Academic literature on the topic 'World War 1939 1945 Art And The War'
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Journal articles on the topic "World War 1939 1945 Art And The War"
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Njoku, Raphael Chijioke. "The Conflation of Race and Propaganda in the Mobilization of Africans for the Second World War." Journal of Asian and African Studies 57, no. 1 (November 29, 2021): 78–92. http://dx.doi.org/10.1177/00219096211054911.
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The primary focus here is to accentuate the competing roles of race and propaganda in the enlistment of Africans and African Americans for the Second World War. Among other things, the discussion captures on the interwar years and emphasizes the subtleties of African American Pan-Africanist discourses as a counterweight to Black oppression encountered in the racialized spaces of Jim Crow America, colonized Africa, and the pugnacious infraction that was the Italo-Ethiopian war of 1935–1936. Tying up the implications of these events into the broader global politics of 1939–1945 establishes the background in which the Allied Powers sought after Black people’s support in the war against the Axis Powers. Recalling that Italy’s fascist leader Benito Mussolini attacked Ethiopia in 1935 with poisonous gas while the League of Nations refused to act, points to the barefaced conflation of race and propaganda in the Great War and the centrality of African and African Diaspora exertions in the conflict.
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Dubiński, Krzysztof, and Ewa Katarzyna Świetlicka. "LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION." Muzealnictwo 58, no. 1 (June 21, 2017): 109–22. http://dx.doi.org/10.5604/01.3001.0010.1024.
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Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.
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Jankevičiūtė, Giedrė, and Osvaldas Daugelis. "Collecting Art in the Turmoil of War: Lithuania in 1939–1944." Art History & Criticism 16, no. 1 (December 1, 2020): 35–63. http://dx.doi.org/10.2478/mik-2020-0003.
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SummaryThe article deals with the growth of the art collections of the Lithuanian national and municipal museums during WWII, a period traditionally seen as particularly unfavourable for cultural activities. During this period, the dynamics of Lithuanian museum art collections were maintained by two main sources. The first was caused by nationalist politics, or, more precisely, one of its priorities to support Lithuanian art by acquiring artworks from contemporaries. The exception to this strategy is the attention given to the multicultural art scene of Vilnius, partly Jewish, but especially Polish art, which led to the purchase of Polish artists’ works for the Vilnius Municipal Museum and the Vytautas the Great Museum of Culture in Kaunas, which had the status of a national art collection. The second important source was the nationalisation of private property during the Soviet occupation of 1940–1941. This process enabled the Lithuanian museums to enrich their collections with valuable objets d’art first of all, but also with paintings, sculptures and graphic prints. Due to the nationalisation of manor property, the collections of provincial museums, primarily Šiauliai Aušra and Samogitian Museum Alka in Telšiai, significantly increased. The wave of emigration of Lithuanian citizens to the West at the end of the Second World War was also a favourable factor in expanding museum collections, as both artists and owners of their works left a number of valuables to museums as depositors. On the other hand, some museum valuables were transported from Vilnius to Poland in 1945–1948 by the wave of the so-called repatriation of former Vilnius residents who had Polish citizenship in 1930s. The article systematises previously published data and provides new information in order to reconstruct the dynamics of the growth of Lithuanian museum art collections caused by radical political changes, which took place in the mid 20th century.
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MORRIS, GERALDINE. "Visionary Dances: Ashton's Ballets of the Second World War." Dance Research 26, no. 2 (October 2008): 168–88. http://dx.doi.org/10.3366/e0264287508000170.
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Save for a cursory reference, art history tends to ignore dance and in particular the work made by Graham Sutherland and John Piper for the choreographer Frederick Ashton during the early 1940s. By overlooking dance and its designs, other than those for the Ballets Russes, the art world is wasting a valuable resource. In the following article I consider how the collaborations between Ashton, Sutherland and Piper illuminate the extent to which both the ballets and their designs were products not only of the circumstances of the 1939–1945 war but also, in particular, the propaganda of the period. This article considers how the particular discursive formations that shaped Ashton's ballets and the work of the artists led to dances and designs that were unique in both Ashton's output and that of the two painters.
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Benken, Przemysław. "Artysta i artylerzysta – o służbie wojskowej Adama Bunscha w latach 1915–1945." Klio - Czasopismo Poświęcone Dziejom Polski i Powszechnym 51, no. 4 (December 30, 2019): 137. http://dx.doi.org/10.12775/klio.2019.040.
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Celem niniejszego artykułu jest zaprezentowanie mało znanej historii służby wojskowej Adama Bunscha w armii austro-węgierskiej i polskiej w latach 1915–1920 i 1939–1945. Bunsch, który wywodził się ze znanej krakowskiej rodziny (jego ojciec był rzeźbiarzem, a brat po II wojnie światowej został popularnym polskim pisarzem), był do tej pory szerzej znany przede wszystkim ze swojej pracy artystycznej, jako plastyk i dramaturg. Jednakże wydaje się, że miał istotne dokonania także jako żołnierz służący w jednostkach artylerii podczas wojny polsko-ukraińskiej i polsko-bolszewickiej, a także w latach 1939–1940. Bunsch odegrał również istotną rolę jako oficer oświatowy służąc w 1. Dywizji Pancernej generała Stanisława Maczka w Wielkiej Brytanii.The aim of this article is to present a very little known history of Adam Bunsch’s military service in Austro-Hungarian and Polish armies between 1915–1920 and 1939–1945. Bunsch, who descended from well-known Cracowian family (his father was a sculptor, his brother became a popular Polish writer after the II World War), has been so far widely known mainly for his art work as a visual artist and playwright. It seems however that he had significant achievements as a soldier serving in various artillery units during Polish-Ukrainian and Polish-Bolshevik wars and between 1939–1940. Bunsch also played vital role as educational officer serving in general Stanislaw Maczek’s 1. Armored Division in Great Britain.
