Thematische Bibliographien / National socialism and art

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „National socialism and art“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "National socialism and art"

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MATTL, SIEGFRIED. „THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA“. Modern Intellectual History 6, Nr. 1 (April 2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.

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Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art (e.g. members of the Bauhaus involved in National Socialist architecture or avant-garde filmmakers such as Walter Ruttmann in National Socialist propaganda films) and, conversely, the continual performance of popular jazz music in the Third Reich (e.g. in radio programmes). Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons.
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Kolcheva, E. M. „100 years of Mari fine art: socialist realism (late 1930s – 1980s)“. Finno-Ugric World 14, Nr. 1 (22.04.2022): 100–115. http://dx.doi.org/10.15507/2076-2577.014.2022.01.100-115.

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Introduction. The article continues a series of publications dedicated to the 100th anniversary of the Mari autonomy and the emergence of professional fine art among the Mari people. It characterizes the period of socialist realism. From the point of view of the development of the national fine arts of the Mari, socialist realism needs to be comprehended using new methodological paradigms. Materials and Methods. The fine arts of the Mari Region have been analyzed using the author’s cultural and archetypal approach and the methods of historical research. The research materials include works of fine art from the museums of the Republic of Mari El, documents from the State Archives of the Republic of Mari El, media publications, newsletters and catalogs. Results and Discussion. In the history of the Mari art of socialist realism, two stages have been defined. The first one is the period of recovery after repressions and the Great Patriotic War in the late 1930s – 1950s. The second one is the heyday of the fine arts of the Mari ASSR in the 1960–1980s. Socialist realism as an artistic method is indirectly representative of the process of ethno-cultural reflection as the essence of national fine arts, it is focused on showing the achievements of ethnic cultures in the modernization of the economy and culture. V. I. Lenin is represented as a teacher close to the people (by analogy with Kugu Yumo) in the pantheon of political leaders. The cultural hero is typified through the image of a national cultural figure, a machine operator, and historical personifications. The semantics of the image of a war veteran is supplemented by the function of the world tree on the social field. The female archetype is represented by the type of a collective farmer and milkmaid, less often it is represented by a woman engaged in creative or intellectual work. Conclusion. The era of socialist realism is the most important period in the formation of professional fine arts in the Mari Region, also being a national and ethnic phenomenon. The ambivalence of socialist realist artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form. The ambivalence of socialist realistic artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form.
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Spiridon, Ioana-Cristina. „M. H. Maxy: de la avangardă la socialism“. Revista Muzeelor 1 (2023): 216–23. http://dx.doi.org/10.61789/rm.2023.13.

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„M. H. Maxy: from avant-garde to socialism”, opened on the 28th of December 2023 at the Romanian National Museum of Art, uses a chronological line of events to bring up to date the image of Max Herman Maxy (1895 – 1971), seen as a leading artist with a significant role in the Romanian Avant-garde, but also as the first director of the Romanian National Museum of Art. Subsequently, his contribution to the development of the national art scene can’t be denied in art history. Furthermore, the opening was carefully chosen to mark a symbolic anniversary of 145 years since the first Romanian Jew obtained his citizenship, therefore enhancing the role that the Jew community had in the bloom and spread of the Avant-garde in Europe. The exhibition has a tacit dialogue to the main artistic events which celebrate Timișoara as The Cultural Capital of Europe 2023, the retrospectives dedicated to Victor Brauner and Constantin Brâncuși, suggesting the main artistic pillars in the dawn of Modern Romania.
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Jelavich, P. „Review article. National socialism, art and power in the 1930s“. Past & Present 164, Nr. 1 (01.08.1999): 244–65. http://dx.doi.org/10.1093/past/164.1.244.

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Eickhoff, Martijn. „German archaeology and National Socialism. Some historiographical remarks“. Archaeological Dialogues 12, Nr. 1 (Juni 2005): 73–90. http://dx.doi.org/10.1017/s1380203805001595.

