The interaction between colors and sounds, music and painting has existed long since. Throughout the centuries these two kinds of art have been developing simultaneously and in close contact with each other, besides. Composers, especially those of the 20th century, find in the sphere of painting images for their musical compositions, without trying to depict definite plot lines or specific landscape sketches. The paper analyzes a specific composition by Alfred Schnittke – Wassily Kandinsky – The Yellow Sound. Research aim: to investigate the features of musical implementation of W. Kandinsky’s ideas by Alfred Schnittke on the basis of a comparative analysis of specific compositions of both authors. Research method: a comparative analysis

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Ushakova, Olga M. „Wagnerian Contexts and Wagner’s Codes of T.S. Eliot’s Poetry, 1910-20s“. Literature of the Americas, Nr. 10 (2021): 266–309. http://dx.doi.org/10.22455/2541-7894-2021-10-266-309.

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The paper deals with the analysis of reception and poetic transformation of aesthetic concepts and music ideas of Richard Wagner (1813–1883) in the works by T. S. Eliot (1888–1965). The research material includes the poems of the 1910-20s (“Opera”, “Paysage Triste”, “The Love Song of J. Alfred Prufrock”, The Waste Land) as well the essay “Dante” and lectures “The Varieties of Metaphysical Poetry”, “The Music of Poetry”. The research is aimed to solve the problem of genesis of Eliot's Wagnerianism and identify the Wagnerian codes for his poetic texts. Following the representatives of literary Wagnerianism Eliot assimilated the ideas of revolutionary art, anti-bourgeois pathos, ideas of synthesis of arts, indivisibility of poetry and music, mythopoesis, etc. The poetry of the 1910–20s reflected Eliot’s interest in a wide cultural context (Wagnerianism and “Wagnerovschina”), Neo-Mythologism, etc. The poetry of this period is characterized by representation of Wagnerian “situations” and plots (the Grail plot), themes, composition strategies (system of leitmotifs, multi-layered text, etc.), music techniques (atonality, “endless melody”, suggestiveness, etc.), the direct quotations from Wagner’s works, etc. The author of the paper suggests that The Waste Land was created as a Gesamtkunstwerk, a complex multi-level poetic intermedial structure incorporating the elements of different arts (music, painting, scenography, dance, etc.).

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Maskarinec, Malika. „Rethinking Montage: Berlin Alexanderplatz’s Paper Trails“. Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 95, Nr. 1 (23.02.2021): 115–35. http://dx.doi.org/10.1007/s41245-021-00125-7.

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AbstractThis article takes up the concept of montage that has defined scholarship on Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf (1929) since its publication. Against interpretations that understand the novel’s technique of montage as related to film and the avant-garde, I show that the novel is more strongly tied to paper objects and practices, above all the nineteenth-century serial novel and its medial environment in the newspaper. Approaching the novel from this perspective directs attention – in opposition to the scholarship that has emphasized the experience of disruption produced by montage – to the significance of the plot and its highly gendered violence.

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Boschini, Carlos, Herbert Dormond-H und Álvaro Castro-H. „Composición química de la morera (Morus alba), para uso en la alimentación animal: densidades y frecuencias de poda.“ Agronomía Mesoamericana 11, Nr. 1 (01.01.2006): 41. http://dx.doi.org/10.15517/am.v11i1.17340.

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This experiment was carried out at the Alfredo Volio Mata Dairy Cattle Experimental Station in Costa Rica, at an altitude of 1542 masl, where there is an average annual rainfall of 2050 mm, temperature of 19.5 C and relative humidity of 84%. A mulberry bush plantation was divided into three plots: with a distance of 60, 90 and 120 cm between rows and plants. Each plot was uniformly pruned at two heights: 30 and 60 cm from the ground. During a 336-day period, these subplots were pruned consecutively every 56th, 84th and 112th day. The planting distance and the pruning height produced small variations in the chemical composition of the mulberry leaves and stems. The cutting frequency produced changes in the composition of the leaves and stems. Nevertheless, the differences in dry matter, crude protein, structural carbohydrates and total ashes in the leaves were not higher then 3% in experimental frequencies. In the stems the greatest changes were 9% and they were produced in the content of the dry matter, cellular wall and in some of the structural chemical components, such as cellulose. The cutting number within each frequency significantly influenced the chemical composition of the leaves and the stems.

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Denkiewicz-Szczepaniak, Emilia. „Budowa gmachu Poselstwa Norwegii w Warszawie w latach 1946–1949“. Studia Scandinavica, Nr. 1 (21) (17.12.2017): 109–27. http://dx.doi.org/10.26881/ss.2017.21.07.

