Journal articles on the topic 'World War 1939 1945 Art And The War'
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1
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.
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Scheck, Raffael, and Tim Ripley. "The Wehrmacht. The German Army in World War II 1939-1945." German Studies Review 27, no. 3 (October 2004): 648. http://dx.doi.org/10.2307/4141020.
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Peskova, Anna Yu. "Modern Slovak drama about The Second World War." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 268–77. http://dx.doi.org/10.37816/2073-9567-2022-63-268-277.
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The paper addresses the Slovak drama of the 21st century dedicated to the Second World War, the Holocaust, and the Slovak National Uprising. After the “velvet revolution” of 1989, interest in the military and insurgent theme in Slovak art as a whole declined sharply, but as early as in the 21st century playwrights and theaters of Slovakia are increasingly beginning to return to these topics. Many of these plays created in the last twenty years were written in order to actualize public discussions about the period of the Slovak Republic (1939–1945), around the mass deportation of Jews from its territory, around the arization, etc. The main task of these plays` authors is to put serious moral questions before the viewer. For this purpose, the paper focuses on social and historical context in which National Socialism spread in Slovakia. Such are, for example, the works of R. Ballek “Tiso”, P. Rankov “It Happened on the First of September (or Some Other Time)”, A. Gruskova “The Woman Rabbi”, V. Klimachek “The Holocaust”, Y. Yuraneva “The Silent Whip”. One of the most important questions that Slovak writers and society have been asking in recent decades is the question of how and why Slovaks actually joined Nazi Germany during the Second World War, what prompted them to do this.
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Uczkiewicz, Dominika. "Dekret Prezydenta Rzeczypospolitej Polskiej o odpowiedzialności karnej za zbrodnie wojenne z dnia 30 marca 1943 roku." Studia nad Autorytaryzmem i Totalitaryzmem 41, no. 2 (June 7, 2019): 79–123. http://dx.doi.org/10.19195/2300-7249.41.2.4.
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On 30 March 1943 the Decree of the President of the Polish Republic on Criminal Liability for War Crimes, the first normative act setting down the legal basis for persecution of war criminals issued by one of the Allies during the Second World War, was proclaimed. The promulgation of the decree can be considered as the turning point in the Polish government-in-exile’s policy towards the problem of the prosecution and punishment of Nazi criminals, which started in autumn 1939. After the announcement of the draft decree, developed by the Polish minister of justice, professor of state law, Wacław Komarnicki and by an international lawyer, professor of criminal law, Stefan Glaser in the spring of 1942, a fierce discussion on the legal act’s concept broke out in the Polish government and lasted until November 1942. Although all Polish politicians agreed on the need to define the principles of individual criminal liability for war crimes, the proposal to promulgate criminal legislation with retroactive effect aroused much controversy. However, as the course of these debates shows, the critical point was not the mere fact of violating the lex retro non agit principle. The scepticism of some Polish politicians towards this idea resulted from purely pragmatic reasons and was caused by lack of support from the American and British governments for the proposal to define legal frames for the future trials of war criminals this attitude changed only in spring 1945. This article presents the genesis and provisions of the Decree of the President of the Polish Republic on Criminal Liability for War Crimes of 30 March 1943 in the context of international debates on international criminal law and individual liability for war crimes. It argues that the legislative works on the decree and its proclamation in March 1943 mark an important point in the process of shaping the concept of prosecution and punishment of war criminals during the Second World War.
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Butkiewicz, Tomasz. "Synagogues on fire. The end of Polish synagogue architecturein 1939–1941 in the iconography of German soldiers." Res Politicae 14 (2022): 115–39. http://dx.doi.org/10.16926/rp.2022.14.07.
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The outbreak of World War II marked the beginning of a tragic period in history that determined the fate of Polish Jews. From its first days, the German terror was not only remembered as a prelude to the Holocaust, but also as the beginning of the end of synagogue architecture in Poland. The iconography presented in the article draws attention to the burning synagogues and, at the same time, the end of a world that was indisputably part of the culture, art and identity of Poland before 1939.In the landscape of Poland it constituted a kind of individuality, which in the vocabulary of the Third Reich was perceived as: “Jewish culture and architecture” (Judische Kultur und Architektur), “Jewishtypes” (Judische Typen), “subhumans” (Untermenschen). This is the vocabulary of the German soldier who has occupied Poland since September 1939. And although some of them had already become familiar with this world during the First World War, it was mostly the young recruit born between1920 and 1922 who perceived it in an alien way, unprecedented for him. Convinced of their mission to expand their living space (Lebensraum), and thus their right to rule over Poland and Eastern Europe, the young Germans simultaneously made a visual perception of Polish Jews. The main part the article consists of iconographic documents visualising the silent historical source and studies of the subject created after 1945. They cover the period from 1939 to 1941 and depict the process of destroying Polish synagogue architecture. These are significant years because it was during this period that the largest number of synagogues built in Poland before 1939 were destroyed.
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Jasiński, Grzegorz. "Sowieci wobec Związku Walki Zbrojnej i Armii Krajowej w latach 1939-1945." Przegląd Wschodnioeuropejski 14, no. 1 (June 26, 2023): 137–48. http://dx.doi.org/10.31648/pw.9027.
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On the basis of the analysis of the subject literature supplemented with archival materials, the author proves that during World War II, including the period between June 22, 1941 and April 25, 1943, the Soviet Union consistently pursued a policy one of whose main goals was to keep Poland in its sphere of influence. For this reason, it fought by various means against the Union for Armed Struggle and the Home Army, which were the armed forces of the Polish authorities. The existence of the Polish armed underground connected with the legal authorities in exile threatened the Soviet plans for a quick and complete subjugation of the territories along the Vistula River and the establishment of communist rule there after the war.
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Hillman, John. "Bolivia and British Tin Policy, 1939–1945." Journal of Latin American Studies 22, no. 1-2 (March 1990): 289–315. http://dx.doi.org/10.1017/s0022216x00015467.
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During the Second World War, Bolivia became the single most important source of tin for the Allies. As with other Latin American countries who were placed in the position of supplying essential raw materials,1 Bolivia confronted a situation where the operation of normal market forces was suspended. Access to Axis markets was denied, and prices were set through government intervention, often at widely divergent levels in different markets. As a result, the impression was created that the poor producers were prevented from enjoying a wartime bonanza by exploitative collusion on the part of the rich consumers.
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Oliander, Luiza, and Viktoriia Ostapchuk. "Dzienniki (Diaries) of Jarosław Leon Iwaszkiewicz: World War II (1939–1945) in the writer’s individual perception." Sultanivski Chytannia, no. 12 (June 1, 2023): 37–50. http://dx.doi.org/10.15330/sch.2023.12.37-50.
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The article aims to characterize a topical issue through poetics: the Second World War from the perspective of J. Iwaszkiewicz’s individual perception from September 2, 1939, when the Luftwaffe began to bomb Warsaw until the moment of its liberation on January 18, 1945. It is noted that the writer recorded on the pages of his diary not only his psychological state but also that of other people. Particular attention is paid to the first entry of August 12, 1939, where the breakdown of the peaceful life was recorded, during which the writer had been immersed in the problems of art, intending to create a free-form work, a kind of ANNABEL, where the images of the composer Karol Szymanowski, the poets J. Tuwim and S. Witkiewicz would have appeared. The article focuses on the entry of August 28, 1939, which tells about the writer’s deep love for Ukraine and his nostalgic memories of it. The study emphasizes the historical value of almost daily records dedicated to mobilization, dated August 24 and 31, and those testimonies contained in the diary entries from September 4, 5 and 6, which describe the terrible pictures of people fleeing from Podkowa and the state of the road to it, destroyed by bombing. The entry about a terrible entrance to Warsaw, dated September 7, and that with a group portrait of crowds on the roads, dated September 8, are considered from the point of view of artistic skill. The article studies the poetics of tragic scenes of Warsaw residents’ escape and analyzes the entries depicting the underground cultural life of the capital, the secret academy dedicated to K. Szymanowski’s death anniversary, the series of J. Iwaszkiewicz’s lectures about contemporary Polish poetry, Stawisko, where the writer hid writers, artists and fighters against the invaders, about the Uprising and post-war reconstruction. Attention is also given to the recollection of K. Baczynski and W. Draczynska’s marriage.