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Kotliar, Oleksandra. "The Image of War in America and the Image of America in War: the U.S. Visual Propaganda Strategies in 1939-1945." Text and Image: Essential Problems in Art History, no. 1 (2023): 29–42. http://dx.doi.org/10.17721/2519-4801.2023.1.02.
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The article explores the strategy of American visual propaganda during World War II. The author demonstrates how the methods and forms of propaganda reflected the general trends in the socio-political life of the United States from 1939 to 1945. The strategies adopted by the state were aimed at shaping the image of the war within the country, which was geographically distant from the theaters of war, as well as creating practices for representing the image of America in the global conflict. This approach was driven by the fact that the issue of relations between the United States and the outside world, particularly with European countries, was traditionally associated with the problem of self-identification of Americans, who were born as a nation in the struggle against the former metropole. It has been established that the success of military propaganda was ensured, in particular, by the infrastructure of social relations in the field of art created by the New Deal reforms, namely, the Federal Art Project (FAP) program. Collaborating with the state in the 1930s, artists emphasised the «American» and democratic nature of US art, which allowed it to be successfully instrumentalised during the war to serve ideological needs. According to the author, one of the most demonstrative examples is the interpretation of the concept of «Four Freedoms» by F. D. Roosevelt in the paintings of N. Rockwell, who «translated» the president's abstract statements into a visual language understandable to the people. Several projects organized by the Museum of Modern Art (MoMA) in New York, which were supported by US ministries, are also indicative. These include the 1941 war poster competition and the exhibition project «Airways to Peace. An Exhibition of Geography for the Future,» featuring politician W. Willkie. Due to the predominant use of radio and cinema in the dissemination of propaganda, the work of MoMA during World War II acquired special significance: both the artist and the viewer were endowed with an important social function of participating in the defense of the country's freedom and independence. The article shows how the direct involvement of the population in the process of propagating (re)production contributed to the rapid acceptance by Americans of the political goals of the United States during the war and in the post-war world.
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Pron, Sofiia, and Mariia Yevhenieva. "The Kyiv Bandurist Chapel’s concert activity during the Second World War." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 60–81. http://dx.doi.org/10.34064/khnum1-70.04.
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Statement of the problem. Recent research and publications. The article is dedicated to the creative activity of the Kyiv Bandurist Chapel, its origins, and stages of formation. It characterizes the peculiarities of the Chapel’s concert and touring activities and states the role played by the bandurist choir in the social and political life of Ukraine. The creativity of the Kyiv Bandurist Chapel (and later – the Taras Shevchenko Bandurist Chapel) as a spiritual phenomenon of Ukrainian musical culture has been increasingly studied over the last two decades. Published works highlight various aspects of its activity, however, there remain questions that require deeper analysis and a new approach, particularly, the concert and touring activities of the Chapel in 1939–1944. Objectives, methods, and novelty of the research. The purpose of the article is to analyze the Kyiv Bandurist Chapel’s concert activity in the context of the social and historical events during 1939–1944 and its impact on various aspects of cultural, musical, and social life in Western Ukrainian territories. The article uses general scientific methods: source study, descriptive and analytical. The concert and performance repertoire of the Chapel has been analyzed in terms of its content and dynamics. The article mentions joint projects of the Chapel with Ukrainian musical institutions and public organizations. New data about the numerical composition of the first Kyiv Bandurist Chapel, the peculiarities of its concert and touring activities, and some episodes from the lives of individual bandurists have been introduced into the scientific discourse. Research results and conclusion. The Kyiv Bandurist Chapel takes its origins from the period when the national liberation struggles began in 1918–1922. During its existence, the Chapel has been known under various names: “Kobzar Choir” or “First Chapel of Kobzars” (according to V. Yemets), “First Ukrainian Art Chapel” (1925), “United State Exemplary Chapel of Bandurists of the Ukrainian SSR” (1935–1941), “Taras Shevchenko Bandurist Chapel” (from 1941). The foundation of the Kyiv Bandurist Chapel’s repertoire in different historical times constituted Ukrainian dumas, historical, Sich Riflemen’s and insurgent songs, national-patriotic authors’ works, and song and dance melodies. During the period under study, the Kyiv Bandurist Chapel actively performed concert tours in such regions, including Kyiv region, Volyn, and Galychyna. Throughout 1942–1944, it performed in Germany for Ukrainians who were forcibly deported by the Nazis from Ukraine and placed in Ostarbeiter camps. The Kyiv Bandurist Chapel, being in the whirlwind of historical events, proved that the Ukrainian people’s will and independence were always the priority in their creative activities. Further study of the Kyiv Bandurist Chapel’s history is pertinent to several key historical periods: the post-war reconstruction of Soviet Ukraine, the nation’s journey to independence, and the Russian-Ukrainian war. These topics are awaiting unbiased examination and scientific synthesis.
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Seifert, Achim. "Compensation for Forced Labour During World War II in Nazi Germany." International Journal of Comparative Labour Law and Industrial Relations 17, Issue 4 (December 1, 2001): 473–88. http://dx.doi.org/10.54648/394556.
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55 years after the end of World War II and after long and difficult negotiations with victims' organizations, the German Parliament passed the ‘Act Establishing the Foundation “Remembrance, Responsibility and Future”’ on 2 August 2000 which provides compensation payments for persons who were subjected to forced labour in the German war economy between 1939 and 1945. With this new legislation, a long debate that began at the end of World War II, is finally coming to an end. This article outlines the different steps in the compensation debate and analyzes the new German compensation legislation of 2 August 2000.
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Zawistowska, Monika. "Teatr czasu wojny 1939–1945 w świetle zadań i wartości." Dydaktyka Polonistyczna 15, no. 6 (2020): 202–12. http://dx.doi.org/10.15584/dyd.pol.15.2020.14.