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The building an edifice for the Legation of Norway in Warsaw, in the years 1946 to 1949, remains one of the most important events in the Polish-Norwegian relations that took place after the Second World War. Alfred Danielsen, a Norwegian envoy in Warsaw, was the main initiator and organizer of the project. In sections I and II, we find a short biography of Danielsen. It includes the first major actions – such as purchasing of the burnt-out premises at Chopin Street 2A and information about how the building works were started. Another section refers to the problem of adding extra plots of land situated at Chopin Street 4, and the way Danielsen resolved this issue with the Warsaw authorities. The next two sections refer to the building process, implemented according to the Norwegian Building Committee guidelines. Finally, the last section describes the repair works in 1949 and moving of the Legation to its own building.

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Попова, Анна. „ГЕНДЕРНЫЕ МОДЕЛИ ИСПОВЕДАЛЬНОЙ СТРАТЕГИИ В ИСПОВЕДИ СЫНА ВЕКА А. ДЕ МЮССЕ И ИСПОВЕДИ МОЛОДОЙ ДЕВУШКИ ЖОРЖ САНД“. Conversatoria Litteraria, Nr. 14 (10.07.2020): 99–108. http://dx.doi.org/10.34739/clit.2020.14.08.

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The article deals with the peculiar features of the confessional strategy in the novels La Confession d'un enfant du siècle (1836) by Alfred de Musset and La Confession d’une jeune fille (1864) by George Sand. The author analyses correlation between the universal and the gender marked principles in the authors’ style of the presentation of events. There have been revealed similarities at the level of the plot model (the story of a young man/woman growing up), the narrative organization (confession), the motives’ structure (orphanhood, self-identification, “sentimental education”), which have been determined by the influence of the genre tradition and the authors’ Romantic worldview. At the same time, the differences in the composition, the criteria for the selection of material, the degree of frankness and self-esteem show the dependence of the confessional text on gender.

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Potenza, Daniela. „The Truth within a Circle: A Muḥabbaẓūna’s Play and Its Revival by Alfred Faraǧ“. Arabica 68, Nr. 1 (29.06.2021): 51–69. http://dx.doi.org/10.1163/15700585-12341582.

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Abstract During his travels in Egypt, Edward William Lane attended “a low and ridiculous farce,” he reports, performed by the muḥabbaẓūna, before Muḥammad ʿAlī Bāšā. Lane described its plot and concluded that the farce was played before the Pasha to open his eyes to the conduct of the tax collectors. When recounting farces in the Ottoman Empire, some travellers and critics confirm the narrative of ridiculous and low shows, while others underline their social critique. In 1979, inspired by Bertolt Brecht, Alfred Faraǧ rehabilitates the show in Dāʾirat al-tibn al-miṣriyya, masraḥiyyat al-muḥabbaẓīna (The Egyptian Hay Circle, a Play by the Muḥabbaẓūna). Comparing different descriptions of the muḥabbaẓūna and Faraǧ’s interpretation of their play, this paper provides reflections on the social aim of performances using the circle as an ephemeral division of fiction from reality and highlights how the muḥabbaẓūna could deliver political comments both to the common people and to the elites.

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Dissertationen zum Thema "Alfred Ploetz"

Bičík, Miroslav. „Rozbor tématického okruhu eutanázie v románu Uwe Timma Ikárie. Zrod rasové hygiény z ducha utopie“. Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-446460.

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Presented Master's thesis deals with euthanasia in the novel "Ikarien" by German author Uwe Timm. The thesis highlights development of its main character Alfred Ploetz, an originator of so-called racial hygiene (German variation of eugenics). Ploetz supported the idea of performing euthanasia on severely disabled people. This was applied at massive scale in Nazi Germany from 1939 to 1945. One of the goals of this thesis is to analyze the connection between utopian notions about the creation of a new man, eugenics and euthanasia performed by Nazis, which is reflected in the life of Alfred Ploetz. Furthermore, the thesis aims to give analysis of literary means used for capturing subject matter and compare factual and fictional parts of this historical novel. KEYWORDS Uwe Timm, euthanasia, racial hygiene, eugenics, utopia, science, Alfred Ploetz

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Bücher zum Thema "Alfred Ploetz"

Johanna, Bleker, und Ludwig Svenja, Hrsg. Emanzipation und Eugenik: Die Briefe der Frauenrechtlerin, Rassenhygienikerin und Genetikerin Agnes Bluhm an den Studienfreund Alfred Ploetz aus den Jahren 1901-1938. Husum: Matthiesen, 2007.

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A, Harris Robert. The complete films of Alfred Hitchcock. Secaucus, N.J: Carol Pub. Group, 1995.

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The Hitchcock romance: Love and irony in Hitchcock's films. Princeton, N.J: Princeton University Press, 1988.

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Michael, Walker. Hitchcock's motifs. Amsterdam: Amsterdam University Press, 2005.

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Hitchcocks motifs. Amsterdam: Amsterdam University Press, 2004.

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Michael, Walker. Hitchcock's motifs. Amsterdam: Amsterdam University Press, 2005.