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Buranok, S. O. "THE MYTHOLOGIZATION OF THE SECOND WORLD WAR IN CINEMA: THE HISTORIOGRAPHY OF THE USA." Izvestiya of Samara Scientific Center of the Russian Academy of Sciences. History Sciences 4, no. 1 (2022): 78–82. http://dx.doi.org/10.37313/2658-4816-2021-4-1-78-82.
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In historical science, there are three fundamentally different approaches to the problem of analyzing "action films": 1) the study of films as one of the tools of propaganda and ideology. Such works prove that the federal government and Hollywood worked very closely, especially in the period 1939-1945, to create through films the necessary images of war, allies and enemies. 2) the study of films from a cultural perspective, where the relationship between fiction and reality, the author's approaches and concepts of directors, the influence of films on US art is at the fore. The key problems in this category are such problems as the definition of the genre of films, features of the plot, motives and semantic content. 3) the study of departments and structures that create films (primarily, the largest film studios). This direction is associated with the analysis of propaganda, but has a greater emphasis on the study of interactions within the film community.
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Wünsche, Isabel. "New World remakes, Cold-War politics, and the legacy of the Bauhaus." Peripeti 20, no. 38 (March 27, 2023): 134–45. http://dx.doi.org/10.7146/peri.v20i38.136794.
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This essay explores the ways in which Cold War cultural politics have shaped the legacy, reception, and discourse on the historic Bauhaus art school, focusing on American-German relations after 1945 and the role played by former Bauhäuslers, who had emigrated to the United States in the 1930s, in recording and then reinstating the historical narrative of this art school. A closer look at the narratives and omissions concerning the Bauhaus’ ideas, ideals, and practices will help to shed more light onto the question, why, up to this day, the focus remains on the Bauhaus under Walter Gropius between 1919 and 1928, neglecting the later Dessau years under Hannes Meyer and Mies van de Rohe.
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Halász, Iván. "Az 1939 és 1945 közötti Szlovák Köztársaság államfői tisztsége." DÍKÉ 5, no. 2 (May 6, 2022): 96–110. http://dx.doi.org/10.15170/dike.2021.05.02.06.
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The paper deals with the constitutional development of the independent Slovakia between 1939 and 1945. It focuses on the position of the president in the context of the Czechoslovak constitutional tradition and authoritarian challanges, which were typical from the end of the 1930’s. The problem of continuity and discontinuity of the state and law is also an important part of the paper. The Slovak constitution was adopted in 1939. The influence of the Southern-European fascist and authoritarian models were strong during the process of constitution-making, but the Czechoslovak constitution of 1920 also had an impact on the legislator. Although the president of Slovakia, Jozef Tiso arrived from the Slovak Catholic and autonomist movement, he became the symbol of pro-Nazi collaboration during the second world war. Tiso had two positions – he was the Slovak president and paralelly the leader of the Hlinka Slovak People Party, which was a dominant political factor in Slovakia. A special act regulated the position of this party and its leader in the constitutional and political system.
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Young, Jacklyn. "Allied forces: libraries and museums collaborating on World War II provenance research." Art Libraries Journal 29, no. 2 (2004): 33–36. http://dx.doi.org/10.1017/s0307472200013596.
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In recent years museums and galleries have come under scrutiny following claims that artworks confiscated or looted during the Second World War, and still unaccounted for, have made their way into public collections. In response, many such institutions worldwide have been endeavouring to reaffirm the integrity of their collections. The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945. This paper highlights the role the Gallery Library is taking in supporting the project.
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Bryan, Ian, and Peter Rowe. "The Role of Evidence in War Crimes Trials: the Common Law and the Yugoslav Tribunal." Yearbook of International Humanitarian Law 2 (December 1999): 307–23. http://dx.doi.org/10.1017/s1389135900000477.
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With the passing into law of the War Crimes Act of 1991, the United Kingdom joined common law states such as Canada and Australia in conferring upon its domestic courts jurisdiction to try individuals suspected of having committed war crimes in Europe during the Second World War. Under the 1991 Act, proceedings for murder, manslaughter or culpable homicide may be brought, with the consent of the Attorney-General, against any person who, on 8 March 1990 or later, became a British citizen or resident in the United Kingdom, providing that the offence charged is alleged to have been committed between 1 September 1939 and 4 June 1945 in a place which was, at the material time, part of Germany or under German occupation. The Act further provides that the offence charged must have constituted a violation of the laws and customs of war under international law at the time it was committed. In addition, the Act stipulates that the nationality of the alleged offender at the time the alleged offence was committed is immaterial.
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Slavkova, Iveta. "Camille Bryen Avant-Gardist/Abhumanist: A Reappraisal of an Artist Who Called Himself the “Best-Known of the Unknown”." Arts 11, no. 2 (March 8, 2022): 43. http://dx.doi.org/10.3390/arts11020043.
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French artist and poet Camille Bryen (1907–1977) is usually, and always very briefly, cited as a member of the post-Second World War (1939–1945) lyrical abstraction trend in Paris, often designated as Ecole de Paris or Nouvelle Ecole de Paris, Tachisme, or Informel. Bryen painted hybrids of plants, animals, rocks, and humans, mixing the organic with the inorganic, evoking cellular agglomerations, geological structures, or prehistorical drawings. He emphasized the materiality and the process through thick impasto, visible brushstrokes, and automatic drawing. Along with other abstract painters in post-war Paris, Bryen’s work is usually associated with vague humanist interpretations and oversimplified existentialism. If the above statement is true for a number of his peers, it does not correspond to the way he envisaged his art, and art in general. His views are reflected in his intense theoretical reflection revolving around the term of “Abhumanism”, too often completely ignored in the critical literature. Coined by his close friend, the playwright and writer Jacques Audiberti, Abhumanism claimed the inconsistency of a fallacious and pretentious humanism faced with the rawness and cruelty of recent history, and called for a revision of the humanist subject, including anthropocentrism. Both men considered art, namely painting, as a salvatory vitalist “abhumanist” act. In this paper, which is the first consistent publication on Bryen in English, I will argue that Abhumanism is essential for the understanding of the artist’s work because, separating him from the School of Paris, it is, first, harmonious with his artistic production—paintings and writings; second, it clarifies Bryen’s place in the history of the avant-garde, in the wake of Dada and Surrealism. This essay will contribute to the re-evaluation not only of Bryen’s still underestimated œuvre, but more largely to the reappraisal of the artistic life in Paris after the Second World War.
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Płonka-Syroka, Bożena, and Marek Stych. "Prawo do ochrony zdrowia a organizacja systemu opieki medycznej w Polsce powojennej (1945–1952)." Miscellanea Historico-Iuridica 22, no. 2 (2023): 265–96. http://dx.doi.org/10.15290/mhi.2023.22.02.12.
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The article discusses the formation of the health care system in Poland based on the assumption that every patient has a right to health protection, and the determinant factors of this process. The analysed period starts at the end of World War II in 1945 and finishes with the adoption of the Constitution of 22 July 1952. In 1945 the health care in Poland was based on the legal and organizational solutions developed in the Second Polish Republic. Soon it started to be modified, which eventually led to its nationalization. The years 1945–1952 were a “transitional period” in the Polish legislation and organization of health care. In the first post-war years, the functioning of the health care system in Poland was based on the Act of 28 March 1933 on social insurance and of 15 June 1939 on public health care. However, they did not ultimately become the basis for structural solutions introduced in Poland in the early 1950s. At that time, the so-called multisectoral system in health care was abandoned and almost all of its aspects were taken over by state institutions. The aim of the article is to present the determinant factors which governed the evolution of Polish medical law in post-war Poland and to analyse the legal regulations introduced from 1945 to 1952. In their analyses the authors used the dogmatic-legal method (an analysis of legal texts – the basic method) and the historical-legal method (an outline of the right to health protection and its evolution in the studied period). The article ends with final conclusions.