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The publication describes the activity of Polish theater during the Second World War. It is an attempt to look at theater from the perspective of the tasks and values it presented in this particularly difficult period. The article describes the functioning of open and underground theaters and theaters operating in concentration camps. The above-mentioned activities cannot be reduced to one formula or a specific species. In these conditions, the artistic level and innovation of many performances amaze. Paradoxically, this most dramatic theater achieved its greatest autonomy during the occupation. It has become a useful tool for restoring human dignity and art.
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Samasuwo, Nhamo. "Food Production and War Supplies: Rhodesia's Beef Industry during the Second World War, 1939-1945." Journal of Southern African Studies 29, no. 2 (June 2003): 487–502. http://dx.doi.org/10.1080/03057070306206.
Full textDissertations / Theses on the topic "World War 1939 1945 Art And The War"
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Rose, Josh. "When Reality Was Surreal: Lee Miller's World War II War Correspondence for Vogue." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4357/.
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During World War II, Lee Miller was an accredited war correspondent for Vogue magazine. Miller was trained as a surrealist photographer by Man Ray, and her wartime work, both photographic and written, is indicative of a combination of journalism and surrealism. This thesis examines Lee Miller's war correspondence within the context of Vogue magazine, establishing parallels between the photographs and writing to determine how surrealism informs it stylistically and ideologically. Using surrealist techniques of juxtaposition and an unmanipulated photographic style, and the surrealist concepts of the Marvelous and Convulsive Beauty, Miller presented the war as a surreality, or a surreal reality. This study concludes by using Miller's approach to suggest a new concept of journalistic practice: surrealist journalism.
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Judge, Sean M. ""Who has the puck?" : strategic initiative in modern conventional war /." Maxwell AFB, Ala. : School of Advanced Air and Space Studies, 2008. https://www.afresearch.org/skins/rims/display.aspx?moduleid=be0e99f3-fc56-4ccb-8dfe-670c0822a153&mode=user&action=downloadpaper&objectid=59437903-4851-4b9b-8de0-4bb83fb7ea61&rs=PublishedSearch.
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James, Karl. "The final campaigns Bougainville 1944-1945 /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060712.150556/index.html.
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Becker, Patti Clayton. "Books and libraries in American society during World War II : weapons in the war of ideas /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb40149147k.
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Texte remanié de: Doctoral dissertation--Madison (Wis.)--University of Wisconsin, 2002. Titre de soutenance : Up the hill of opportunity: American public libraries and ALA during World War II.Bibliogr. p. 267-281. Notes bibliogr. p. 219-266.
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McDiarmid, Tracy. "Imagining the war /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0054.
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Willis, Ian Colin. "The women's voluntary services a study of war and volunteering in Camden 1939-1945 /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20041025.152142/index.html.
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List, Jeff. ""From hidden to (over-)exposed" the grotesque and performing bodies of World War II Nazi concentration camp prisoners /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1191601326.
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Robertson, Kirsty M. "We stand on guard for thee : protecting myths of nation in "Canvas of War" /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ63358.pdf.
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Jahnke, Todd Eric. "By Air Power Alone: America's Strategic Air War in China, 1941-1945." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2800/.
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During World War II, the Army Air Force waged three strategic air offensives in and from China against Japan. At first, the Flying Tigers and 10th Air Force constituted the whole of American aid to China, but the effort soon expanded. Supported by Chiang Kai-shek, Claire Chennault and his 14th Air Force waged an anti-shipping campaign, to which the Japanese Imperial Army responded with Operation Ichigo and against which Joseph Stilwell accurately warned. 20th Bomber Command used B-29s to wage Operation Matterhorn, failed, and later conducted PACAID missions. 14th Air Force then waged a counterproductive transportation campaign as The Pacific War, also known as the Greater East Asian War, ended. Events in the China-Burma-India and China Theaters provide lessons in logistics, targeting, training, and air-ground cooperation that are applicable in the post-Cold War era.
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Kahn, Martin. "Measuring Stalin's strength during total war : U.S. and British intelligence on the economic and military potential of the Soviet Union during the Second World War, 1939-1945 /." Göteborg : Ekonomisk-historiska institutionen, Goteborgs universitet, 2004. http://catalogue.bnf.fr/ark:/12148/cb39917694w.
Full textBooks on the topic "World War 1939 1945 Art And The War"
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Price, Sean. The art of war: The posters of World War II. Chicago, Ill: Raintree, 2008.
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Jaworska, Janina. Polska sztuka walcząca: 1939-1945. 2nd ed. Warszawa: Wydaw-a Artystyczne i Filmowe, 1985.
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Rhodes, Anthony Richard Ewart. Propaganda: The art of persuasion, World War II. Secaucus, NJ: Wellfleet Press, 1987.
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Wróbel, Jarosław. Żołnierz Polski 1939-1945. Poznań: Vesper, 2012.
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Brugger, Hermann. Kunstraub in Südtirol: 1939-1945. Bozen: Athesia Verlag, 2019.
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Ken, McCormick, and Perry Hamilton Darby, eds. Images of war: The artist's vision of World War II. London: Cassell, 1991.
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Bessen, Kathrin. Pablo Picasso, Kriegsjahre 1939 bis 1945. Köln: Wienand Verlag, 2020.
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Micheli, Mario De. Disegni della Resistenza, 1941-1945. Milano: Vangelista editori, 1986.
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Historial de la Vendée (Museum), ed. 1914-1918, 1939-1945: Artistes en guerre. Gent: Snoeck Ducaju & Zoon, 2015.
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Picasso, Pablo. Picasso and the war years, 1937-1945. New York, N.Y: Thames and Hudson, 1998.
Find full textBook chapters on the topic "World War 1939 1945 Art And The War"
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Douglas, Roy. "Japan, 1939-41." In The World War 1939–1945, 111–26. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-10.
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Douglas, Roy. "The road to war." In The World War 1939–1945, 1–6. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-1.
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Douglas, Roy. "The arrival of war." In The World War 1939–1945, 7–19. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-2.
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Douglas, Roy. "The war in 1943." In The World War 1939–1945, 166–79. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-15.
