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Статті в журналах з теми "Art and state Germany History 20th century"
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Novikova, Marina V. "THE PROBLEM OF NATIONAL TRAUMA IN THE COLLECTIVE MEMORY OF GERMANS IN THE UNITED GERMANY." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 2 (2021): 117–26. http://dx.doi.org/10.28995/2073-6339-2021-2-117-126.
Повний текст джерелаАнотація:
The article attempts to characterize the state of historical con- sciousness of the Germans at the end of the 20th – beginning of the 21 st century. The article examines what factors influenced the formation of the “sacrificial narrative” in the collective memory of the Germans of the united Germany. The research is based on the publications in the German, Polish and Russian press, autobiographical works, interviews, diaries and memoirs of Gunther Grass, Gerhard Schroeder, etc., analyzes the works of art and filmography released at that time. Memories of the suffering of the German civilian population during the Second World War usually belonged to the individual memory or remained part of the German family history. True, the traumatic past was often used for political purposes, especially in the FRG in the matters related to the theme of exile. In the first decade of the new millennium, thanks to the changes in the cultural agenda – the release of a number of books and feature films, the plot of which was based on the suffering of the Germans, the traumatic past is at the center of public debate. However, the rethinking of the theme of the suffering of the German civilian population was met with a rather wary response in the global context, primarily from Poland and the victor countries.
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Bukharin, Mikhail D. "Exploration of Eastern Turkestan in the Archival Heritage of Albert Grünwedel." Ancient Civilizations from Scythia to Siberia 20, no. 2 (November 24, 2014): 234–55. http://dx.doi.org/10.1163/15700577-12341270.
Повний текст джерелаАнотація:
The article presents a part of the archival heritage of Albert Grünwedel – his letters to S. F. Oldenburg, devoted to the exploration of Eastern Turkestan at the beginning of the 20th century. Grünwedel gives some important characteristics to the ways of studying of Buddhist art in Central Asia, describes the state of several monuments in Turfan; his information completes the history of cooperation of German and Russian expeditions. Several documents shed some more light on the conditions of the division of the areas of excavations between German and Russian expeditions.
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Лучка, Л. "BOOK SHOWS AND THE READING UNIVERSE PROFESSOR VK YAKUNINA." Problems of Political History of Ukraine, no. 15 (February 5, 2020): 34–40. http://dx.doi.org/10.33287/11924.
Повний текст джерелаАнотація:
The research deals with creating a diverse reader image of an intellectual personality of a historian. V.K. Yakunin started his reading career as a student of Dnipropetrovsk State University in the 1960’s. During his studies he constantly visited the scientific library. It was at this time when he first became acquainted with rare and valuable editions on historical subjects. The reading experience of the historian is about 60 years. While writing his Candidate dissertation (1972) and PhD thesis (1990), he worked with a significant number of sources and literature, and he also used interlibrary loan services. He was a high-level bibliographer, he constantly searched and selected carefully new books of political and historical content. V.K.Yakunin began to collect his own library from the late 1960s. The analysis of his reader cards from the departments of scientific literature and fiction shows that scientist V.K. Yakunin paid primary attention to documents, book sources and periodicals. He perfectly knew the works of foreign historical science classics. He was interested in memoir literature. Psychological and art literature was not ignored by the scientist. The historian always turned to classical works and editions of contemporary Ukrainian writers. V. K. Yakunin’s private library totals about 2000 copies in Ukrainian, Russian and German. It has been stored in the Scientific Library since 2017. Each copy of the professor’s book collection received the stamp «Professor V.K. Yakunin’s Library». The chronological limits of the book collection cover the 20th – the beginning of the 21st century. Most publications are books of social and humanitarian directions. He was interested in the history of the 20th century: political history, public opinion, World War II, history of Nazism, the Ukrainian national movement. Memories held a special place in the book collection. Ways of acquisition to the Library: donations and purchasing. The historian was surrounded by books during his life. Thus, the value of the book collection of Professor V.K. Yakunin is in the presence of a large number of publications that give an idea of the state of book publishing in Ukraine and Russia and indicate the high intellectual level of its owner.