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Lēvalde, Vēsma. "Atskaņotājmākslas attīstība Liepājā un Otrā pasaules kara ietekme uz mūziķu likteņiem." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 338–51. http://dx.doi.org/10.37384/aplkp.2021.26-1.338.
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The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.
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Lemos, Celina Borges, and Danielle Amorim Rodrigues. "A guerra por detrás da guerra – A batalha artística na Alemanha Nazista no período entre as grandes guerras." Cadernos Benjaminianos 13, no. 1 (April 13, 2018): 59. http://dx.doi.org/10.17851/2179-8478.13.1.59-78.
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Resumo: Este artigo desenvolve o estudo sobre a utilização da arte, principalmente da arquitetura, como instrumento de imposição de uma ideologia no contexto específico da Alemanha Nazista no período entre a Primeira e a Segunda Guerra Mundial, abrangendo os governos de Weimar (República de 1919 a 1933) e de Hitler (Nazismo de 1933 a 1945). Para entender melhor esse cenário foi abordado o duro conflito artístico que acontecia nos bastidores das atrocidades nazistas, entre a arte do governo e a arte revolucionária, as Vanguardas Artísticas. Com esse exemplo extremo foi possível analisar o papel social e político que a arte e arquitetura representam, o que configura o real objetivo desse texto. Logo, percebe-se que através de complexas estratégias e conceitos é possível transformar uma estrutura social como um todo, sendo que essa forma de transformar pode seguir caminhos distintos de acordo com a conjuntura presente. Isso demonstra um ciclo de relações diretas, entre a estética como instrumento e produto na dinâmica social.Palavras-chave: arte; arquitetura; Nazismo; guerra; manipulação.Abstract: This article develops the study of the use of art and architecture in the imposition of an ideology: The Nazism. The period is between World War I and II, covering the governments of Weimar (Republic of 1919 to 1933) and the governments of Hitler (Nazism from 1933 to 1945). In this context, a difficult artistic conflict has been addressed which was happening behind the scenes of the Nazi atrocities. This conflict was between the art of government and revolutionary art (the ‘Artistic Vanguards’). So, considering this extreme example, it was possible to analyses the real objective of this article: to understand the social and political function that art and architecture represent. In this way, it is possible to transform a social structure as a whole using art. Simultaneously, this transforming can follow different arts according to the current social situation. Those facts demonstrate a cycle of direct relations between aesthetic as an instrument and product of social dynamics.Palavras-chave: art; architecture; Nazism; war; manipulation.
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KOVALENKO, Tetiana. "Memory of the First World War in the monumental art of Poland." Problems of slavonic studies 70 (2021): 31–42. http://dx.doi.org/10.30970/sls.2021.70.3735.
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Background. The article deals with the reflection of the First World War of 1914–1918 in the monumental art of Poland. Therefore, memorial buildings and monuments are not only the realization of the creative plan of artists, i.e. their authors, but also a re-flection of a political course of the state, the experience gained, hopes, expectations, losses of people. That is why they allow us to understand the memory of the First World War in Poland. Purpose. The aim of the article is to study how the events of the First World War are reflected in the monumental art of Poland, and on this basis to consider the for-mation of historical memory, past and present practices of commemoration of the tragic events of 1914–1918. Results. The heroes and the memory of the victims of the First World War are re-spected in Poland, which in particular can be observed in the improvement of memorial complexes, memorials and other similar constructions. At the same time, the memory of the global military conflict is identified primarily with the restoration of independence. For most Poles, November 11, 1918 is associated not so much with the end of the Great War of 1914–1918 as with the birth of the Second Polish Republic of 1918–1939. Thus, the heroes of the military conflict are seen as the fighters for independence. On the other hand, the monumental buildings reflect the difficult path to independence, i.e. the division of Polish lands on the eve of the First World War and the difficulties in the establishing borders after its end. The First World War of 1914–1918 remains an important period in history. Commemorative practices, in general, coincide with those conducted in Western European countries, and, at the same time, they are mostly visible in the above position. Key words: the First World War, monumental art, Poland, memory, places of memory, commemoration. 1915: War, Province, Man: Ukrainian-Polish Accents, 2016. Materials of the Interna-tional Scientific Symposium, Kharkiv, 17 kvitnya 2015 r. (Polish Almanac, iss. 8). Kharkiv: Majdan. (In Ukrainian) 90 Years Ago, the Remains of an Unnamed Defender of Lviv were Buried in the Tomb of the Unknown Soldier, 2016 [online] Available at: https://dzieje.pl/aktualnosci/90-lat-temu-w-grobie-nieznanego-zolnierza-zlozono-szczatki-bezimiennego-obroncy-lwowa [Ac-cessed 03 August 2021]. (In Polish) Baczkowski, M. i Ruszała, K., red., 2016. The Military Experiences of the Great War. Kraków: Uniwersytet Jagielloński. (In Polish) Collingwood, R. G., 1996. The Idea of History. Kyyiv, Osnovy. Available at: http://litopys.org.ua/colin/colin.htm [Accessed 01 August 2021] (In Ukrainian) Girzyński, Z. i Kłaczkow, J., red., 2018. Legions and their Influence on the Polish Cause in the Years 1914–1918. Toruń: Wydawnictwo Adam Marszałek. (In Polish) Hrycak, Ya., 2011. Passions for Nationalism. Old Story in a New Way. Kyyiv: Krytyka. Available at: https://uamoderna.com/images/biblioteka/Hrytsak_Strasti.PDF [Accessed 02 August 2021] (In Ukrainian) Jamrozek-Sowa, A., Ożóg, Z. i Wal, A., red., 2016. World War I in Literature and other Cultural Texts: Reinterpretations and Additions. Rzeszów: Wydawnictwo Uniwersytetu Rzeszowskiego. (In Polish) Kamionowska, J., 2019. The Tomb of the Unknown Soldier in Warsaw – what is its History? [online] J. Kamionowska. Available at: https://histmag.org/Grob-Nieznanego-Zolnierza-w-Warszawie-jaka-jest-jego-historia-12135 [Accessed 03 August 2021]. (In Polish) Kowalski, W., 2016. 86 Years Ago, the Tomb of the Unknown Soldier was Established [online] W. Kowalski. Available at: https://dzieje.pl/aktualnosci/86-lat-temu-powstal-grob-nieznanego-zolnierza [Accessed 03 August 2021]. (In Polish) Kyrydon, A., 2011. “Memory masks” in the Conditions of Public Breaks. Kyyivs"ka starovyna, 2, pp. 161–170. (In Ukrainian) Lwówek Śląski. Monument to the Victims of World War I, 2021 [online]. 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Chapman, James. "S.P. MacKenzie, British War Films 1939–1945: The Cinema and the Services; Robert Murphy, British Cinema and the Second World War." Journal of British Cinema and Television 2, no. 1 (May 2005): 155–58. http://dx.doi.org/10.3366/jbctv.2005.2.1.155.
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Sala, Dana. "Book Review. Fermor, Our Companion: Dan Horațiu Popescu’s Layers of the Text & Context. Patrick Leigh Fermor & Friends." Papers in Arts and Humanities 2, no. 1 (June 8, 2022): 132–35. http://dx.doi.org/10.52885/pah.v2i1.111.
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Sir Patrick Leigh Fermor (1915-2011) is the writer who managed to turn travelogues into a genre deserving to be called an art form. The contrast between Fermor's travelogue and the new configurations and shapes undertaken by travel writing nowadays becomes comforting through the intrinsic qualities of his écriture: the transformative encounters with known and unknown people, the preference for the adventurous less travelled paths (even on foot) of Central and Eastern Europe before WWII (1933-1939), the assessment of historical events through his own feelings and personal history. Fermor raised the stakes by making his real and reflective voyages grow into the very matter of literature (rather than be a mere setting or an annex of it) because of his erudition and because of his genuine capacity to create authentic connections between himself and the people he met, between past and present, between inter-war years and the post-WWII world, between Western and Eastern cultures in the cold-war era.