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Douglas, Roy. "Atlantic partnership, 1939-41." In The World War 1939–1945, 97–110. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-9.
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Douglas, Roy. "War and the changing world." In The World War 1939–1945, 147–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-13.
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Douglas, Roy. "Inter-Allied relations, 1945." In The World War 1939–1945, 250–60. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-21.
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Douglas, Roy. "The German war in 1942." In The World War 1939–1945, 137–46. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-12.
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Douglas, Roy. "The Soviet Union, 1939-41." In The World War 1939–1945, 80–96. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-8.
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Douglas, Roy. "The Far East, 1941-2." In The World War 1939–1945, 127–36. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-11.
Full textConference papers on the topic "World War 1939 1945 Art And The War"
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Stăvilă, Tudor. "Scenographic art in interwar Bessarabia." 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/pc22.01.
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Th e history of scenographic art in the Republic of Moldova coincides with the appearance of the National Th eater founded in Chisinau in 1921. Testimonies in this regard are the works of Bessarabian artists that are preserved in the collections of the National Museum of Art of Moldova. An impetus for the emergence of modern Bessarabian scenography was the Russian emigrant Georges Pojedaeff , who appeared in Chisinau in 1920 and befriended. Auguste Baillayre, who organized the personal exhibition of the scenographer at the School of Fine Arts on the borders of 1920-1921. Th anks to Auguste Baillayre, Th eodor Kiriacoff , Boris Nesvedov, Elena Barlo, Maria Starcevschi, Elisabeth Ivanovsky, Natalia Brăgalia and many others asserted themselves in this fi eld in Bessarabia, contributing to the establishment of modern Romanian scenography. Th e works kept in the museum’s collections demonstrate the painters’ attraction through the originality of the treatment and the tendencies of European art, included in the circuit of the well-known Russian Ballet tours organized in Paris by Serj Deagilev between 1905-1912. At the same time, we specify that the numerous works with which the Bessarabian exhibitors participated in the local Bucharest salons were lost during the last World War, being known the fate of the collection of the future Municipal Art Gallery, founded in Chisinau in November 1939.
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Isupov, V. "Birth Rate and Marriage in Wartime Conditions (Rear Population of the RSFSR), 1939-1945." In XIII Ural Demographic Forum. GLOBAL CHALLENGES TO DEMOGRAPHIC DEVELOPMENT. Institute of Economics of the Ural Branch of RAS, 2022. http://dx.doi.org/10.17059/udf-2022-1-10.
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Historical demography in Russia as a scientific field is experiencing rapid growth. Since the late 1980s, numerous works have been published on various issues of demographic history. Considerable attention is now being paid to the demographic aspects of the World War II. While the issue of human losses in the USSR is of great interest, much less attention is drawn to the problem of population reproduction in 1939-1945. Simultaneously, reproduction processes underwent such a significant distortion during the war years that they should be taken into account when determining the scale of the demographic catastrophe that shook Russia. The main purpose of this article is to identify the leading trends and features of marriage and birth rate of the Russian population during the World War II.
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Slamova, Karolina. "CZECH LITERARY CRITICISM FROM THE EXILE PERSPECTIVE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.05.
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The paper deals with the exile view of Czech literary criticism in the past decades, reflected in two essays: one by Igor Hajek, and the other one by Kvetoslav Chvatik. Igor Hajek (1931�1995), a Czech literary critic, who went to exile in 1969, played a significant role in presenting Czech literature abroad. Kvetoslav Chvatik (1930�2012) was a Czech philosopher, aesthetician, art historian, and literary theorist. Hajek taught at universities in the English-speaking world, while Chvatik worked in a German-speaking environment. Two periods are covered and compared in the paper: the first period, the period of pluralistic democracy and the resulting cultural structure when the literary criticism contributed to the fact that Czech literature reached the European level, and the period after February 1948 when the ruling ideology started to interfere in the development of literature. Two completely contradictory conceptions are described showing the radical changes that took place in literary criticism after 1948. The text looks at the role of literary criticism in an era when plurality of opinion is possible, and at the impact of the suppression of freedom of speech on the work of literary critics. It also shows how the process of the shift of literary criticism towards its true function in the spirit of democratising tendencies had gradually won its way.
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Slamova, Karolina. "CZECH LITERARY CRITICISM FROM THE EXILE PERSPECTIVE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.05.
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The paper deals with the exile view of Czech literary criticism in the past decades, reflected in two essays: one by Igor Hajek, and the other one by Kvetoslav Chvatik. Igor Hajek (1931�1995), a Czech literary critic, who went to exile in 1969, played a significant role in presenting Czech literature abroad. Kvetoslav Chvatik (1930�2012) was a Czech philosopher, aesthetician, art historian, and literary theorist. Hajek taught at universities in the English-speaking world, while Chvatik worked in a German-speaking environment. Two periods are covered and compared in the paper: the first period, the period of pluralistic democracy and the resulting cultural structure when the literary criticism contributed to the fact that Czech literature reached the European level, and the period after February 1948 when the ruling ideology started to interfere in the development of literature. Two completely contradictory conceptions are described showing the radical changes that took place in literary criticism after 1948. The text looks at the role of literary criticism in an era when plurality of opinion is possible, and at the impact of the suppression of freedom of speech on the work of literary critics. It also shows how the process of the shift of literary criticism towards its true function in the spirit of democratising tendencies had gradually won its way.
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Dan Paich, Slobodan. "Conciliation: Culture Making Byproduct." In 8th Peace and Conflict Resolution Conference [PCRC2021]. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/pcrc.2021.002.
