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Relevant bibliographies by topics / Mellemkrigstiden

Academic literature on the topic 'Mellemkrigstiden'

Author: Grafiati

Published: 25 July 2024

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Journal articles on the topic "Mellemkrigstiden"

1

Bro, Henning. "DEL II: Sommerhusbyer: Mellemkrigstid og 40´erne." METROPOL 2021, no. 1 (March 16, 2021): 66–151. http://dx.doi.org/10.7146/metropol.v2021i1.125424.

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2

Bro, Henning. "DEL III: Sommerhusbyernes storhedstid: Første efterkrigstid." METROPOL 2021, no. 1 (March 16, 2021): 152–283. http://dx.doi.org/10.7146/metropol.v2021i1.125426.

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3

Bæk Simonsen, Jørgen. "Johannes Pedersen og dansk islamforskning i mellemkrigstiden." Tidsskrift for Islamforskning 10, no. 1 (November 28, 2016): 149. http://dx.doi.org/10.7146/tifo.v10i1.24879.

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Artiklen vil med udgangspunkt i Johannes Pedersens efterladte pa- pirer dokumentere, hvorledes en forskerkarriere, oprindeligt planlagt til studiet af Det Gamle Testamente, gennem studieophold hos flere af Europas førende orientalister i årene mellem 1909 og 1912 endte ud med være rettet mod det arabiske og islam.

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4

Morsing, Ole. "Byen som kulturhistorisk rum." Slagmark - Tidsskrift for idéhistorie, no. 11 (January 31, 2018): 3–22. http://dx.doi.org/10.7146/sl.v0i11.103495.

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Mellemkrigstiden er som alle andre tidsepoker fyldt med konflikter og modsatrettede livsanskuelser. Den alment udbredte livsanskuelse i århundredets første årtier er baseret på en blanding af empiriske og spekulative videnskaber, dels en tro på vedvarende teknologiske fremskridt, dels en fastholdelse af traditionens værdigrundlag.

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5

Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8136.

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The meaning of music at a large farm during the inter-war period This article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small). During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic Viennese music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family can be seen as a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.

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6

Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.

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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small).During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic art music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family represented a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.

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7

Juul, Ida, and Ida Juul. "Diskurser om ungdom og arbejdsliv — fra velfærdsstat til konkurrencestat." Tidsskrift for Arbejdsliv 15, no. 3 (September 1, 2013): 9–23. http://dx.doi.org/10.7146/tfa.v15i3.108938.

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Artiklen ser på de skiftende forventninger, der siden mellemkrigstiden fra samfundets side er blevet formuleret omkring unge og deres fremtidige integration på arbejdsmarkedet. Den undersøger, hvad det var for diskurser og problematiseringer af unges uddannelsesvalg og fremtidige integration på arbejdsmarkedet, som blev marginaliserede i overgangen fra velfærdsstat til konkurrencestat samt hvilke, der blev sat i stedet. Analysen viser blandt andet, at uddannelse ikke længere primært tænkes som en individuel ret, men også som en individuel forpligtigelse til at bidrage til at styrke den nationale konkurrenceevne.

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8

Nielsen, Leif Hansen. "Stenderupslaget." Sønderjydske Årbøger 131, no. 1 (January 18, 2022): 65–104. http://dx.doi.org/10.7146/soenderjydskeaarboeger.v131i1.130317.

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Under den økonomiske krise i starten af 30’erne blev gårdejer Jørgen Nissen i Stenderup på Sundeved sat ud af sin gård ”Vestervang” af kongens foged den 4. april 1932. Et efterfølgende protestmøde dagen derpå med omkring 1.500 deltagere arrangeret af Landbrugernes Sammenslutning (LS), endte med tumult, stenkast og trukne politistave. Stenderupslaget, som det senere blev kaldt, var den hidtil største konfrontation mellem gældstyngede bønder og politi i mellemkrigstiden. I denne artikel skal baggrunden for protestmødet, dets forløb og de omkringliggende begivenheder beskrives og analyseres.