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Jankevičiūtė, Giedrė. "State Strategy of International Art Exhibitions in Interwar Lithuania 1918–1940." Arts 13, no. 1 (January 23, 2024): 19. http://dx.doi.org/10.3390/arts13010019.
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The Republic of Lithuania was one of several young nation-states that re-established or proclaimed their statehood in the aftermath of the First World War, following the dissolution of empires in Europe. The quest for cultural identity and attempts at its representation within the country, in the region, and on the international stage was the crucial element in the nation-building process, where cultural diplomacy played a pivotal role. For Lithuania, as for most European countries of that era, exhibitions, especially art exhibitions or art sections in the case of world shows (for instance, the Expo 1937 in Paris or the New York World’s Fair in 1939), served as a prominent means of expressing its identity. An overview of the Lithuanian state art exhibition strategy, the dynamics of its organizational process, the exhibition content, and their geographical reach are discussed in the article. To comprehensively grasp Lithuania’s cultural strategy and to reconstruct the network of its artistic connections, foreign art exhibitions organized at the state level and the acquisition of artifacts from these exhibitions for Lithuania’s national art collection, the M. K. Čiurlionis Art Gallery, are briefly reviewed as well.
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Samardžić, Nikola. "The jazz avant-garde in the American economy." New Sound, no. 47 (2016): 75–86. http://dx.doi.org/10.5937/newso1647075s.
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Jazz originated and evolved in a free market economy and complex mutual relations with unregulated social conjuncture. Coping with social challenges during the Progressive era (1890-1920) contributed to the partial emancipation of marginalized groups; however jazz, in its first decades, remained directed to the general need for mass entertainment (the "jazz era" in the 1920s). The artistic development of jazz was therefore temporarily delayed during the economic crisis, Great Depression and the new recession of the late 1930s (1929-1938). The first movement in jazz that could be considered to be an art for art's sake, while renouncing any populist elements, appeared in 1939 Coleman Hawkins' Body and Soul recording. Market and social conditions for the emergence of the avant-garde began to mature only during the years after 1945, within a new business cycle in the US economy. The prosperous and conformist decade of the 1950s stabilized the middle class and directed general social preferences towards the benefits of higher education. European immigration from the inter-war period, and a new wave of immigration at the end of the Second World War enabled the growth of American universities in terms of quality and social influence. Universities recruited the jazz avant-garde audience, and supported other progressive art movements in the 1960s "decade of turbulence, protest, and disillusionment". Thanks to market support, the jazz avant-garde managed to survive free of the influences of state institutions, as John Coltrane's Love Supreme, often listed amongst the greatest jazz albums of all time, was sold in about 500,000 copies by 1970. A similar development, with the emergence of the baby-boom generation in the late 1960s, has contributed to the maturing of European avant-garde audiences and markets (ECM, 1969). The study will also examine avant-garde movements in relation to historical changes in economic and social disparities, from the thirties to the early 1970s.
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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II." Via Latgalica, no. 1 (December 31, 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.
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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the development of the Latvian culture before World War II. For this purpose, archive materials, memoirs, reference materials and available studies were used. For the main part of the research, the retrospective and historico-genetic methods were mostly used. The descriptive method was mainly used for sorting the material before the main analysis. The analysis of the material revealed that the first contacts of the Latvians with French culture were recorded in the second half of the 19th century via fine arts and French literature translated into Latvian. By the end of the century, these relations became more intense, only to decrease again a little in the beginning of the 20th century, especially in the field of translations of the French belles-lettres. The events of 1905 strengthened Latvian political emigration to France. The emigrants became acquainted with French culture directly, and part of them added French culture to their previous knowledge. The outcome of World War I and the revolution in Russia then shaped the ground for the formation of the Latvian state. This dramatically changed the nature and the intensity of the Latvian-French cultural relations. To the early trends in the cooperation, the sphere of education was added, with French schools in Latvia and Latvian students in France. In the sphere of culture, relations in theater, music and arts were established. It should be noted that also an official introduction of the French into Latvian art began at that time. As a matter of fact, such an introduction had already been started by Karlis Huns, Voldemars Matvejs, and Vilhelms Purvitis, who successfully participated in the Paris art exhibitions before the formation of the Latvian state. In the period of the Latvian state, artists would arrange their personal exhibitions in France, and general shows supported by the state would be arranged. The most notable of them were the following: - In 1928, the Latvian Ministry of Education supported the participation of all Latvian artists’ unions in the exhibition dedicated to the 10th anniversary of the state. General shows were organized in Warsaw, Budapest, Copenhagen, Paris, London, etc. (Jaunākās Ziņas, 1928: Nr. 262, 266); - in the summer of 1935, an exhibition of folk art from the Baltic states, including textiles, clothes, paintings, sculptures, and ceramics was opened in Paris; - the largest exhibition of Latvian artists in Paris took place from January 27 to February 28, 1939, with presidents of both states being in charge of its organization. It can be concluded that the Latvian-French cultural relations were an important factor in the development of Latvian culture, especially in the spheres of fine arts and literature until the Soviet occupation.
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Filonik, Apolonia. "“The World of Tomorrow” or “The World of Yesterday”? The Image of an Independent Nation at the 1939 New York World’s Fair." Perspektywy Kultury 25, no. 2 (July 1, 2019): 67–82. http://dx.doi.org/10.35765/pk.2019.2502.06.
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Poland’s presence at World’s Fairs between the World Wars is a special issue in that, after a long absence on the map of Europe, the country had the opportunity to show its industrial and cultural achievements in the international arena as an independent exhibitor for the first time. Thus, this event always had a very important political dimension. Its symbol was the Polish pavilion presented in Paris in 1925, but no less important was the pavilion at the New York World’s Fair in 1939. Although it was a success at the world expo, it was overshadowed by the tragic consequences of the outbreak of World War II almost from the beginning. From today’s perspective, it is worth looking at this object, to evaluate its foundation and ultimate significance, as well as to reflect on the difficult concept of national art, in addition to tracing the fate of the pavilion.
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Hobbins, Peter G. "Serpentine Science: Charles Kellaway and the Fluctuating Fortunes of Venom Research in Interwar Australia." Historical Records of Australian Science 21, no. 1 (2010): 1. http://dx.doi.org/10.1071/hr09012.
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Australian medical research before the Second World War is predominantly viewed as an anodyne precursor to its conspicuous postwar successes. However, the expanding intellectual appeal and state support for local research after 1945 built upon scientific practices, networks, facilities and finances established between 1919 and 1939. Arguably the most prominent medical scientist working in Australia during this period was Charles Kellaway (1889?1952), director of Melbourne's Walter and Eliza Hall Institute from 1923 until 1944. Facing both financial challenges and a profoundly unsupportive intellectual climate, Kellaway instigated a major research programme into Australian snake venoms. These investigations garnered local and international acclaim, allowing Kellaway to speak as a significant scientific actor while fostering productive laboratory collaborations. The venom work spurred basic research in tissue injury, anaphylaxis and leukotriene pharmacology, yet delivered pragmatic clinical outcomes, particularly an effective antivenene. By selecting a problem of continuing public interest, Kellaway also stimulated wider engagement with science and initiated a pioneering ad hoc Commonwealth grant for medical research. In tracing his training, mentors and practices within the interwar milieu, this article argues that Kellaway's venom studies contributed materially to global biomedical developments and to the broader viability of medical research in Australia.
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Gras, Airy, Teresa Garnatje, Jon Marín, Montse Parada, Ester Sala, Marc Talavera, and Joan Vallès. "The Power of Wild Plants in Feeding Humanity: A Meta-Analytic Ethnobotanical Approach in the Catalan Linguistic Area." Foods 10, no. 1 (December 29, 2020): 61. http://dx.doi.org/10.3390/foods10010061.