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Abstract Reclaiming public space at Oakland's Arroyo Public Park, a nexus of crime and illegal activities. A coalition of neighbors invited local performing artists to help animate city agencies, inspire repair of the amphitheater and create daytime performances in the summer, mostly by children. It gave voice to and represented many people. Reclaiming space for community was the impetus, structured curriculum activates were means. Safe public space and learning were two inseparable goals. Conciliation learning through specific responses, example: Crisis Of Perseverance acute among children and youth lacking role models or witnessing success through perseverance. Artists of all types are the embodiment of achievable mastery and completion. Taking place on redefined historic 1940 passenger-cargo/military ship for public peacetime use and as a cultural space. Mixt generations after and outside school programs: Children and Architecture project’s intention was to integrate children’s internal wisdom of playing with learning about the world of architecture (environment and co-habitability) as starting point was an intergenerational setting: 5-12 olds + parents and volunteers, twice weekly from 1989 to 1995 at the Museum of Children’s Art in Oakland, California. Concluding Examples Public celebration and engagements as inadvertent conciliations if prepared for before hand. Biographical sketch: Slobodan Dan Paich native of former Yugoslavia was born 1945. He lived in England from 1967 to 1985. Slobodan taught the History of Art and Ideas, Design and Art Studio from 1969 through 1985 at various institutions in London, including North-East London Polytechnic, Thames Polytechnic and Richmond College-American University in London. Between 1986 to1992, he taught at the University of California at Berkeley. With a number of scholars, artists, and community leaders, he founded the Artship Foundation in 1992, and has been its Executive Director ever since. He also served as a board member of the Society of Founders of the International Peace University in Berlin/Vienna from 1996 to 2002, where he lectured annually and chaired its Committee on Arts and Culture. community@artship.org
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Gardiner, Fiona. "Modernist and Heritage Conservationist: Karl Langer’s Contribution to the Heritage Movement in Queensland." 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/a5020pep5t.
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Karl Langer (1903-1969), architect, town planner, landscape architect and academic fled Austria for Australia, settling in Brisbane in 1939. Required to spend the Second World War as a draftsman with Queensland Railways Department and denied a planning position with the Brisbane City Council, Langer commenced private practice (1946-1969). His significant influence on Queensland’s built environment is now belatedly being recognised and has resulted in the recent publication of Karl Langer: Modern Architect and Migrant in the Australian Tropics. This paper explores Langer’s contribution to the establishment of the heritage movement, as an early member of the National Trust of Queensland. Like many of his contemporaries, in Australia and overseas, he was both a modernist and a conservationist. Langer joined the Trust in 1964, its first year of operation, and was deeply involved when it acquired its first property in 1965. The property Wolston House is an 1852 stone farmhouse on the suburban fringes of Brisbane. He gave architectural advice on the physical condition of the building and prepared landscape plans for the grounds. He was a member of the restoration and appeal committees and prepared the artwork for the fundraising brochure. Before the term ‘adaptive reuse’ had currency, Langer advised the Trust on converting the 1870s bedroom annex into a caretaker’s residence and coffee shop. The annex was unceremoniously demolished, but Langer, the sophisticated European modernist, was at the heart of an early debate about conservation. Langer represented Queensland on the Australian Council of National Trusts committee which deliberated on classifications and criteria by which the heritage value of buildings would be determined. He contributed to the establishment of the early lists of historic Queensland buildings and wrote a paper on the conservation of landscape in urban areas. Langer’s unexpected death in 1969 meant that his influence on the nascent heritage movement in Queensland was foundational but is largely forgotten or misinterpreted. His legacy remains in his surviving buildings, eight of which are now heritage listed.
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Fuentes, O., and G. Pincon. "PARIETAL AND MOBILE ART OF ROC-AUX-SORCIERS ROCK SHELTER (MIDDLE MAGDALENIAN, VIENNE, FRANCE)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.15-16.
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The rock shelter of the Roc-aux-Sorciers at Angles-sur-lAnglin (Vienne, France) is one of the archaeological reference sites for the Upper Paleolithic. The sculpted, painted and engraved frieze was gradually brought to light in its archaeological context by Susanne Cassou de Saint-Mathurin and Dorothy Garrod from 1949 onwards (Saint-Mathurin, Garrod, 1950). A wealth of archaeological material was discovered alongside the parietal art, comprising numerous works of portable art, tools made of animal bone, jewellery, etc. It was very rapidly observed that the portable art and the parietal art shared the same graphic and thematic conventions. For example, images of female bodies are rendered in high relief, in a monumental way, but also in the form of small statuettes. Our research has demonstrated the undeniable intra-site links between the portable art and the parietal art (Pinon, 2012). Here we propose to broaden this analysis within a well-identified culture of the Middle Magdalenian known as the Magdalenian of Lussac-Angles spearpoints. At the time of the discovery of the Magdalenian site of La Marche in 1937 (Vienne) (Lwoff, Pricard, 1940), some similarities had been identified between this site and that of Le Roc-aux-Sorciers, where the discoveries dated back to 1927 (Rousseau, 1933). These similarities are also perceptible in shared techniques (Chehmana, Beyries, 2010), as well as in the production of objects in hard organic materials such as the Lussac-Angles spearpoints (Pinon, 1988), the jewellery in fossil mammoth ivory (Dujardin, Pinon, 2000), the engraved horse incisors (Mazire, 2009) and the figurative art (Bourdier et al., 2016 Fuentes, 2016). We propose to further explore the links between these two sites through the analysis of the dynamic processes of reworking images. In particular we examine the engraved plaquettes of La Marche and the parietal art of Le Roc-aux-Sorciers to bring these links into perspective. This could shed light on some common ways of seeing the world in this Magdalenian group. Bourdier, C., Pinon, G., Bosselin, B. (2016). Norme et individualit au Rocaux-Sorciers (Vienne, France): approches des mains du registre animalier au travers de la forme. In M. Groenen, M.