Tesi sul tema "Art and state Germany History 20th century"

At the tactical level of war the Germans are widely regarded as having had the most innovative and proficient army of World War I. Likewise, many historians would agree that the Germans suffered from serious, if not fatal, shortcomings at the strategic level of war. It is at the middle level of warfare, the operational level, that the Germans seem to be the most difficult to evaluate. Although the operational was only fully accepted in the 1980s by many Western militaries as a distinct level of warfare, German military thinking well before the start of World War I clearly recognized the Operativ, as a realm of warfighting activity between the tactical and the strategic. But the German concept of the operational art was flawed at best, and actually came closer to tactics on a grand scale. The flaws in their approach to operations cost the Germans dearly in both World Wars. Through a thorough review of the surviving original operational plans and orders, this study evaluates the German approach to the operational art by analyzing the Ludendorff Offensives of 1918. Taken as a whole, the five actually executed and two planned but never executed major attacks produced stunning tactical results, but ultimately left Germany in a far worse strategic position by August 1918. Among the most serious operational errors made by the German planners were their blindness to the power of sequential operations and cumulative effects, and their insistence in mounting force-on-force attacks. The Allies, and especially the British, were exceptionally vulnerable in certain elements of their warfighting system. By attacking those vulnerabilities the Germans might well have achieved far better results than by attacking directly into the Allied strength. Specifically, the British logistics system was extremely fragile, and their rail system had two key choke points, Amiens and Hazebrouck. During Operations MICHAEL and GEORGETTE, the Germans came close to capturing both rail centers, but never seemed to grasp fully their operational significance. The British and French certainly did. After the Germans attacked south to the Marne during Operation BLUCHER, they fell victims themselves to an inadequate rail network behind their newly acquired lines. At the operational level, then, the respective enemy and friendly rail networks had a decisive influence on the campaign of March-August 1918.

Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff???) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.

Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.

This thesis offers a new policy history of the National Endowment for the Arts, the federal agency responsible for providing grants to artists and arts organisations in the United States. It focuses in particular on the development of conservative perspectives on federal arts funding from the 1950s to the 1980s, and hence, illuminates the broader evolution of conservative political power, especially its limits. The most familiar narrative holds that the Endowment found itself caught up in the Culture Wars of the late 1980s when Christian right groups objected to certain federal grants, particularly to Andres Serrano's Piss Christ and Robert Mapplethorpe's Self-Portrait with Whip. This thesis, however, uncovers the older origins of conservative opposition to state support for the arts, analyses conservative conceptions of art, and illuminates the limited federal role the right sought to secure in the arts in the post-war period. Numerous studies have analysed the meanings and origins of the Culture Wars, but until now, scholars had not examined conservative approaches to federal arts politics in a historical sense. Historians have generally been too interested in explaining change to the detriment of examining continuity, but this approach under-emphasises the long-term tensions that underlie seemingly sudden political eruptions. This work also offers a deep account of the conservative movement and the arts world, an area that has so far been almost completely ignored by scholars, even though a focus on marginalised players is essential to understanding the limits of conservatism. In a general sense then, this thesis evaluates the range and diversity of the conservative movement and illuminates the overall odyssey of the right in modern America. In so doing, it provides a new insight into the ways we periodise political history and also invites a broader view of how we understand politics itself.

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

The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle's urban elites interacted and worked separately to build the support structures and "art world" that provided learning and mentoring opportunities, workspaces, artistic validation, audience development, critical and financial support, which helped make glass a signature Puget Sound art form, and the role that artist social networks, social capital, cultural capital and cultural policy played in sustaining this community. In particular, the research seeks to explore the factors that nourish a new art form and artist community in second-tier cities that do not have the substantial cultural and economic support structures found in the "arts super cities" such as Los Angeles, New York City, and San Francisco. This study contributes to the growing literature on artist communities, and the roles played by social capital, cultural capital, urban growth coalitions and policy at different stages of community development. Results can assist policymakers in formulating policies that incorporate the arts as a form of community development.