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Wild food plants (WFP) have always been present in our kitchen, although they have not always been given the same importance as crops. In the Catalan linguistic area (CLA), covered in this paper, WFP were of great importance as a subsistence food not only during the years of the Spanish civil war (1936–1939) and World War II (1939–1945), but also long before these periods and in the years thereafter. The CLA has been well studied at the level of traditional knowledge on plant biodiversity, and much of this information is collected in a database by the EtnoBioFiC research group. The aim of this work is to carry out a meta-analysis of the WFP dataset of the CLA (only regarding edible uses, drinks excluded) and to identify the most quoted plants, and the information associated with them. With data from 1659 informants, we recorded 10,078 use reports of 291 taxa (278 of which at specific or subspecific levels and 13 only determined at generic level) belonging to 67 families. The most reported taxa, also with highest cultural importance indexes, are Thymus vulgaris, Foeniculum vulgare subsp. piperitum, Laurus nobilis, Rubus ulmifolius and Mentha spicata. The ethnobotanicity index for food plants is 6.62% and the informant consensus factor, also for food uses, is a very high 0.97, supporting the robustness of the information. The results provided and discussed in this work concern a significant part of the edible resources in the territory considered, which is, often and mainly, underestimated and underutilised. Its consideration could be an opportunity to promote closer and more sustainable agriculture. From the state-of-the-art of this question, it is possible to propose old, in some cases forgotten foods that could be newly introduced onto the market, first, but not only, at a local level, which could be interesting for new crop development in the frame of a valorisation of territorial identity.
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Juszczyk, Aleksandra. "Wczesny okres twórczości Hanny Żuławskiej. Warszawa–Paryż–Gdynia." Porta Aurea, no. 20 (December 21, 2021): 148–73. http://dx.doi.org/10.26881/porta.2021.20.07.
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Hanna Żuławska (1908–1988) was one of the most prominent artists associated with the Tri -City, and dealing with many fields of art: easel and polychrome painting, architectural mosaic, sgraffito, ceramics and small architecture. Her husband was a painter known on the coast: Jacek Żuławski. She is known primarily for her mature work in the 1950s and 60s; it was then that she showed true individuality. From post - -war times, Żuławska was also teacher and professor at the State Higher School of Fine Arts in Gdańsk and the manager of the Kadyny Ceramics Works. Little, if anything, is known of Hanna Żuławska’s work in the interwar period.
In 1930–1934, Żuławska studied at the Warsaw School of Fine Arts, among others in the studios of Professors Felicjan Szczęsny Kowarski, Leonard Pękalski and Tadeusz Pruszkowski. It seems that Kowarski’s work in the fields of painting and monumental mosaics had a great influence on Żuławska›s later artistic activity. In the 1930s, Żuławska took part in exhibitions at IPS (Art Propaganda Institute).
At that time, the artist experienced a period of fascination with the works of the members of the Paris Committee and Pierre Bonnard and Paul Cèzanne, which resulted in the pair of the artists, Hanna and Jacek, leaving for Paris on a scholarship in 1935. In Paris, the artist studied in the painting studio of Józef Pankiewicz, painted still lifes, city views and quite standard landscapes; she also visited museums and led a lively social life. In May 1938, the works of Hanna and five other Polish painters were presented at the prestigious Bernheim Jeune gallery in Paris. The exhibition was well received by critics in Poland.
Hanna and her husband returned to Poland and settled in Gdynia in the autumn of 1938, where Żuławska established contacts with the artistic community of the city. In 1938, the artists joined the Gdynia branch of the Trade Union of Polish Artists and Designers, and actively participated in its exhibitions until the outbreak of World War II. In recognition of their contribution to the development of art in Gdynia, the Żuławskis also received state orders for a monumental painting decoration of the barracks’ common room at Redłowo, for the creation of paintings for the Chapel of the Hospital of the Sisters of Mercy at Kaszubski Square, and for the polychrome entitled ‘Apotheosis of Gdynia’ in the building of the Government Commissariat (designs not preserved).
During the Nazi occupation, the Żuławskis were in Warsaw; in November 1944, the artist came to Łańcut near Lublin, where she stayed at an artistic house. In the autumn of 1945, Hanna and Jacek Żuławski together with other residents of the manor house, e.g.: Juliusz Studnicki, Krystyna Łada -Studnicka, Janusz Strzałecki, Józefa and Marian Wnuk, established the State Institute of Fine Arts in Sopot, transformed into the State Higher School of Fine Arts in Gdańsk.
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Tallack, Douglas. "Siegfried Giedion, Modernism and American Material Culture." Journal of American Studies 28, no. 2 (August 1994): 149–67. http://dx.doi.org/10.1017/s0021875800025433.
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The Swiss architectural critic and historian of technology, Siegfried Giedion, was born in 1893 and died in 1968. Space, Time and Architecture: The Growth of a New Tradition (1941) and Mechanization Takes Command: A Contribution to Anonymous History (1948) are his two most well-known books and both came out of time spent in the United States between 1938 and 1945. World War Two kept Giedion in America though he, unlike many other German-speaking European intellectuals, came home and in 1946 took up a teaching position at the Federal Institute of Technology in Zurich where he later became professor of art history. While in the United States he delivered the Charles Eliot Norton Lectures (1938–39), saw them in print as Space, Time and Architecture, and also completed most of the research in industrial archives and patent offices for Mechanization Takes Command. These two books are an important but, for the past twenty years, a mostly neglected, analysis of American material culture by a European intellectual, whose interests in Modernism included painting — notably Cubism and Constructivism — as well as architecture and planning. The period which saw the publication of Giedion's key works is, itself, an overlooked phase in the trans-Atlantic relationship between Modernism and modernization.
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Albury, WR, and GM Weisz. "Paul Klee (1879–1940) as a tragic figure: What the artist learned from his illness." Journal of Medical Biography 25, no. 1 (July 9, 2016): 42–52. http://dx.doi.org/10.1177/0967772015575886.
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Paul Klee was a major contributor to the development of modern European art. An ethnic German (although born in Switzerland) and a German citizen, he was persecuted by the Nazi government on political rather than racial grounds because of his allegedly “degenerate” artistic style. Dismissed from his teaching position, he emigrated to Switzerland in 1933; shortly afterward he became ill with systemic sclerosis and struggled with this condition for the remaining years of his life. Many publications have examined the effect of social rejection and illness on his art, but the present study considers the effect of these adversities on Klee’s attitude toward his fellow humans. After being an extreme misanthrope in his early adult years, he developed an attitude of cosmic indifference toward humanity during the First World War, which he then maintained until the end of 1939. Although his rejection by Germany had been a significant emotional blow, it was the physical suffering caused by his illness that led him, at the end of his life, to show compassion toward the suffering of other individuals. In this he was like tragic figures such as King Lear who learned from their great misfortunes to value humanity.
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Tarnowska, Magdalena. "Zagłada i odrodzenie w twórczości ocalonej – łódzkiej malarki Sary Gliksman-Fajtlowicz (1909–2005)." Studia Judaica, no. 2 (48) (2021): 437–71. http://dx.doi.org/10.4467/24500100stj.21.018.15073.
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The Holocaust and Rebirth in the Works of Sara Gliksman-Fajtlowicz, a Painter From Łódź, 1909–2005 Sara Gliksman-Fajtlowicz, a painter, came from a well-off family of Majerowiczs, the owners of opticians’ shops in Łódź. She studied at private painting and drawing schools in Łódźand Warsaw. Before the outbreak of World War II, she was active in the Polish art milieu. In 1933, she became a member of the Trade Union of Polish Artists (Związek Zawodowy Polskich Artystów Plastyków, ZZPAP) and participated in its exhibitions in Łódź, Warsaw, Kraków,and Lviv. She painted mainly landscapes, still lifes, and—less frequently—portraits. She published her works in the union magazine Forma. In 1940, she was displaced to the Łódźghetto where she worked as a graphic artist at the Statistics Department. Thanks to this she could obtain art materials. Her clandestine activity was documenting life in the ghetto in paintings and drawings. She survived the liquidation of the ghetto and then was forced to work on cleaning that area. Liberated on 19 January 1945, she returned to her house where some of her prewar works had survived. After 1945 she continued her artistic career and exhibited with the ZZPAP, as well as with the Jewish Society for the Encouragement of Fine Arts. In 1957, she emigrated to Israel. Gliksman died in Tel Aviv in 2005. The aim of this article is to verify and describe Sara Gliksman’s biography, to present her activities in the Polish-Jewish artistic community of postwar Poland, as well as to place her works in the context of issues concerning survivors’ memory and artistic attitudes toward the Holocaust, and art as a manifestation of hope for the rebirth of Jewish life and culture in postwar Poland in the second half of the 1940s and the beginning of the 1950s.