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This paper reconsiders German reflection on National Socialist pre- and protohistoric archaeology from 1933 onwards. It tries to do so by means of a case study of the academic contacts between the Dutch prehistorian A.E. van Giffen (1884–1973) and his German colleague H. Reinerth (1900–90). The approach adopted here differs from traditional historiographical writing on National Socialist archaeology in two respects. First, in its analysis of the academic exchange between the two scholars, the case study seeks to bridge the classical caesura between a pre- and post-war period. Second, contemporary and historical studies of National Socialist archaeology and archival sources, as well as interviews, have been incorporated in the research alongside the usual publications of the scholars involved. It is argued that with the approach taken here we may arrive at a more nuanced understanding of the different ways archaeologists have reacted to National Socialism over the past seven decades.
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Soloshenko, Viktoriia. „Hildebrand Gurlitt’s Art Activities as a Reflection of the National Socialism Epoch“. Mìžnarodnì zv’âzki Ukraïni: naukovì pošuki ì znahìdki, Nr. 28 (05.12.2019): 231–52. http://dx.doi.org/10.15407/mzu2019.28.231.

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Bogdanova, Zlatina. „The “Banner of Peace” assembly as a national brand of Bulgaria during socialism“. Bulletin de l'Institut etnographique 70, Nr. 2 (2022): 83–101. http://dx.doi.org/10.2298/gei2202083b.

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On December 21st 1976, the UN General Assembly proclaimed 1979 as the International Year of the Child on the occasion of the 20th Anniversary of the adoption of the UN Declaration of the Rights of the Child. In June 1978, Lyudmila Zhivkova, Chair of the Committee for Art and Culture, proposed to organize an exhibition of talented children in Bulgaria to mark the occasion. This was how the idea for the ?Banner of Peace? Assembly came about, which evolved into an international festival of children?s art, held under the auspices of UNESCO. In the period of late socialism the ?Banner of Peace? movement became a national cultural brand of supranational significance. The communist regime in Bulgaria ?advertised? itself and utilized the resources of the ?soft power? in an attempt to mitigate the ideological opposition during the Cold War. Unlike ?hard power?, which uses military and economic means of coercion, ?soft power? works through images and symbols - carriers of positive suggestions: art, creativity, beauty, spiritual development, childhood, peace and cooperation. In this paper the ?Banner of Peace? Assembly is juxtaposed to another intercultural project with a political and ideological orientation - ?Plovdiv - European Capital of Culture 2019?.
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Dow, James R. „German Volkskunde and National Socialism“. Journal of American Folklore 100, Nr. 397 (Juli 1987): 300. http://dx.doi.org/10.2307/540327.

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PULOY, M. G. „HIGH ART AND NATIONAL SOCIALISM, PART I: The Linz Museum as ideological arena“. Journal of the History of Collections 8, Nr. 2 (01.01.1996): 201–15. http://dx.doi.org/10.1093/jhc/8.2.201.

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Stackelberg, Roderick. „?Cultural aspects of national socialism?“ Dialectical Anthropology 12, Nr. 2 (1987): 253–60. http://dx.doi.org/10.1007/bf00263329.

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Dissertationen zum Thema "National socialism and art"

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Frietsch, Elke. „"Kulturproblem Frau" Weiblichkeitsbilder in der Kunst des Nationalsozialismus /“. Köln : Böhlau, 2006. http://catalog.hathitrust.org/api/volumes/oclc/71712948.html.

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Smith, Dana. „The Jewish Kulturbund in Bavaria, 1934-1938 : art and Jewish self-representation under National Socialism“. Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/27224.

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This thesis has two foci: the development of a National Socialist anti-­ Jewish cultural policy and the processes of internal Jewish community cultural self-­representations. At the most basic level it is an organisational history of the Jewish Kulturbund in Bavaria between 1934 and 1938. Ultimately, however, the thesis is about the people: the artists, how they employed certain mediums for specific uses and how these events were received. The Kulturbund was the lone state approved Jewish cultural organisation in Nazi Germany; it was, in other words, the only public space for Jewish cultural performance and consumption. Activity began in Berlin in the summer of 1933 and expanded to cities, towns and villages throughout the country. Unlike the majority of these early branches, however, the Jewish Kulturbund in Bavaria developed independently of Berlin's main offices. Bavarians maintained autonomous control of their cultural league until the autumn of 1935. Organised Bavarian Jewish cultural life was 'liquidated' upon official state orders after 9 November 1938. This thesis analyses the Kulturbund programme as an internal projection of willed identity for Bavarian Jews. Kulturbund events - particularly in the early seasons when National Socialist censorship was ill-defined and haphazardly enforced - reflected the ways its membership chose to stage their own understandings of what it meant, to them, to be 'Jewish'. It was a process of dissimilation and internal community building that helped its membership navigate their experiences of political persecution and social flux. What developed in the Bavarian programme from February 1934 until November 1938 was a representation of 'Jewishness' that was self-described as both religious- and heritage-based with a regional bent.
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Neidhart, Karin. „Nationalsozialistisches Gedankengut in der Schweiz : eine vergleichende Studie schweizerischer und deutscher Schulbücher zwischen 1900 und 1945 /“. Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb39271938t.