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9

Andersen, Verner E. "Engelsk stof i Illustreret Familie Journal under 1. Verdenskrig og i mellemkrigstiden." Magasin fra Det Kongelige Bibliotek 14, no. 1 (June 4, 1999): 16–33. http://dx.doi.org/10.7146/mag.v14i1.66479.

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10

Jacobsen, Ulla. "Dokumentarfilmen som frit kunstnerisk udtryk?" MedieKultur: Journal of media and communication research 12, no. 25 (September 3, 1996): 12. http://dx.doi.org/10.7146/mediekultur.v12i25.1074.

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Dokumentarfilmen eksisterer i spændingsfeltet mellem kunst, industri og politik. Modsat fiktionsfilmen har den aldrig været økonomisk rentabel, hvad der har gjort den afhængig af eksterne financieringskilder. I denne artikel belyser Ulla Jacobsen dokumentarfilmens historie i et økonomisk perspektiv og behandler de finansielle faktorers konsekvenser for indhold, tendens og æstetik. Hvor dokumentarfilmen i mellemkrigstiden var af- hængig af stat og private sponsorer, der satte deres præg på indhold og politisk tendens, er den i efterkrigstiden blevet afhængig af public service TV og offentlige fonde. Dette har medført en spaltning i hhv. journalistiske og auteur-prægede dokumentarfilm i Vesteuropa; denne oversigt bygger på rapporten "The Eurepean Documentary Sector", som forfatteren sam- men med Gitte Hansen har skrevet for EU´s Documentary-program.

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Books on the topic "Mellemkrigstiden"

1

Nielsen, Hanne Rimmen. Tidens kvinder: Om kvinder i mellemkrigstiden. Århus: Håndbibliotekets veninder, 1985.

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2

Martinov, Niels. Kunstrevolutionen i mellemkrigstiden: Litterære ismer : futurismen, ekpressionismen, dadaismen, surrealismen, realismen. Copenhagen: Gyldendal, 1990.

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3

Golden Days in Copenhagen (festival), ed. København i en jazztid. Kbh: Politiken, 2008.

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4

Anton Hansen: Mellemkrigstidens sorte satiriker. København: Arbejdermuseet, 2001.

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5

Andersen, Jens. Vildmanden: Sandemose og animalismen i mellemkrigstidens litteratur. [Copenhagen]: Gyldendal, 1998.

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6

Henrik, Dethlefsen, Kirchhoff Hans 1933-, Lundbak Henrik, and Nissen Henrik S, eds. Fra mellemkrigstid til efterkrigstid: Festskrift til Hans Kirchhoff og Henrik S. Nissen på 65-årsdagen oktober 1998. København: Museum Tusculanum, 1998.

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7

Skov, Christian Egander. Konservatisme I Mellemkrigstiden. Aarhus University Press, 2016.

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8

Egander, Skov Christian. Konservatisme I Mellemkrigstiden. Aarhus University Press, 2016.

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Book chapters on the topic "Mellemkrigstiden"

1

"DÆMRING." In Konservatisme i mellemkrigstiden, 29–76. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.5.

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2

"REAKTIONENS ÅRTI." In Konservatisme i mellemkrigstiden, 77–124. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.6.

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3

"POLARISERING." In Konservatisme i mellemkrigstiden, 201–52. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.10.

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4

"HVAD MED DEMOKRATIET?" In Konservatisme i mellemkrigstiden, 179–200. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.9.

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5

"LINJER FREM - EFTERSKRIFT." In Konservatisme i mellemkrigstiden, 305–10. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.12.

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6

"OPBRUD." In Konservatisme i mellemkrigstiden, 13–28. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.4.

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7

"NAVNEREGISTER." In Konservatisme i mellemkrigstiden, 331–34. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.14.

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8

"INDLEDNING." In Konservatisme i mellemkrigstiden, 9–12. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.3.

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9

"Front Matter." In Konservatisme i mellemkrigstiden, 1–4. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.1.

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10

"NOTER." In Konservatisme i mellemkrigstiden, 311–30. Aarhus University Press, 2016. http://dx.doi.org/10.2307/jj.608164.13.

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