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Fuhrmeister, Christian. "“1945” as a Turning Point in German Art History? Challenging the Paradigm of Rupture and Discontinuity." Artium Quaestiones, no. 30 (December 20, 2019): 123–35. http://dx.doi.org/10.14746/aq.2019.30.6.
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The historiographical article looks at “1945” as a turning point, inquiring whether the end of both the Second World War and National Socialism also implied a radical break for art history in Germany. In evaluating both contemporary perspectives (like Herbert von Einem’s opening lecture of the First German Art Historians Meeting in 1948) and recent historiographical studies, the paper questions the concept of “Stunde Null” or “hour zero,” and intends to challenge the established paradigm of rupture and discontinuity. Arguing for a more nuanced and holistic understanding of the transformation processes in the postwar situation, three major reasons are identified why simplistic categorizations often prevail: (1) a very narrow definition of the art historian in the history of art history, (2) the disjunction between the humanities and the larger political context, which allow the individual to imagine himself/herself untainted and uncompromised by ideology, and (3) the high degree of continuity, in particular if compared to the radical changes that took place in 1933. The article thus resumes that the idea of “turning points” deserves further differentiation, and calls for the integration of the political dimension into historiography. Essentially, the challenge remains to distinguish between factual processes, false or fraudulent labelling, and symbolic gestures.
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Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)." Человек и культура, no. 4 (April 2022): 36–45. http://dx.doi.org/10.25136/2409-8744.2022.4.36873.
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The article is devoted to the analysis of the exhibition activity of the masters of the Palekh lacquer miniature. The author has chosen as a chronological period the first fifteen years of the existence of this fishery – from its inception in the first half of the 1920s to the beginning of the Second World War. The subject of the study, therefore, is an analysis of the exhibition practices of the Palekh art craft of the pre-war period (1923-1939). The article shows the importance of the exhibition activity of the Palekh lacquer craft at all stages of this brief, but nevertheless extremely eventful period. The purpose of the article is to show the importance that the exhibition activity had for the success and public recognition of Palekh as a new and quickly became the most famous lacquer craft in Russia. The scientific novelty of the article consists in the fact that, using historical-typological and structural research methods, as well as a historical-systematic approach, the author analyzes the most important domestic and foreign shows of the 1920s - 1930s, at which the products of the Palekh lacquer miniature were exhibited. The author emphasizes an important circumstance: the very formation and strengthening of the Palekh lacquer miniature craft in the first half and mid-1920s was caused precisely by the success of the prototypes exhibited at the largest exhibitions of that time, such as the All-Russian Exhibition of 1923 in Moscow, as well as the International Exhibition in Paris of 1925. At the same time, it is shown that Palekh's products continued to be successful at the shows (the exhibition "10 years of October" in 1927, the Soviet Exhibition in New York in 1928, the International Exhibition in Paris in 1937 and many other exhibitions analyzed in the article). Thus, it is the justification of the success of the exhibition activity of the Palekh lacquer miniature craft as an important factor of its public recognition that is the main conclusion of the article.
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Tarnowski, Józef. "Narodziny Witkacego z ducha Witkiewicza." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, no. 1 (2018): 111–21. http://dx.doi.org/10.15290/idea.2018.30.1.08.
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Stanisław Witkiewicz (1851-1915) himself taught his son Stanisław Ignacy (1885-1939), known later as Witkacy, helped by his wife and friends, among whom there were scientists, artists and professional teachers. The results of such education were amazing. At the age of eight, the boy could paint using different techniques, play the piano and compose music. His father desired for him to become a naturalist painter like himself. At a young age Witkacy became an outstanding artist, not only a painter, but also a writer. However, in opposition to his father’s teaching, when he matured artistically, he rejected naturalism and joined the artistic avant-garde. Just after the first world war he published a long philosophical essay inspired probably by the work of his father’s great intellectual enemy – the Neo-Hegelian Polish philosopher Henryk Struve. Thus, Witkacy shaped himself, both in the respect of art and philosophy, in the opposition to his father, Stanisław Witkiewicz.
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Karlsson, Birgit. "A Small Nation in the Turmoil of the Second World War. Money, Finance and Occupation. Belgium, its Enemies, its Friends, 1939–1945." Scandinavian Economic History Review 59, no. 2 (June 2011): 207–9. http://dx.doi.org/10.1080/03585522.2011.572596.
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Chechi, Alessandro. "THE GURLITT HOARD: AN APPRAISAL OF THE ROLE OF INTERNATIONAL LAW WITH RESPECT TO NAZI-LOOTED ART." Italian Yearbook of International Law Online 23, no. 1 (November 17, 2014): 199–217. http://dx.doi.org/10.1163/22116133-90230044.
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Two years ago, German authorities conducting a routine tax investigation stumbled on the largest trove of missing artworks since the end of the Second World War. The collection of paintings and drawings was discovered in a Munich apartment owned by Cornelius Gurlitt, the late son of Hildebrand Gurlitt, one of the art dealers approved by the Nazis. It is likely that most of these artworks were plundered from German museums and Jewish collections in the period 1933-1945. The discovery triggered heated debates about the obligations of the German State and the property rights over this art collection. This article looks at the ongoing Gurlitt case from an international law perspective and discusses two different but interrelated issues. First, it traces the genealogy and extrapolates the influence of the international legal instruments that have been adopted to deal with the looting of works of art committed by the Nazis. Second, it examines the available means of dispute settlement that can lead to the “just and fair” solution of Holocaust-related cases in general and the Gurlitt case in particular. The objective of this analysis is to demonstrate that international law plays a key role in addressing and reversing the effects of the Nazi looting.
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Pedersen, Lars Schreiber. "Dansk arkæologi i hagekorsets skygge 1933-1945." Kuml 54, no. 54 (October 20, 2005): 145–86. http://dx.doi.org/10.7146/kuml.v54i54.97314.