This thesis is an investigation of how United States foreign policy was made in the context of German-American relations in the period between the two world wars. The problem under investigation is whether the United States was using a corporatist approach in dealing with the problems of Germany and ultimately Europe and whether the corporatist model is a good one for analyzing foreign policy development during this period. Corporatism, as it is used in this thesis, is defined as an organizational form which recognizes privately organized functional groups outside the United States government, which collaborate with the government to share power and make policy. In the case of foreign policy, the focus of this investigation is on the role played by autonomous financial experts, especially from the banking community.

This thesis investigates the progress of technological development during the interwar period of 1919 to 1939. The interwar period was a time of slashed military budgets and isolationist policies. However, despite political, financial, and organizational handicaps, each branch of the military made significant progress in the development of military technology, and the air corps and navy achieved significantly better results. The reason these two branches were able succeed was through a combination of organizational policy and the development of an overarching goal for their respective branch. Within this thesis, I investigated each of the major military branches during the interwar period, specifically the United States Army, Army Air Corps, and Navy. The air corps is considered a separate branch despite being a segment of the army due to its different strategic goal and its growing independence during the interwar period. In my research I found that the army made by far the least technological progress, but did make significant strides in terms of the development of individual components for larger projects. For example, the army developed the M1 rifle and state-of-the-art shock absorbers for tanks. The air corps succeeded in transforming from a small army auxiliary made up of wood-and-fabric biplanes into a largely independent branch of the military made up of all-metal monoplane bombers. The navy developed the aircraft carrier and aircraft to accompany the new ships, in addition to making substantial upgrades to existing ships. These upgrades included strengthening ships against torpedo attacks, making engines more efficient, and adding anti-aircraft guns to the ships' arsenals.
ID: 030422712; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 98-105).
M.A.
Masters
History
Arts and Humanities

Bibliography: leaves 156-167. The aim of this thesis is to show how in practice the National Socialists sacrificed ideological considerations to the material advantages that could be gained from the sale of "degenerate art". In practice the term "degenerate" was extended beyond modern art to include French Impressionist and Post-Impressionist art, specifically because they were highly saleable. This is evinced by the sales of "degenerate art" which were conducted by the Reichministerium für Volksklärung und Propaganda (RMVP). The record of the sales compiled by the propaganda ministry in the summer of 1941, provide conclusive evidence that the Reich government compromised its ideological position for financial gain. The sale of "degenerate art" conducted by order of the Reich at the Galerie Fischer auction in Lucerne in 1939, provides further evidence that the practice of confiscation was economically driven.

Yeung Shuk Man.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 150-162).
Abstracts in English and Chinese.
Abstract --- p.i
論文摘要 --- p.ii
Acknowledgements --- p.iii
Transliteration --- p.iv
Table of Contents --- p.v
Chapter Chapter 1 --- Introduction: Sending the women back home --- p.1
Chapter Chapter 2 --- Connections between Germany and China --- p.20
Post-First World War experience --- p.22
Sino-German relationship --- p.28
Similar characteristics in nationalistic leadership and political ideology …… --- p.36
Chapter Chapter 3 --- "´ب´بNew women, liberated women"": The 1920s" --- p.44
New roles and images --- p.46
New sexualities and moralities --- p.61
The “old´ح values --- p.70
Chapter Chapter 4 --- Women under NSDAP and GMD --- p.76
Home and family --- p.78
Employment --- p.97
War years --- p.105
Chapter Chapter 5 --- Women leaders in NSDAP and GMD --- p.114
The profile of the women leaders --- p.115
Women organizations --- p.124
Viewpoints of the women leaders --- p.132
Chapter Chapter 6 --- Conclusion: Nationalism and women --- p.141
Bibliography --- p.150