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Khut, Chiew-Lee. „Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich /“. Title page, abstract and table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

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Portevin, Jeanne-Marie. „L'art moderne à l'épreuve du nazisme : historiographie critique de sa réception ( 1945-2015)“. Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H029.

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Nombreux sont les ouvrages – et ce dans tous les domaines du savoir – qui traitent de l’Allemagne nationale-socialiste. Depuis 1947, et le livre d’Adolf Behne (Entartete Kunst), le sort des artistes dans le Troisième Reich suscite l’intérêt, si ce n’est la compassion, des historiens de l’art. Néanmoins, seuls les persécutés, ceux que le régime nazi avait taxé de "dégénérés", retiennent l’attention, célébrés comme autant de héros. Ce sont eux qui vont être appelés par les Alliés pour "décontaminer" un peuple tout entier corrompu par douze ans de dictature, et racheter la faute. C’est précisément l’histoire de cette image de l’artiste, tantôt qualifié de« dégénéré », tantôt d’ «émigré intérieur», que nous retraçons, de la fin de la Seconde Guerre mondiale à nos jours. Si les publications et expositions consacrées à l’art moderne à l’époque nazie sont nombreuses, jamais, en effet, le travail de mise en perspective des propos sur ce sujet n’avait été fait. Articulés en un récit cohérent, capable de rendre compte des changements d’appréciation sur le temps long du XXe siècle et du début du XXIe siècle, ces derniers rendent comptent des contradictions parfois manifestes d’une monographie à l’autre qu’il faut élucider, et permettent de mettre à jour des manières de penser et de voir, conditionnées par un horizon d’attente en constante mutation. Replacés dans un contexte politique et social, associés à des changements de mentalités, ces discours, problématisés et hiérarchisés,écrivent en filigranes une histoire de l’art au XXe siècle et nous obligent à réfléchir sur la place, le sens de l’art, et l’image de l’artiste
There are numerous publications in all areas of knowledge covering Nazi Germany. Since 1947 and the book by Adolf Behne (Entartete Kunst), the fate of the Artist in the Third Reich has sparked interest, even compassion, of Art Historians. Nevertheless, only those persecuted by the Nazi Regime, labelled « Degenerate », are celebrated as heroes. These artists would be the ones called on by the Allies to« decontaminate » and pay back the crimes of an entire nation corrupted by twelve years of dictatorship. It is precisely the evolution of the image of these artists, described as « degenerate » or sometimes « inner emigrants », that Iam retracing from the end of World War II until today. Despite a huge amount of publications and exhibitions about Modern Art from the Nazi era, the discourses on this subject have never been put into perspective.When presented chronologically and in a thorough manner, they show the evolution of how the subject was viewed between 1945 and 2015, conditioned by a constantly changing horizon of expectations. Seen in political and social context, these discourses create a 20th century history of Art and invite us to think about the meaning of the Art and the image of the artist
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French, Rebecca S. C. „The devil in disguise : a comparative study of Thomas Mann's "Doktor Faustus" (1947 and Klaus Mann's "Mephisto" (1936, focussing on the role of art as an allegory of the rise and fall of Nazi Germany /“. Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1634/.

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Gailus, Manfred. „Protestantismus und Nationalsozialismus : Studien zur nationalsozialistischen Durchdringung des protestantischen Sozialmilieus in Berlin /“. Köln : Böhlau Verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb38828797b.

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Stewart, Richard M. (Richard Matthew). „Intellectuals and National Socialism: The Cases of Jung, Heidegger, and Fischer“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279245/.

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This thesis discusses three intellectuals, each from a distinct academic background, and their relationship with National Socialism. Persons covered are Carl Gustav Jung, Martin Heidegger, and Eugen Fischer. This thesis aims at discovering something common and fundamental about the intellectuals' relationship to politics as such. The relationship each had with National Socialism is evaluated with an eye to their distinct academic backgrounds. The conclusion of this thesis is that intellectuals succumb all too easily to political and cultural extremism; none of these three scholars saw themselves as National Socialists, yet each through his anti-Semitism and willingness to cooperate assisted the regime.
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Higham, Jon. „The politics of memory in the Austrian province of Carinthia how distinctive are the collective memories of the three main political parties of Carinthia? /“. Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26086.