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Danish archaeology in the shadow of the swastika, 1933-1945 With Hitler’s takeover in 1933 and the emergence of the National Socialist regime, Prehistoric archaeology in Germany was strengthened, both on the economical and the scholarly level. Prehistoric archaeologists entered into a Faustian bargain with the new government, and arguing the presence of Germanic peoples outside the borders of the Third Reich, they legitimated the Nazi “Drang nach Osten”. With the Fuhrer’s lack of interest in German prehistory, the fight for control of this field became a matter between two organisations, the Ahnenerbe, which was attached to Heinrich Himmler’s SS, and the competing Reichsbund für Deutsche Vorgeschichte under NSDAP’s chief ideologist, Alfred Rosenberg’s “Amt Rosenberg” (Figs. 1-2). When the Second World War broke out in 1939, Ahnenerbe appeared as winner of the fight over the German prehistory. However, the archaeological power struggles continued in the conquered territories until the end of the war.Immediately after the Nazi takeover in 1933, leading staff members of the Danish National Museum in Copenhagen, such as Mouritz Mackeprang, Poul Nørlund, and Johannes Brøndsted (Figs. 3-4) dissociated themselves from the political development south of the border. However, in the course of time, and in conformity with the official Danish accommodation policy towards Germany in the 1930s, the opposition changed their attitude into a more neutral policy of cultural adjustment towards Nazified German colleagues.The Danish government’s surrender on the 9th of April 1940 meant a continuing German recognition of Denmark as a sovereign state. From the German side, the communication with the Danish government was handled by the German ministry of foreign affairs in Berlin, and by the German legation in Copenhagen. Denmark was the sole occupied country under the domain of the ministry of foreign affairs, and from the beginning of the occupation it became a regular element in the policy of the ministry to prevent other political organs within the Nazi polycracy to gain influence in Denmark. Not until the appointment of SS-Gruppenfuhrer Werner Best (Fig. 5) as the German Reich Plenipotentiary in Denmark in November 1942, the SS and the Ahnenerbe got an opportunity to secure their influence in Denmark. However, due to the chilly attitude in the Danish population towards the German culture propaganda, practiced mainly through the German Scientific Institute in Copenhagen, and the gradual worsening of the political conditions following the resignation of the Danish government on the 29th of August 1943, the Ahnenerbe, led by Wolfram Sievers (Fig. 6), was never firmly established in Denmark. The one result of Ahnenerbe’s influence in Denmark worth mentioning was the effort by the Kiel Archaeologist Karl Kersten (Fig. 7) to prevent German destruction of prehistoric Danish (Germanic) relics. Kersten began his work in 1940 and was met from the start with aversion from the National Museum in Copenhagen, which regarded the activities of the Ahnenerbe-archaeologist as German interference with Danish conditions. Yet, in time the work of the Kiel archaeologist was accepted and recognised by the muse- um, and he was officially recognized by the Danish state when in 1957, Kersten was made Knight of Dannebrog.Less successful than the Ahnenerbe rival was the prominent Nazi archaeologist Hans Reinerth (Fig. 8) and the efforts by Reichsbund für Deutsche Vorgeschichte to gain influence on the Danish scene of culture politics. One of Reinerth’s few successes in occupied Denmark was a short contact with two Danish archaeologists, Gudmund Hatt and Mogens B. Mackeprang (Figs. 9-10). However, the connections with the RfDV-leader do not seem to have been maintained, once the Danish government had ceased to function from the 29th of August 1943.During the occupation, around 300 listed burial mounds and an unknown number of prehistoric relics below ground level were destroyed or damaged due to construction projects carried out by the German occupants (Figs. 11-12). The complaints about the damage put forward by the National Museum were generally met by understanding in the German administration and in the Bauleitung (construction department), whereas the Wehrmacht had a more indifferent approach to the complaints. As opposed to this, the Danish museums managed to get through the war with no damage or German confiscations worth mentioning, thus avoiding the fate of museums, collections, and libraries in countries such as France, Poland, and the Soviet Union.Lars Schreiber PedersenÅrhusTranslated by Annette Lerche Trolle
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Andreev, Alexander Alekseevich, and Anton Petrovich Ostroushko. "Valentin Feliksovich VOINO-YASENETSKY - Archbishop, professor-surgeon. To the 145th of birthday." Journal of Experimental and Clinical Surgery 15, no. 2 (June 24, 2022): 190–91. http://dx.doi.org/10.18499/2070-478x-2022-15-2-190-191.
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Valentin Feliksovich was born on April 27, 1877 in the eastern part of the Crimea, in one of the oldest cities in the world, at a unique resort located on two seas at once Kerch. His father, Felix Stanislavovich, was a pharmacist and worked as a manager of a private pharmacy of D.I. Kundin, whose daughter, Maria Dmitrievna, was his mother. Valentin Feliksovich was born into a family belonging to an ancient family of impoverished Polish nobles. Of his 14 sisters and brothers, only five survived to adulthood.In 1880, the family of Valentin Feliksovich left Kerch for Kherson, then to Chisinau, in 1889 to Kiev. In 1896, Valentin Feliksovich graduated from the gymnasium and art school of Nikolai Ivanovich Murashko.Then Valentin Feliksovich studied for a year at the Faculty of Law, at the private art school of Knirr in Munich, but in 1898, deciding to become a doctor, he entered the medical faculty of Kiev University.Valentin Feliksovich, having received a doctor's degree, worked at the Red Cross hospital in Kiev, during the Russian-Japanese war he headed the surgical department of the Chita hospital as part of the Red Cross medical detachment, later worked as a surgeon in Ardatov, Simbirsk province, in the village of Verkhny Lyubazh and Fatezh, Kursk region. During this period, he married the daughter of the estate manager, sister of mercy Anna Vasilyevna Lanskaya. In 1909, Valentin Feliksovich entered the Moscow University as an external student to Professor P.I. Dyakonov.In 1915 he published the monograph "Regional Anesthesia" and in 1916 defended it as a dissertation with the award of the degree of Doctor of Medicine. By this time, Valentin Feliksovich had mastered operations on the heart, brain, organs of vision, gastrointestinal tract, including stomach, intestines, bile ducts, kidneys, spine and joints. Until 1917, Valentin Feliksovich worked as a doctor in hospitals in central Russia, later as the chief physician of a hospital in Tashkent, professor at the Central Asian State University. Moving to Tashkent is associated with the progression of his wife's tuberculosis, which required her to stay in a warmer climate, but in 1919, the wife of V.F. Voino-Yasenetsky died, leaving him to take care of four children. In February 1921, he was ordained a deacon, a week later a priest, on May 31, 1923, he was tonsured a monk and consecrated a bishop with the name Luke, and a week later he was arrested.At the beginning of 1926, Valentin Feliksovich returned to Tashkent. But on May 6, 1930, he was detained and transferred to Arkhangelsk. In the autumn of 1933, from exile, Valentin Feliksovich wrote a letter to the People's Commissar of Health about the need to organize an institute of surgical infection in the country and, having received no response, went to Moscow at the first opportunity for a personal meeting, at which he rejected the offer to renounce holy orders and instead accept the post of director of the institute.In the autumn of 1934, Valentin Feliksovich published a widely known monograph, including abroad: "Essays on purulent surgery". For several years, Professor Voino-Yasenetsky headed the main operating room of the Tashkent Institute of Emergency Care, but on July 24, 1937, he was arrested again, for the third time. Since March 1940, he has been working as a surgeon a hundred kilometers from Krasnoyarsk in the Bolshaya Murta of the Yelovskaya volost.After the outbreak of the Great Patriotic War, Valentin Feliksovich sends a telegram to M.I. Kalinin, in which he asks to be sent as a surgeon to the hospital, expressing his readiness to continue exile after the Victory.In September 1941, the chief surgeon of the region took V.F. Voino-Yasenetsky by plane to Krasnoyarsk to work as the chief surgeon of the evacuation hospital No. 1515, which was later recognized as the best of the 17 hospitals of the region.Since October 1941, Valentin Feliksovich has been a consultant to hospitals in the Krasnoyarsk Territory and chief surgeon of the evacuation hospital. In the autumn of 1942, he was elevated to the rank of archbishop and appointed to the Krasnoyarsk department. In 1944, Valentin Feliksovich published his monographs: "On the course of chronic empyema and chondrates", "Late resections of infected gunshot wounds of joints". Since February 1944, Archbishop Luke has been the head of the Tambov Department, and is a consultant surgeon at Tambov hospitals. In February 1945, Valentin Feliksovich was awarded by Patriarch Alexy I the right to wear a diamond cross. He is writing the book "Spirit, Soul and Body". Since May 1946, he has headed the Crimean Department in Simferopol and in the same year was awarded the Stalin Prize for the monograph "Essays on purulent Surgery", 130 out of 150 thousand of which he gives to the needs of wartime orphans.In 1955, Valentin Feliksovich completely went blind, but continuing to work and in 1957 dictated his memoirs. V.F. Voino-Yasenetsky died on June 11, 1961 in the rank of Archbishop of Crimea and Simferopol on the Day of All Saints who shone in the Russian land.Valentin Feliksovich is the author of 55 scientific works on medicine, ten volumes of sermons. He was elected an honorary member of the Moscow Theological Academy in Zagorsk. He was awarded the Chojnatski Prize from the University of Warsaw (1916), the Diamond Cross (1944), the medal "For Valiant Labor in the Great Patriotic War" (1945).In 1995, Valentin Feliksovich was canonized as a locally venerated saint in the Crimean diocese, in 2000 he was glorified as a confessor (saint) in the host of New martyrs and confessors of Russia. His relics are installed for worship in the Cathedral of Simferopol.On July 14, 2008, V.F. Voino-Yasenetsky posthumously became an Honorary Citizen of Pereslavl-Zalessky. On June 19, 2020, by Decree of the President of the Russian Federation, the Medal of Luke Krymsky was established, awarded for merits in healthcare.In memory of V.F. Voino-Yasenetsky, over 69 churches of St. Luke were opened, including in Russia (Moscow, Balashikha, Voronezh, Yevpatoria, Yeysk, Yekaterinburg, Donetsk, Zheleznogorsk, Kerch, Kovrov, Krasnoyarsk, Murmansk, Nizhny Novgorod, Novosibirsk, Novy Svet, Obninsk, Olginka, Orenburg, Perm, Petrozavodsk, Saki, Saratov, Simferopol, Stavropol, Ulyanovsk, Chelyabinsk, Chita, Yuzhno-Sakhalinsk), in Ukraine (Kiev, Sumy, Odessa, Vinnytsia, Dnipro), Greece and other countries. Monuments and busts were installed only in Russia in the years Moscow, Yeysk, Krasnoyarsk, Lipetsk, Nizhny Novgorod, Simferopol, Tambov and other cities. The name of Professor V.F. Voino-Yasenetsky was given to the Krasnoyarsk State Medical University, St. Petersburg Clinical Hospital, and the Society of Orthodox Doctors of St. Petersburg.