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Lasky, Michael S., und Robert A. Harris. The Complete Films of Alfred Hitchcock (Film Books). Carol Publishing Corporation, 1993.

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The Hitchcock Romance. Princeton University Press, 1991.

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Billheimer, John. Hitchcock and the Censors. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.001.0001.

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The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.

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Buchteile zum Thema "Alfred Ploetz"

Ness, Richard R. „Family Plots: Hitchcock and Melodrama“. In A Companion to Alfred Hitchcock, 109–25. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444397321.ch6.

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Cooper, Ian. „Last Supper“. In Frenzy, 87–88. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325369.003.0005.

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This chapter looks at Alfred Hitchcock's last finished film, Family Plot (1976). Family Plot is an amusing light-hearted mystery which saw the Master return to sunnier climes (Northern California). But the notion that Hitchcock was mellowing is a false one. The last film he worked on, abandoned due to his failing health, was to be The Short Night. Based on the story of the escaped spy George Blake, starring Sean Connery, Clint Eastwood, or Walter Matthau playing opposite Liv Ullmann or Catherine Deneuve and set in London and Finland, the script was to be written by Ernest Lehman, the screenwriter of North by Northwest (1959). However, Lehman left the project over Hitchcock's desire to include a graphic rape scene. This is history repeating itself, as a similar row about sexual violence had led The Birds (1963) screenwriter Evan Hunter to walk out on Marnie (1964).

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Cooper, Ian. „Entrée“. In Frenzy, 29–44. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325369.003.0003.

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This chapter examines the making of Alfred Hitchcock's Frenzy (1972). Hitchcock called the writer Anthony Shaffer on New Year's Eve of 1970 to ask him to write the screenplay for Frenzy. Shaffer seems to have got on well with Hitchcock; so well in fact that they planned future collaborations, although the director's failing health would prevent this. The director's first choice for the role of Bob Rusk was Michael Caine, who had a strong resemblance to Neville Heath. However, Caine found the script ‘disgusting’, so Hitchcock settled on Barry Foster. The other actors cast in the film include Jon Finch, Vivian Merchant, and Billie Whitelaw. Meanwhile, the plot recycles a number of Hitchcock themes and motifs, but the events follow Arthur La Bern's novel closely. Some of the digressions in the novel are either left out or cut-down and the bitter misanthropy has been replaced by a slightly less bitter kind of black comedy.

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Offer, Avner, und Gabriel Söderberg. „Bitter Roots: Finance and Social Democracy between the Wars“. In The Nobel Factor, 68–88. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691196312.003.0004.

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This chapter explains the history and context behind the origins of the Nobel Prize in economics. When founded in 1968, the Nobel Prize in economics was a delayed artefact of the quest to understand and control financial and business cycles in the twentieth century. Like the original Nobel Prizes, it was endowed from the bounty of a single benefactor, in this case the governor of the Riksbank, Sweden's central bank. While Alfred Nobel's motivation was sublime, and the money came out of his will, the chain of causes for the economics prize was something of a farce, and was paid for by Swedish taxpayers. How it came about cannot be separated from what it is about, and the context is more telling than the prize itself. It was a belated incident in one of the central plots of modern history — the distributional struggle between the owners of wealth and the rest of society. In an ironic twist, this late-coming Nobel was authorized by Swedish Social Democracy in the course of its long stand-off with Swedish capitalism, in the belief that it did not matter. But it did.

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Billheimer, John. „Rear Window (1954)“. In Hitchcock and the Censors, 194–99. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0026.

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Rear Window was the first of six pictures Alfred Hitchcock would direct for Paramount under the contract negotiated by Lew Wasserman. On its first script review, the Production Code office found fault with nearly every aspect of the film, from the salty dialogue of the young screenwriter John Michael Hayes to most of the courtyard residents, including the scantily clad Miss Torso and the newly married couple whose activities represented an ‘unacceptable play on the sexual aspects of a honeymoon.’ But Breen’s reviewers reserved their strongest criticism for the suggestion of a sexual relationship between the lead characters, played by James Stewart and Grace Kelly. Hitchcock stilled many of the censors’ worries by inviting them to visit the elaborate indoor set of the courtyard, pointing out that everything happening in the apartments across the courtyard would be filmed from the viewpoint of a man in a wheelchair looking out of his apartment window, not with salacious close-ups. The censors still found fault with three major elements: the dancing of Miss Torso, the honeymooning couple’s sexual appetites, and Grace Kelly’s negligee, which was ‘too suggestive and too boldly unconventional.’ Hitchcock assuaged these fears by swapping off topless views of Miss Torso with protective footage already filmed for trade-off purposes, drawing the shades on the honeymooners, and limiting scenes with Grace Kelly’s negligee to those essential to the plot. Code officials accepted these trade-offs, and the film was a critical and commercial success.

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