-Ch. Groenen (Eds.), Style, Techniques and Graphic expression in Rock Art (pp. 1735). BAR S2787. Chehmana, L., Beyries, S. (2010). Lindustrie lithique du Roc-aux-Sorciers (collection Rousseau). In J. Buisson-Catil, J. Primault (Eds.), Prhistoire entre Электронная библиотека ИА РАН: https://www.archaeolog.ru/ru/el-bib 16 Vienne et Charente. Hommes et socit du Palolithique (pp. 453460). Association des publications Chauvinoises, mmoire XXXVIII. Dujardin, V., Pinon, G. (2000). Le Magdalnien dans la Vienne et la Charente. In G. Pion (Dir.), Le Palolithique suprieur rcent: nouvelles donnes sur le peuplement et lenvironnement (pp. 213222). Actes de la table ronde de Chambry, 12-13 mars 1999, Mmoire de la Socit prhistorique franaise 28. Fuentes, O. (2016). The social dimension of human depiction in Magdalenian rock art (16,500 cal. BP 12.000 Cal. BP): the case of the Roc-aux-Sorciers rockshelter. Quaternary International, 430, 97113. https://doi.org/10.1016/ j.quaint.2016.06.023 Pericard, L., Lwoff, S. (1940). La Marche. Commune de Lussac-les-Chteaux (Vienne). Premier atelier de Magdalnien III dalles graves mobiles. Bulletin de la Socit Prhistorique franaise, 37(79), 155180. Pinon, G. (1988). Fiche sagaie de Lussac-Angles. In H. Camps Fabrer (Dir.), Fiches typologiques de lindustrie osseuse prhistorique. Commission de nomenclature sur lindustrie de los prhistorique. Cahier I: sagaies (fiche 3bis). Universit de Provence. Pinon, G. (2012). Art mobilier et art parital du Roc-aux-Sorciers (Angles-surlAnglin, Vienne, France): disparits ou sens communs In J. Clottes (Ed.), Lart plistocne dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo (pp. 15491558). Bulletin Socit Prhistorique Arige-Pyrnes. Mazire, G. (2009). Les incisives de chevaux graves. In G. Pinon (Dir.), Le Roc-aux-Sorciers: art et parure du Magdalnien. Runion des Muses Nationaux. http://www.catalogue-roc-aux-sorciers.fr Rousseau, L. (1933). Le Magdalnien dans la Vienne. Dcouverte et fouille dun gisement du Magdalnien, Angles-sur-lAnglin (Vienne). Bulletin de la Socit Prhistorique franaise, 30, 239256. Saint-Mathurin (de), S., Garrod, D. (1950). Une frise sculpte du Magdalnien ancien dcouverte Angles-sur-lAnglin, dans la Vienne. Acadmie des Inscriptions et Belles Lettres, 94(2), 123128.
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Džomić, Velibor. "USTAV SRPSKE PRAVOSLAVNE CRKVE OD 1947. GODINE." In MEĐUNARODNI naučni skup Državno-crkveno pravo. University of Kragujevac, Faculty of law, 2023. http://dx.doi.org/10.46793/dcp23.151x.
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After the end of the Second World War, the Serbian Orthodox Church found itself in new social and political circumstances, but also in the legal system of socialist Yugoslavia, which was significantly different from the legal system of the Kingdom of Yugoslavia. In 1946, the new communist government adopted the Constitution of the Federative People's Republic of Yugoslavia, which, among other things, standardized the relationship between the Church and the state. On the territory of the newly formed socialist Yugoslavia, which had just come out of the war, the war against the Serbian Orthodox Church was still raging. From the positions of the new state authorities, liquidations and persecution of bishops, priests and believers of the Serbian Orthodox Church were carried out. Several laws were adopted that were directly directed against the Serbian Orthodox Church and other traditional churches and religious communities. The Law on the Serbian Orthodox Church from 1931 was repealed by the decision of the new communist government, as well as all other regulations that were passed until April 6, 1941. The Holy Council of Bishops of the Serbian Orthodox Church could not be convened in a regular or extraordinary session in wartime conditions and due to the imprisonment of Serbian Patriarch Gavrilo (Dožić). On November 14, 1946, Patriarch Gavrilo returned to the country and assumed his patriarchal duties. The Holy Synod of Bishops of the Serbian Orthodox Church, under the presidency of Patriarch Gavrilo, convened the Holy Synod of Bishops of the Serbian Orthodox Church for the first regular session after six years of being prevented from convening the highest church body. The session of the Holy Council of Bishops of the Serbian Orthodox Church was held from April 24 to May 21, 1947 in Belgrade. Although there is a belief that amendments to the Constitution of the Serbian Orthodox Church from 1931 were adopted at that session or that the "Constitution was changed", based on the relevant archival material and on the basis of the formal-legal element of this general ecclesiastical-legal act, it is established that The Holy Synod of Bishops, regardless of the numerous norms that have been retained from the Constitution of the Serbian Orthodox Church since 1931, actually adopted the new Constitution of the Serbian Orthodox Church. The subject of this work is the Constitution of the Serbian Orthodox Church from 1947, which is still in force in the Serbian Orthodox Church today.
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Patton, Sherman R. "City of Tampa, McKay Bay Retrofit: Before and After." In 11th North American Waste-to-Energy Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/nawtec11-1669.
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The City of Tampa’s solution to solving their waste disposal problems started almost 30 years ago. A conventional refractory lined incinerator equipped with a wet quench scrubber was constructed and operated by the City, starting in 1965. The old incinerator would often belch black soot and smoke and in 1979 was shutdown for environmental concerns. The City selected Waste Management Energy Systems, then a subsidiary of Waste Management Inc., to design, build, and operate for 20 years, a tried and proven waste combustor linked with a heat recovery boiler, electrostatic precipitator, and a turbine generator. This system was placed into operation in 1985 and the last two units were operated until July 2000 when compliance with the Clean Air Act required their retrofit. In 1996, the City assembled a Project Team consisting of consultants that specialized in various aspects of solid waste disposal including: permitting, design, operations, and construction oversight. After several years of design, procurement, and negotiations, Wheelabrator was selected as the successful vendor to design, construct, and operate the retrofitted facility. Construction began in April 1999 and went into commercial operation in January 2002.