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Lysova, Alexandra, and Helmut Kury. "Obstacles to the Development of Restorative Justice: a Comparative Analysis of Russia, Canada and Germany." Всероссийский криминологический журнал 12, no. 6 (December 28, 2018): 806–16. http://dx.doi.org/10.17150/2500-4255.2018.12(6).806-816.
Повний текст джерелаАнотація:
Restorative justice (RJ), which is a concept of criminal justice focused on the needs of victims and the community affected by the criminal act rather than on the punishment of the offender, is becoming an integral part of criminal justice in many developed Western countries. Russia, however, is just taking the first steps in the development of restorative justice with the focus on mediation for juvenile delinquents. Using the theory of the (de)civilization process by N. Elias, the authors suggest that a weak state, characterized not so much by inefficient economy as by underdeveloped social institutes, could be an obstacle for a more active use of RJ in Russia. Specifically, the authors claim that corruption undermining the legitimacy of public administration, a lack of trust in law enforcement, suppression of small business and hatred towards some groups of people all strengthen punitive sentiments that contradict the principles of RJ. A comparative criminological analysis of RJ in Canada and Germany reveals the unique history of its emergence and use in these countries in comparison with Russia. As for Germany, the moments of de-civilization in this country in the first half of the 20th century and in the recent years (connected with the uncontrolled influx of migrants) are slowing down the development of RJ. The absence of any significant social upheavals in Canada could explain a strong support for RJ among the local population and a comparatively successful integration of its principles in traditional Canadian criminal justice. In conclusion, the authors debunk some myths regarding RJ, which could constrain its implementation in these countries. In particular, the authors argue, that the traditional paradigm of punishment should not be abolished, but could be supplemented by the paradigm of reconciliation and restoration.
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Dartmann, C. "The State and Economic Crisis in 20th Century Germany." German History 13, no. 1 (January 1, 1995): 80–82. http://dx.doi.org/10.1093/gh/13.1.80.
Повний текст джерела
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Sipos, Regina, and Kerstin Franzl. "Tracing the History of DIY and Maker Culture in Germany’s Open Workshops." Digital Culture & Society 6, no. 1 (December 1, 2020): 109–20. http://dx.doi.org/10.14361/dcs-2020-0106.
Повний текст джерелаАнотація:
Abstract This article presents preliminary research findings on the history of Do-It-Yourself (DIY) and maker culture in Germany. It aims to identify historical, political, economic and societal shifts that have led to the existence of approximately 1000 makerspaces of various kinds in Germany today. The article summarises the beginnings of DIY in the 20th century in West Germany and East Germany. It focuses on how infrastructures supporting DIY were created out of necessity and economic considerations, how tools and spaces were offered as public service, the influence of counterculture movements and expression of political views through DIY and finally the use of DIY as a meaningful way to spend newfound leisure time and the phenomenon of state-funded vocational educational spaces. It aims to inspire further research elucidating the connections between broader societal contexts and DIY throughout the past century and its effects on maker culture today.
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Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
Повний текст джерелаАнотація:
This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others
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Chernyaeva, Irina V., and Lidiya V. Balakhnina. "On the issue of pricing works of art in the process of historical development of artistic practices." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 321–29. http://dx.doi.org/10.37816/2073-9567-2021-59-321-329.
Повний текст джерелаАнотація:
In modern art practice, the issue of formation of symbolic and economic value of works of art remains acute and relevant. In the history of art art historians, curators, and art critics used to determine symbolic value. The issue of formation of economic value of works of art is still debatable. The task of the study is to identify features of the pricing of works of art inherent in individual periods of the development of artistic practices in a historical context. The authors address the issue retrospectively, considering the relationships between art and market, originated in the 18th century in Holland. The paper conducts a detailed analyze of the epistolary heritage of P. M. Tretiakov, concluding that in the 19th century it was the professional environment that acted as a regulator of the pricing of works of art. Economic conditions of the 20th century in the domestic art put to the forefront state insurance or state order, therefore the volume of payment of works depended on regalia and social status of an artist. The situation of the beginning of the 21st century brought not only new forms and mechanisms to the art market as Internet trading, corporate collecting, art banking, but also new problems that influenced the pricing process.