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Miller, Jennifer Anne. „The Politics of Nazi Art: The Portrayal of Women in Nazi Painting“. PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.
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Bücher zum Thema "National socialism and art"

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Heisig, Bernhard. Der faschistische Alptraum: Lithographien und Texte. Köln: Röderberg, 1989.

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Ruth, Heftrig, Peters Olaf und Schellewald Barbara Maria 1952-, Hrsg. Kunstgeschichte im "Dritten Reich": Theorien, Methoden, Praktiken. Berlin: Akademie Verlag, 2008.

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Linz, Schlossmuseum, Hrsg. "Kulturhauptstadt des Führers": Kunst und Nationalsozialismus in Linz und Oberösterreich : ein Projekt der Oberösterreichischen Landesmuseen in Kooperation mit Linz 2009 Kulturhauptstadt Europas. Weitra: Publication P No. 1, 2008.

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1944-, Palmier Jean Michel, Hrsg. L' Art dégénéré: Une exposition sous le IIIe Reich. Paris: Bertoin, 1992.

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Hellwag, Natascha. Unmastered Past?: Modernism in Nazi Germany : art, art trade, curatorial practice. Berlin]: Ferdinand-Möller-Stiftung, 2020.

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Bärbel, Manitz, Greifeld Thomas Al und Barfod Jörn, Hrsg. KuNSt ohne Museum: Beiträge zur Kunst in Schleswig-Holstein, 1933-1945. Heide: Boyens, 1993.

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Czapińska, Wiesława. Artyści w Trzeciej Rzeszy. [Kraków]: ABC, 1997.

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Eckel, Peter. Kunst im NS-Staat: Ideologie, Ästhetik,Protagonisten. Berlin: Metropol, 2015.

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Städtische Galerie im Buntentor (Bremen, Germany), Hrsg. "entartet", beschlagnahmt: Bremer Künstler im Nationalsozialismus : anlässlich der Ausstellung in der Städtischen Galerie Bremen von 6. September bis 15. November 2009. Bremen: Städtische Galerie, 2009.

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Ortwin, Rave Paul. Kunstdiktatur im Dritten Reich. Berlin: Argon, 1987.

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Buchteile zum Thema "National socialism and art"

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Hüls-Valenti, Katharina. „6. Flourishing Trade Relations in Vienna and Venice. Benno Geiger and the National Socialist Art Trade“. In Transfer of Cultural Objects in the Alpe Adria Region in the 20th Century, 129–44. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412518899.129.

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Jonker, Gerdien, und Isabella Schwaderer. „Introduction“. In Palgrave Series in Asian German Studies, 1–12. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-40375-0_1.

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AbstractWith the focus on the interface between religion and art, this interdisciplinary volume addresses India as a trope of primaeval religiosity and imagined origins in Imperial Germany, the Weimar Republic, and national socialist Germany, respectively. The book covers the period from 1880 to 1945, but with historical expeditions going back to 1800. Placing the focus on religion, it traces forms of identity-making and nation-building processes involved in the German–Indian entanglement. As a result, the volume offers a global historical approach to religion from a modern transformative perspective.
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Dalton, Hugh. „National Parks and Forests and the National Trust“. In Practical Socialism for Britain, 284–98. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003308119-32.

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Rothnie, Niall. „National Socialism in Germany“. In National Socialism in Germany, 1–4. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08607-8_1.

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Przyrembel, Alexandra. „Emotions and National Socialism“. In A Companion to Nazi Germany, 399–412. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118936894.ch24.

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Georgiadou, Maria. „National Socialism and War“. In Constantin Carathéodory, 275–419. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-642-18562-5_5.

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Moreau, Patrick. „Otto Strasser: Nationalist Socialism versus National Socialism“. In The Nazi Elite, 235–44. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-12823-5_22.

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„Neue Sachlichkeit, Modern Art, and National Socialism“. In Neue Sachlichkeit 1918-33, 140–50. BRILL, 2006. http://dx.doi.org/10.1163/9789401203104_012.

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Jaskot, Paul B. „National Socialists and Art“. In The Nazi Perpetrator, 13–46. University of Minnesota Press, 2012. http://dx.doi.org/10.5749/minnesota/9780816678242.003.0002.