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Neimane, Lelde. "The Course of Life of Those Deported on 14 June 1941 Until Their Release from Forced Settlement. Examples of Disinformation, Misleading Information." In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.10.
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Totalitarian state regimes use disinformation and misleading information in the form of propaganda to influence, control and reduce the possibility of critical thinking in their citizens. It still continues in several countries around the world. In order to facilitate recognising disinformation, to understand its manipulation methods, to promote critical thinking in a democratic environment, it has been valuable to analyse the country’s own lived experience through the prism of its inhabitants. The article reflects examples of the experience of the population displaced from Latvia during the mass deportation carried out by the Soviet totalitarian regime on 14 June 1941, from the moment when the echelons full of deported people crossed the border of Latvia and arrived at the deportation camps, until liberation, the opportunities for return and life in Latvia after the experience of deportation. Oral history, represented by interviews in video format from the video testimony collection of the Museum of the Occupation of Latvia are the basic historical sources of the current study, predominantly focusing on the memories of people who were adults at the time of deportation. Several accounts of the memories are compared with the documents in the criminal case files of the deportees stored in the State Archives of Latvia. In the article, the insights into the main findings are grouped into eight key points of the historical context: 1) the beginning of the German-USSR war; 2) information obtained at the site of displacement (deportee status, information about the men); 3) the end of the German-USSR war; 4) communication with relatives, friends in Latvia; 5) efforts to return to Latvia in 1946–1948 (illegally/legally); 6) deportation of 25 March 1949 (informed/uninformed); 7) Stalin’s death on 5 March 1953; 8) discharge in 1956–1957 and return to Latvia. Through examples, the article, reveals the disinformation of the Soviet regime in the form of silence, not responding to people’s questions, absence of any explanation either regarding the status of the displaced person, or any aspects of rights. Replies to written submissions to the state authorities of the USSR were rejected without explanation. At times, the repressive regime also used partial disclosure of information, for instance, regarding relatives who were shot and killed in imprisonment. Not only the very harsh physical conditions in the detention made the deportation inhumane, but the victims were also morally destroyed by this reigning ignorance, fear about their status, loved ones and fate.
Reports on the topic "World War 1939 1945 Art And The War"
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Fuelberth, August S., Adam D. Smith, and Sunny E. Adams. Fort McCoy, Wisconsin Building 550 maintenance plan. Engineer Research and Development Center (U.S.), November 2020. http://dx.doi.org/10.21079/11681/38659.
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Building 550 (former World War II fire station) is located on Fort McCoy, Wisconsin, and was recommended eligible for the National Register of Historic Places (NRHP) in 2018 (Smith and Adams 2018). The building is currently vacant. It is an intact example of an 800 Series World War II fire station with character-defining features of its period of significance from 1939 to 1946 on its exterior and interior. All buildings, especially historic ones, require regular planned maintenance and repair. The most notable cause of historic building element failure and/or decay is not the fact that the historic building is old, but rather it is caused by incorrect or inappropriate repair and/or basic neglect of the historic building fabric. This document is a maintenance manual compiled with as-is conditions of construction materials of Building 550. The Secretary of Interior Guidelines on rehabilitation and repair per material are discussed to provide the cultural resources manager at Fort McCoy a guide to maintain this historic building. This report satisfies Section 110 of the National Historic Preservation Act (NHPA) of 1966 as amended and will help the Fort McCoy Cultural Resources Management office to manage this historic building.
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Lopes da Silva, Diego, Nan Tian, Lucie Béraud-Sudreau, Alexandra Marksteiner, and Xiao Liang. Trends in World Military Expenditure, 2021. Stockholm International Peace Research Institute, April 2022. http://dx.doi.org/10.55163/dzjd8826.
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In 2021 world military expenditure surpassed the two trillion US dollar mark for the first time, reaching $2113 billion. Global spending in 2021 was 0.7 per cent higher than in 2020 and 12 per cent higher than in 2012. The economic effects of the Covid-19 pandemic have not ended the continuous upward trend in world military expenditure seen since 2015. As a result of the strong economic recovery across the globe in 2021, world military spending as a share of world gross domestic product—the global military burden—reached 2.2 per cent, down from 2.3 per cent in 2020. Average military spending as a share of government expenditure in 2021 remained the same as in 2020, at 5.9 per cent. This Fact Sheet presents regional and national military expenditure data for 2021 and highlights trends over the decade 2012–21. The data comes from the updated SIPRI Military Expenditure Database, which provides military spending data by country for the years 1949–2021.
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Tymoshyk, Mykola. LONDON MAGAZINE «LIBERATION WAY» AND ITS PLACE IN THE HISTORY OF UKRAINIAN JOURNALISM ABROAD. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11057.
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One of the leading Western Ukrainian diaspora journals – London «Liberation Way», founded in January 1949, has become the subject of the study for the first time in journalism. Archival documents and materials of the Ukrainian Publishing Union in London and the British National Library (British Library) were also observed. The peculiarities of the magazine’s formation and the specifics of the editorial policy, founders and publishers are clarified. A group of OUN members who survived Hitler’s concentration camps and ended up in Great Britain after the end of World War II initiated the foundation of the magazine. Until April 1951, including issue 42, the Board of Foreign Parts of the Organization of Ukrainian Nationalists were the publishers of the magazine. From 1951 to the beginning of 2000 it was a socio-political monthly of the Ukrainian Publishing Union. From the mid-60’s of the twentieth century – a socio-political and scientific-literary monthly. In analyzing the programmatic principles of the magazine, the most acute issues of the Ukrainian national liberation movement, which have long separated the forces of Ukrainian emigration and from which the founders and publishers of the magazine from the beginning had clearly defined positions, namely: ideology of Ukrainian nationalism, the idea of unity of Ukraine and Ukrainians, internal inter-party struggle among Ukrainian emigrants have been singled out. The review and systematization of the thematic palette of the magazine’s publications makes it possible to distinguish the following main semantic accents: the formation of the nationalist movement in exile; historical Ukrainian themes; the situation in sub-Soviet Ukraine; the problem of the unity of Ukrainians in the Western diaspora; mission and tasks of Ukrainian emigration in the context of its responsibilities to the Motherland. It also particularizes the peculiarities of the formation of the author’s assets of the magazine and its place in the history of Ukrainian national journalism.