This extended case analysis thus demonstrates the intricate relationship between complex state capacities and cultural hegemony. It aims to deepen our understanding of the cultural history and state nature of Mao's China; theoretically, it aims to bring the state back into the cultural analysis based on a more solid foundation of state theory and provide a reference case for applying state theory to analyze cultural and other issues.
This research is an empirical analysis of the cultural hegemony pursued by Mao's China (1949-1966) in the field of mass culture. Based on the empirical research of this study, and inspired by the perspective of "Bringing the State back in" School, and the "State in Society" theory as well, this research put forth the theoretical perspective of "Complex Vision of State Capacities", which highlights the uneven-ness of state capacities in different fields and different aspects of the same field, and emphasizes that we should pay attention to both the strong state capacities, weak state capacities, the paradox of strong state capacities, the conflict between different state projects and the influence of "policy feedback" on state capacities. Based on the Extended Case Method, this research selects the Dashijie Amusement Center in Shanghai as the subject of research. It analyzes how the new regime effectively took over and transformed Dashijie, and meanwhile, demonstrates that under the influence of the complex state capacities, Dashijie gradually lost its original characteristics as an amusement center, and became more and more similar with Workers' Club. This phenomenon is called as cultural isomorphism. Negotiational hegemony to some extent alleviated this situation of cultural isomorphism, while zero-sum hegemony exacerbated it. With this development, the number of audience of Dashijie dropped a lot, which implies the predicament of cultural hegemony in the field of mass culture pursued by the totalistic state. Following the methodological perspective of the Extended Case Method, and also inspired by Bourdieu's theory of cultural field, this research further analyzes the evolution of Shanghai Bureau of Cultural Affairs. It demonstrated that, compared with the Nationalist Government, the new regime took further step in state building in the field of mass culture, advancing the bureaucratization of cultural administrative apparatuses and penetrating the state power into the cultural field at the grass-roots level. On the other hand, this research also reveals that the new regime is constrained by the weak state capacities in financial resources, human capital, sufficient bureaucratization, and the limitation of state capacities in the heterogeneity of the masses and the asynchronous-ness of structural transformation. As a result, the state capacity of the totalistic state in eradicating the production and circulation of the old mass cultural products is relatively strong and thus relatively successful, while the state capacity in constructing a new socialist mass culture, which was expected to be widely accepted by the masses, is relatively weak and thus relatively unsuccessful. In the view of "Complex Vision of State Capacities", negotiational hegemony reflected the recognition of complex state capacities, and it was thus necessary and beneficial for the state project of cultural hegemony; while the zero-sum hegemony reflected lack of recognition of or even did not accept the situation of complex state capacities, and thus exacerbated the situation of cultural isomorphism, leading to the final predicatement of cultural hegemony.
肖文明.
Adviser: Hoi-man Chan.
Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (p. 323-339).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Xiao Wenming.

Critical Theory, as posited by members of The Frankfurt School, was evaluated with the objective of attaching an implied ethical dimension. This was discovered in their privileging of a particular type of aesthetic, as evinced in their analysis of certain works of autonomous High Modernism. This implied ethic, which is one based around the concept of enlightenment as potential for emancipation, was then applied as a norm for the evaluation of art. This ethic, however, does not seek to impose a particular reading on (specifically) literary production: Rather, it seeks to impart the importance of a commitment by the literary critic in the use of an ethically based norm, an ethic, what is more, that is based and supported by a discussion of the concepts 'freedom' and Enlightenment. Finally, with this ethic firmly established, the discussion then attempted to distinguish between modernism and post-modernism, using this implied ethic as a guide to separation.
Afrikaans & Theory of Literature
M.A. (Theory of Literature)