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Klimiuk, Zbigniew. "Stosunki gospodarcze i handlowe ZSRR – Niemcy w latach 1918–1940 (część 2)." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2019): 27–39. http://dx.doi.org/10.31648/pw.2999.
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The author analyzes in his paper the economic and trade relations between Germany and the Soviet Union in the period of 1918–1944. During this period trade relations with Germany constituted a continuation of relations between Tsarist Russia and Germany before World War I. The German-Soviet Economic Agreement of October 12, 1925, formed special conditions for the mutual trade relations between the two countries. In addition to the normal exchange of goods, German exports to the Soviet Union were based, from the very beginning, on a system negotiated by the Soviet Trade Mission in Berlin under which the Soviet Union was granted loans for financing additional orders from Germany. Trade with the Soviet Union, promoted by the first credit-based operations, led to a dynamic exchange of goods, which reached its highest point in 1931. In the early 1930s, however, Soviet imports decreased as the regime asserted power and its weakened adherence to the disarmament requirements of the Treaty of Versailles decreased Germany’s reliance on Soviet imports. In addition, the Nazi Party’s rise to power increased tensions between Germany and the Soviet Union. In the mid-1930s, the Soviet Union made repeated efforts at reestablishing closer contacts with Germany. The Soviets chiefly sought to repay, with raw materials the debts which arose from earlier trade exchange, while Germany sought to rearm, therefore both countries signed a credit agreement in 1935. That agreement placed at the disposal of the Soviet Union until June 30, 1937 the loans amounting to 200 million Reichsmarks which were to be repaid in the period 1940–1943. The Soviet Union used 183 million Reichsmarks from this credit. The preceding credit operations were, in principle, liquidated. Economic reconciliation was hampered by political tensions after the Anschluss in the mid-1938 and Hitler’s increasing hesitance to deal with the Soviet Union. However, a new period in the development of Soviet-German economic relations began after the Ribbetrop–Molotov Agreement, which was concluded in August of 1939.
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Dzikaitė, Jurga. "Reflections of the Lithuanian World in the Literature Textbooks from the DP Camps: Analyzing the Concept of Folklore." Tautosakos darbai 59 (June 2, 2020): 274–95. http://dx.doi.org/10.51554/td.2020.28378.
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The article deals with the literature textbook published in Augsburg, Germany, in 1946 and entitled “Synopsis of the Lithuanian Literature”. It was edited by a Lithuanian writer and teacher Petronėlė Orintaitė-Janutienė, and its sources included a textbook “The Lithuanian Literature: Part 1”, published in the interwar Lithuania (in 1939) and edited by Motiejus Miškinis. However, Orintaitė-Janutienė emphasized having used the publication by Miškinis only “a little”, while writing all the rest “from the memory”. Therefore, the article aims to elucidate what image of the Lithuanian world this memory-based textbook rendition impressed upon the young person studying at a war refugees’ camp, what support it proposed, and what kind of experience it prepared the young one for. The more detailed analysis focuses on the part from the textbook that briefly outlined the concept of folklore. This choice is grounded in the idea nationalism theory that oral culture bears special significance to the formation of the nationality and development of the national consciousness. The analysis also includes some folklore texts from the literary supplement (also edited by Orintaitė-Janutienė) to the Lithuanian weakly Žiburiai (‘Lights’), published in Augsburg in 1945–1949. The author notes that the outline of the Lithuanian folklore in the textbook and the selection of the folklore samples stemmed from the interwar Lithuanian schooling tradition, but they also reflected reaction to the complicated historical situation, in view of which the national community had to rally and act together, discovering new alternatives for survival. The analyzed material allows the author to conclude that the national consciousness of the Lithuanian student at the DP camp was strengthened by presenting certain past experiences inherited from the ancestors, by fostering the idea of historical continuity, by reviving and cherishing the topographic memory, emphasizing the most important existential attitudes, and listing the culture texts testifying to the Lithuanian national distinction.
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Ильвицкая, Светлана,, and Анна Поян. "The cultural heritage of Chisinau in 1930–1950." Arta 30, no. 1 (August 2021): 63–68. http://dx.doi.org/10.52603/arta.2021.30-1.10.
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One of the trends in the development of tourism is the appearance of open-air museums, which are the hallmark of a museum and tourist destination. On the example of the central quarters of Chisinau, the exhibits of the open-air museum can be architectural monuments of the interwar period – preserved urban villas of 1930-40, which combine the characteristic features of Art Nouveau, functionalism, modernism and Neo-Romanian architecture. As world experience shows, the best results in the popularization of historical and cultural heritage are achieved by specially protected historical territories, where new types of museums are organized – air museums or open-air museums. Such an example is the unrealized projects of the 1980s “The Ethnographic Museum of the Moldavian village” and “The Historical Quarter “Pushkinskaya Gorka”. The article examines the three-axis method of “triluchya” as a cultural heritage of urbanism, which was addressed in the post-war years (1945-1948) by the Academician of Architecture A. Shchusev when working on a project proposal - the scheme of the general plan for the development of the city of Chisinau. His idea of enriching the expressiveness of the city was to synthesize the planning traditions of historical neighborhoods while solving the problem of preserving the plasticity of the existing building and its further development.
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Brand, Donald R. "The War Against the New Deal: World War II and American Democracy By Brian Waddell. DeKalb, IL: Northern Illinois University Press, 2001. 236p. $39.00." American Political Science Review 96, no. 3 (September 2002): 650–31. http://dx.doi.org/10.1017/s0003055402640365.
Full textAbstract:
This book argues that the transition from the New Deal to a mobilized wartime economy during World War II restored corporate hegemony in collaboration with a state apparatus dominated by military elites. The purported losers in this transition were New Deal reformers committed to a planned economy and an extensive social welfare state, and groups like labor and small business whose interests were represented by reform elites. Organized chronologically, Waddell's account traces the development of the military-industrial complex from the War Industries Board in World War I to what Waddell asserts is a neocorporatist pattern of governance that had become established by the late 1940s and early 1950s. For the intervening years, he devotes attention to the trade association movement of the 1920s, the National Recovery Administration in the early 1930s, the New Deal turn to Keynesian economics, Harry Truman and the Marshall Plan, and the National Security Act of 1947; but the book focuses on the three periods associated with mobilization for World War II. These three periods are prewar mobilization from September, 1939 to December, 1941; the institutionalization of wartime mobilization from early 1942 through early 1943; and the battles over postwar reconversion that began in 1943 and continued into the immediate postwar era.