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Langner. L51646 Collapse of Offshore Pipelines Seminar Proceedings. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), February 1990. http://dx.doi.org/10.55274/r0010214.
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The feasibility of laying offshore pipelines in deep waters, to 3000 feet and beyond, has been established by theoretical studies by a number of different individuals and organizations over the past several years. These various theoretical studies are now being tested and refined as pipelines and production facilities are being installed in ever-deeper waters. A pipeline failure in these great depths would be intolerable, among other reasons because of the great difficulty and exorbitant expense of performing a deepwater repair. A thorough understanding of the buckling and collapse behavior of pipe is, therefore, becoming ever more critical as these oil and gas production facilities get progressively deeper. Recognizing a need for further research into the collapse behavior of pipe, Pipeline Research Council International, Inc. undertook in 1984 a three-phase program to develop a deeper understanding of basic pipe collapse phenomena. Phase I of this program (1984-1985) focused on the effects of imperfections on pipe collapse. This work was done in the laboratory of Professor Stelios Kyriakides at The University of Texas at Austin, and involved the testing of numerous small-scale steel and aluminum tubes. The Phase II program (1986-1987), also performed at The University of Texas, considered the effects of construction loads. The final Phase III program (1988-1989) was intended as a full-scale verification of the small-scale tests conducted in the previous two phases. This program was conducted at Stress Engineering Services in Houston under the direction of Dr. Joe Fowler, and consisted of Pure Collapse Tests of 16-inch Pipe (16 samples). Pressure vs. Tension Tests of 6 5/8-inch Pipe (18 samples), and Pressure vs. Bending Tests of 6 5/8-inch Pipe (18 samples).
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Guy, Charles, Gozal Ben-Hayyim, Gloria Moore, Doron Holland, and Yuval Eshdat. Common Mechanisms of Response to the Stresses of High Salinity and Low Temperature and Genetic Mapping of Stress Tolerance Loci in Citrus. United States Department of Agriculture, May 1995. http://dx.doi.org/10.32747/1995.7613013.bard.
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The objectives that were outlined in our original proposal have largely been achieved or will be so by the end of the project in February 1995 with one exception; that of mapping cold tolerance loci based on the segregation of tolerance in the BC1 progeny population. Briefly, our goals were to 1) construct a densely populated linkage map of the citrus genome: 2) map loci important in cold and/or salt stress tolerance; and 3) characterize the expression of genes responsive to cold land salt stress. As can be seen by the preceding listing of accomplishments, our original objectives A and B have been realized, objective C has been partially tested, objective D has been completed, and work on objectives E and F will be completed by the end of 1995. Although we have yet to map any loci that contribute to an ability of citrus to maintain growth when irrigated with saline water, our very encouraging results from the 1993 experiment provides us with considerable hope that 1994's much more comprehensive and better controlled experiment will yield the desired results once the data has been fully analyzed. Part of our optimism derives from the findings that loci for growth are closely linked with loci associated with foliar Cl- and Na+ accumulation patterns under non-salinization conditions. In the 1994 experiment, if ion exclusion or sequestration traits are segregating in the population, the experimental design will permit their resolution. Our fortunes with respect to cold tolerance is another situation. In three attempts to quantitatively characterize cold tolerance as an LT50, the results have been too variable and the incremental differences between sensitive and tolerant too small to use for mapping. To adequately determine the LT50 requires many plants, many more than we have been able to generate in the time and space available by making cuttings from small greenhouse-grown stock plants. As it has turned out, with citrus, to prepare enough plants needed to be successful in this objective would have required extensive facilities for both growing and testing hardiness which simply were not available at University of Florida. The large populations necessary to overcome the variability we encountered was unanticipated and unforeseeable at the project's outset. In spite of the setbacks, this project, when it is finally complete will be exceedingly successful. Listing of Accomplishments During the funded interval we have accomplished the following objectives: Developed a reasonably high density linkage map for citrus - mapped the loci for two cold responsive genes that were cloned from Poncirus - mapped the loci for csa, the salt responsive gene for glutathione peroxidase, and ccr a circadian rhythm gene from citrus - identified loci that confer parental derived specific DNA methylation patterns in the Citrus X Poncirus cross - mapped 5 loci that determine shoot vigor - mapped 2 loci that influence leaf Na+ accumulation patterns under non-saline conditions in the BC1 population - mapped 3 loci that influence leaf Na+ accumulation paterns during salt sress - mapped 2 loci that control leaf Cl- accumulation patterns under non-saline conditions - mapped a locus that controls leaf Cl- accumulation patterns during salt stress Screened the BC1 population for growth reduction during salinization (controls and salinized), and cold tolerance - determined population variation for shoot/root ratio of Na+ and Cl- - determined levels for 12 inorganic nutrient elements in an effort to examine the influence of salinization on ion content with emphasis on foliar responses - collected data on ion distribution to reveal patterns of exclusion/sequestration/ accumulation - analyzed relationships between ion content and growth Characterization of gene expression in response to salt or cold stress - cloned the gene for the salt responsive protein csa, identified it as glutathione peroxidase, determined the potential target substrate from enzymatic studies - cloned two other genes responsive to salt stress, one for the citrus homologue of a Lea5, and the other for an "oleosin" like gene - cold regulated (cor) genes belonging to five hybridization classes were isolated from Poncirus, two belonged to the group 2 Lea superfamily of stress proteins, the others show no significant homology to other known sequences - the expression of csa during cold acclimation was examined, and the expression of some of the cor genes were examined in response to salt stress - the influence of salinization on cold tolerance has been examined with seedling populations - conducted protein blot studies for expression of cold stress proteins during salt stress and vice versa