羅欣欣.
論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998.
附參考文獻.
中英文摘要.
Luo Xinxin.
序言 --- p.1
論文摘要 --- p.2
插圖目錄 --- p.5
緒論 --- p.14
Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949)
Chapter I. --- 毛澤東政治地位的確立 --- p.28
Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30
Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31
Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32
Chapter 2. --- 晉西北木刻工廠1941 --- p.33
Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34
Chapter 4. --- 赤色郵政 1944 --- p.40
Chapter 5. --- 中共黨報 1945 --- p.41
Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展 --- p.43
小結 --- p.47
Chapter 第二章 --- 中共建國後的毛澤東繪畫圖像(1949-1966)
Chapter I. --- 中華人民共和國成立初年的毛澤東繒畫圖像發展 --- p.53
Chapter 1. --- 中華人民共和國的成立194 9 --- p.53
Chapter a. --- 延安藝術傳統的毛澤東漫畫圖像 --- p.54
Chapter b. --- 王朝聞的繪畫領袖像指示 --- p.56
Chapter 2. --- 土地改革 1950-1952 --- p.59
Chapter a. --- 新年畫創作運動 --- p.59
Chapter 3. --- 建國初年的整黨整風1950-52 --- p.66
Chapter a. --- 革命歷史畫創作計劃 --- p.67
Chapter II. --- 中蘇親密外交下的毛澤東繪畫圖像發展 --- p.70
Chapter 1. --- 全盤蘇化1950-55 --- p.70
Chapter a. --- 蘇聯宣傳畫的影響 --- p.70
Chapter b. --- 蘇聯油畫的影響 --- p.72
Chapter c. --- 蘇聯領袖像選材的影響 --- p.74
Chapter III. --- 中共社會經濟改革下的毛澤東繪畫圖像發展 --- p.76
Chapter 1. --- 第一個五年計劃1953-1957 --- p.76
Chapter a. --- 中國畫的改造 --- p.78
Chapter b. --- 油畫民族化 --- p.81
Chapter 2. --- 大躍進及人民公社運動1958-60 --- p.84
Chapter 3. --- 社會主義教育運動1962-65 --- p.88
Chapter a. --- 革命歷史繪畫運動 --- p.59
小結 --- p.91
Chapter 第三章 --- 文革時期的毛澤東繪畫圖像(1966-1976)
Chapter I. --- 文化大革命發動的原因 --- p.105
Chapter 1. --- 文化大革命序幕：海瑞罷官1965 --- p.105
Chapter 2. --- 毛澤東個人崇拜 --- p.107
Chapter II. --- 文革時期毛澤東繪畫圖像的發展 --- p.107
Chapter 1. --- 紅衛兵運動1966 --- p.107
Chapter a. --- 紅衛兵藝術 --- p.108
Chapter b. --- 《毛澤東思想照亮安源工人革命運動展覽》 --- p.113
Chapter c. --- 「紅、光、亮」的藝術手法 --- p.115
Chapter 2. --- 工農兵領導下的文化大革命1969 --- p.117
Chapter a. --- 工農兵繪畫運動 --- p.118
Chapter 3. --- 毛澤東的親密戰友一林彪的叛變1971 --- p.124
Chapter 4. --- 毛澤東的接班人一華國鋒1976 --- p.125
小結 --- p.126
Chapter 第四章 --- 文革後及改革開放時期的毛澤東繪畫圖像(1976-1997)
Chapter I. --- 文革後的毛澤東繪畫圖像發展 --- p.132
Chapter 1. --- 後文革時期的藝術1976-1978 --- p.132
Chapter a. --- 《熱烈慶祝華國鋒同志任中央主席、中央軍委主席 、熱烈慶祝粉碎四人幫篡黨奪權陰謀的偉大勝 利全國美術作品展覽》 --- p.133
Chapter b. --- 《慶祝中國人民解放軍建軍50周年美術作品展覽》 --- p.134
Chapter c. --- 毛主席紀念堂的落成 --- p.136
Chapter d. --- 《毛主席永遠活在我們心中´ؤ毛主席逝世一周 年美術作品展覽》 --- p.137
Chapter 2. --- 傷痕藝術1978-1979 --- p.139
Chapter 3. --- 星星美展1979-1980 --- p.140
Chapter II. --- 改革開放時期的毛澤東繪畫圖像發展 --- p.141
Chapter 1. --- 美術新思潮下的毛澤東圖像 --- p.141
Chapter a. --- 後八九的中國新藝術一政治波普中的毛澤東圖像 --- p.143
Chapter b. --- 毛澤東藝術圖像的拍賣熱潮 --- p.151
Chapter 2. --- 宮方持續創作的毛澤東繪畫圖像 --- p.152
小結 --- p.156
結語 --- p.161
附錄一 ：1.中國藝術史中毛澤東書法圖像的社會文化意義 --- p.1-1
2.美術展覽中的毛澤東繪畫圖像畫目 --- p.1-6
附錄二：參考書目 --- p.2-1
附錄三：現代中國藝術史中毛澤東繪畫圖像畫目 --- p.3-1
附錄四：圖版 --- p.4-1