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Kleist-Schmenzin, Ewald Von. „National Socialism: A Menace“. In Oxford Readers Nazism, 27–29. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780192892812.003.0004.

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Abstract Ewald von Kleist-Schmenzin was a conservative nationalist of deeply undemocratic persuasion who, unlike Rauschning, opposed National Socialism from the start. Rejecting the DNVP’s willingness to entertain the notion of bringing Hitler into a coalition in order to ‘tame’ him, Kleist-Schmenzin realized that National Socialism was a fundamentally anti-conservative force with a dynamism far more powerful than anything the conservatives would be able to harness. His own deeply conservative convictions are evident in his stress on the anti-religious, antimonarchical elements of the movement, while his comments on the populist dynamism and the centrality of racism to National Socialism reveal him to have been a better judge of the movement than those conservatives who believed that Hitler could be incorporated into a stable authoritarian regime.
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Konferenzberichte zum Thema "National socialism and art"

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XU, XUE-MEI, und YOU-BIN CHEN. „TOWARDS AN INTEGRATIVE APPROACH TO IDEOLOGICAL AND POLITICAL EDUCATION: A CASE STUDY OF ‘AN INTRODUCTION’ WITH THE ‘XUEXI QIANGGUO’ APP“. In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35688.

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In this new era of mobile internet, in the face of the demanding task of educating students and helping them to have correct values, so that they can understand socialism with Chinese characteristics better and be willing to make contributions to our Chinese dream of national rejuvenation, we teachers should advance with the times, and design our ideological and political education courses properly to enhance college students’ integrative motivation to make learning a part of their everyday life, and help them develop a good habit in their lifetime. Based on constructivism, we can make use of some smart phone-based apps like “Xuexi Qiangguo” to have an integrative approach. This app is distinctive, authoritative, and powerful, like a great treasure house with a lot of news, theories, and stories. It is flexible, easily accessible, and efficient, and is able to us make a big difference in teaching. Our case study shows how we can actually rebuild a preview mechanism, upgrade our learning style and better evaluation mechanism for better teaching of some courses.
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Kulik, Sergei. „THE CATHOLICISM AND SUNNI ISLAM POSITION AND ROLE IN THE FASCISM AND NATIONAL SOCIALISM IDEOLOGICAL COORDINATE SYSTEM AT THE TURNING POINT OF THE SECOND WORLD WAR“. In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s10.059.

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Mokshantsev, Leonid. „Intellectual Roots of National Socialism“. In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.427.

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Peng, Yixuan, Gerhard Bruyns und Darren Nel. „Chinese megablock urbanism“. In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/nmmk5982.

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In what way can the study of megablock typologies in the PRD deliver better insight in terms of process and scales of Chinese urbanization? In the Chinese context, the ‘collective’ has stood central to its urbanisms and processes of urbanization (Lu, 2006). As a state where ownership and territoriality are retained by a socialist system, the basic elements of this (urban) model have remained the creation of collective housing founded on publicly owned land. From the ‘neighbourhood-unit' (邻里单位) and ‘working-unit’ (单位大院), to ‘commodity housing’ (商品房) (Lu, 2006), these practices gradually shape Chinese cities in “Socialism with Chinese characteristics” into what can only be termed ‘megablock’ urban fabrics. Where, ‘Mega’ infrastructure in cities, or better yet, megablocks, embody the antithesis of open and transparent entities. Beyond its organization with the physical network (transportation or public service), they impact the urbanization process in terms of speed and scale. The Chinese urban population has risen from 18% in 1978 to 58.5% in 2017 (National Bureau of Statistics of China, 2018). Between 1991 and 2000, 83% of Shanghai’s residential compounds became enclaves, with the Guangdong Province alone witnessing the formation of 54,000 closed-off compounds, covering more than 70% of the city surface and housing more than 80% of its population (Miao, 2004). Broadly speaking, former and ongoing studies of Chinese urbanization are yet to provide a clear perspective of megablock development, both in terms of the unprecedented context and its spatial impact. This paper aims to address concerns pertaining to the megablock phenomenon: its impacts on urban morphology as well as its prevalent strategies as an urban model. The argument presented here hopes to touch upon the links between planning and the eventual morphological expression of megablock development, and possibly argue for the cultivation of an urbanization practice that needs to become systematic in its sustainable focus and outcomes
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Hülse, R., M. Hülse, JJ Servais und A. Wenzel. „Diagnosis of Deafness during National Socialism – Taking Account, Remembrance and Responsibility“. In Abstract- und Posterband – 90. Jahresversammlung der Deutschen Gesellschaft für HNO-Heilkunde, Kopf- und Hals-Chirurgie e.V., Bonn – Digitalisierung in der HNO-Heilkunde. Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-1686403.

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Roland, Stephanie, und Quentin Stevens. „North Korean Aesthetics within a Colonial Urban Form: Monuments to Independence and Democracy in Windhoek, Namibia“. In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5038pxdax.

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This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and North Korean. This paper will show how these commemorative spaces embody North Korean urban space ideas while also developing new national symbols, historical narratives and identities within Windhoek’s urban landscape as part of independent Namibia’s nation-building. The monument’s ‘Socialist Realist’ aesthetic signals a conscious departure from the colonial and apartheid eras by the now-independent Namibian government. This paper extends prior research focused on the symbolism of Mansudae’s monumental schemes by analysing these monuments’ design, placement, public reception and use within Windhoek as they relate to the city’s overall development since Namibia’s independence in 1990. By documenting the form, location and decision-making processes for the Mansudae-designed memorials in Windhoek and historical changes in their spatial and political context, the paper explores the interaction between North Korean political ideology and design approaches and Namibia’s democratic ambitions for city-making. The paper’s mapping analysis spatially compares the sculptural, architectural and urban design strategies of Mansudae’s additions to Windhoek’s City Crown (2010-14) to Pyongyang’s Mansu Hill Grand Monument (1972-2011), and Windhoek’s Heroes’ Acre (2002) to Mansudae’s earlier National Martyrs Cemetery outside Pyongyang (1975-85).
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URSACHI, Rodica. „Theoretical and artistic-plastic component in the creation of the painter Nicolae Tonitza“. In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p286-290.

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The creation of the plastic artist Nicolae Tonitza is focused on two components - theoretical and artistic. Theoretically, Tonitza worked as an artistic columnist and publicist for various magazines and newspapers "Cuvântul liber", "Facla", "Socialismul" and others. His chronicles initially had a polemical character with a sociopolitical accent, and later, a "stylistic" one, with a national aspect. The artistic activity is focused on two genres graphics and painting. The thematic register is varied and includes military and social subjects, portraits of children, nudes, landscapes, the reason for the holiday etc. Stylistically, his creation reveals affinities of expressionism, Cezannian cubism, folk art, etc.
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„[Spine art]“. In 2013 30th National Radio Science Conference (NRSC). IEEE, 2013. http://dx.doi.org/10.1109/nrsc.2013.6587899.

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„Cover Art“. In 2014 National Wireless Research Collaboration Symposium (NWRCS). IEEE, 2014. http://dx.doi.org/10.1109/nwrcs.2014.34.

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Chiseliţă, Vasile. „Th e repertoire of the performer Nina Ermurachi in the “Folclor” orchestra: dominant categories and aesthetic trends“. In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.25.

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Th e study ”Th e repertoire of the performer Nina Ermurachi in the Folclor orchestra: dominant categories and aesthetic trends” addresses some methodological and epistemological aspects of the theme, designed as a preliminary stage of a wider research on the contribution of the professional folk orchestra “Folclor” in the work of cultural patrimonialization on the platform of neo-traditional art from the late Soviet period (1960-1980). Th e focus is on elucidating the heuristic relevance of some seminal notions from cultural studies theory. Th e author tries to argue the complexity, multiplicity and plurivalence of aspects related to aesthetics, ideology, social base, semantic universe, expressive and typological structures in the repertoire and vocal art of the soloist Nina Ermurachi. Full-time employee of the orchestra for over 37 years, the artist got the most out of around 180 songs in neo-traditional style, a solid and important musical heritage in the form of audiovisual recordings, included in the fund of IPNA Company “Teleradio-Moldova”. Starting from Cliff ord Geertz’s suggestions, two strategic typological categories are delimited in the artist’s repertoire, which symbolize the hegemonic force of two great directions or layers in the patrimonialization process: 1) creations grouped around the idea of national ethos and 2) creations centered on the “new, socialist vision”.
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Berichte der Organisationen zum Thema "National socialism and art"

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Kenes, Bulent. NMR: A Nordic neo-Nazi organization with aims of establishing totalitarian rule across Scandinavia. European Center for Populism Studies (ECPS), April 2021. http://dx.doi.org/10.55271/op0008.

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Right-wing extremism and national socialism (Nazism) are not a new phenomenon in Sweden. White supremacists or neo-Nazis have a long history in the country. Nordic Resistance Movement (Nordiska motståndsrörelsen, NMR) rests on this century-long history of Swedish Nazi and Neonazi activism. Including racism, antisemitism, anti-immigration, and anti-globalisation stances with violent tendencies, NMR which aims to overthrow the democratic order in the Nordic region and establish a national socialist state, has become the primary force of white power in Sweden and other Nordic countries.
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Giblin, Matthew C. Relating Operational Art to the National Guard State Partnership Program. Fort Belvoir, VA: Defense Technical Information Center, Mai 2014. http://dx.doi.org/10.21236/ada612137.

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Strachan, Ian Gregory. Columbus's Ghost: Tourism, Art and National Identity in the Bahamas. Inter-American Development Bank, Juni 2000. http://dx.doi.org/10.18235/0007940.

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Muñoz Molina, Antonio. Cervantes and the Art of Storytelling. Inter-American Development Bank, Mai 2005. http://dx.doi.org/10.18235/0007955.

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Gowen, Timothy E. A Proposal to Rethink the Way We Develop National Military Strategy: More Science, Less Art. Fort Belvoir, VA: Defense Technical Information Center, März 2005. http://dx.doi.org/10.21236/ada431832.

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Wilt, Julia. A Location Analysis of Vandalism to the Rock Art of the Columbia River Gorge National Scenic Area. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.6545.

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Trachunthong, Deondara, Suchintana Chumseng, Worrayot Darasawang und Mathuros Tipayamongkholgul. Risk Factors and National Burden of Selected Noncommunicable Diseases in People Living with HIV: Systematic Review, Meta-Analysis and, Disability-Adjusted Life Years protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, September 2022. http://dx.doi.org/10.37766/inplasy2022.9.0018.

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Review question / Objective: 1. Are the prevalence/incidence of four major groups of NCDs including MetS, DM, CVD, and CKD different among adults with and without HIV infection? 2. Are there relationships between HIV status, ART (ART use, short and long-term effects of ART), traditional risk factors (BMI), and the development of four major NCDs? 3. Does the trend of NCDs burden attributable to HIV in Thailand increase according to the time? Information sources: 1. Electronic databases: the following databases will be searched: PubMed/Medline, Scopus, Embase, Cochrane Library Thai journals online (ThaiJO), Thai digital collection (TDC), Thai journal index (TJI), and Thai-journal citation index (TCI). 2. Authors or experts in the field will be contacted through emails for any relevant data, results and information.
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Campbell, Stephen A. A Framework for Failure? The Impact of Short Tour Lengths and Separate National Command and Control on British Operational Art and Coalition Warfare in Iraq, 2003-2009. Fort Belvoir, VA: Defense Technical Information Center, Dezember 2013. http://dx.doi.org/10.21236/ada606037.

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Huezo Mixco, Miguel. El Salvador and the Construction of Cultural Identity. Inter-American Development Bank, Oktober 1999. http://dx.doi.org/10.18235/0007937.

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Luo, Xuexing, Zheyu Zhang, Jue Wang, Qibiao Wu und Guanghui Huang. Art therapy as a complementary therapy for schizophrenia: a meta-analysis of randomized controlled trials following the PRISMA guidelines. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, Mai 2022. http://dx.doi.org/10.37766/inplasy2022.5.0099.

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Review question / Objective: How are the effects of art therapy on schizophrenia? Condition being studied: Schizophrenia is a chronic and severely disabling mental disorder that is associated with impairments in cognitive, emotional and psychosocial functioning affecting the prospect of recovery. (Jablensky, 2010; Leucht, 2014). Information sources: A comprehensive literature search will be carried out by two independent researchers (XX Luo and J Wang). Published studies will be retrieved in common databases including PubMed, Web of Science, ClinicalTrials.gov, Cochrane Library, Embase, China National Knowledge Infrastructure(CNKI), Wanfang Databases, the Chinese Scientific Journal Database, the Chinese Science Citation Database, and the Chinese Biomedical Literature Database from inception to May 30, 2022. In addition, we will search and evaluate the relevant systematic reviews and meta-analyses to select the potential studies from their references. No trial is excluded due to publication status or language.
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