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Grantseva, E. O. "Horrors of War in the Context of the Fine Arts Transformation of the XX Century." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 147–57. http://dx.doi.org/10.24833/2541-8831-2020-4-16-147-157.
Повний текст джерелаАнотація:
The article is dedicated to the outlook on the socio-cultural transformations of the 20th century brought by global conflicts. The main attention is paid to the problems arisen from overcoming traumas by the means of art and to the influence the traumatic experience has had on the transformation of the artistic language. The themes of the horrors of war, war and post-war experience and reflections acquire special significance in the artistic culture of the 20th century, with traumas brought by both world wars and other conflicts giving rise not only to emotional responses to ongoing disasters, but also being a catalyst for global reshaping of artistic content, form and industry, expressed in the visual revolution. In this regard, the paper turns to the essential cultural characteristics of the art of this period, to consider the similarities and differences in the individual trends that followed the general trend. Then, revealing the specifics of the artistic process, considered within the framework of the historical and cultural approach, the reasons that determined the global transformations of art were discovered. In this work, the issues mentioned above are perceived at the junction of the problems studied in the history of emotions and the history of art. So is the conceptual focus of this interdisciplinary text. Such an approach not only attempts to consider the visual revolution through the prism of personal experience, to link the transformation of visual expression with the inner state of a person and one’s perceptions of current events. It also underlines the specificities of historiography, represented both by research on the history of art and by works related to such a direction of historical science as the history of emotions. The main results of the research are as follows. Works of art related to the experience and display of the horrors of war, on the one hand, help to understand and survive the traumatic experience, telling about it in a metaphorical form, and on the other hand, embodying these goals, they radically change the artistic language in the context of the visual revolution of the 20th century.
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Grantseva, E. O. "Horrors of War in the Context of the Fine Arts Transformation of the XX Century." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 147–57. http://dx.doi.org/10.24833/2541-8831-2020-4-16-147-157.
Повний текст джерелаАнотація:
The article is dedicated to the outlook on the socio-cultural transformations of the 20th century brought by global conflicts. The main attention is paid to the problems arisen from overcoming traumas by the means of art and to the influence the traumatic experience has had on the transformation of the artistic language. The themes of the horrors of war, war and post-war experience and reflections acquire special significance in the artistic culture of the 20th century, with traumas brought by both world wars and other conflicts giving rise not only to emotional responses to ongoing disasters, but also being a catalyst for global reshaping of artistic content, form and industry, expressed in the visual revolution. In this regard, the paper turns to the essential cultural characteristics of the art of this period, to consider the similarities and differences in the individual trends that followed the general trend. Then, revealing the specifics of the artistic process, considered within the framework of the historical and cultural approach, the reasons that determined the global transformations of art were discovered. In this work, the issues mentioned above are perceived at the junction of the problems studied in the history of emotions and the history of art. So is the conceptual focus of this interdisciplinary text. Such an approach not only attempts to consider the visual revolution through the prism of personal experience, to link the transformation of visual expression with the inner state of a person and one’s perceptions of current events. It also underlines the specificities of historiography, represented both by research on the history of art and by works related to such a direction of historical science as the history of emotions. The main results of the research are as follows. Works of art related to the experience and display of the horrors of war, on the one hand, help to understand and survive the traumatic experience, telling about it in a metaphorical form, and on the other hand, embodying these goals, they radically change the artistic language in the context of the visual revolution of the 20th century.
Дисертації з теми "Art and state Germany History 20th century"
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Zabecki, D. T. "Operational Art and the German 1918 Offensives." Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.
Повний текст джерелаАнотація:
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.
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Hojdyssek, Gunter Art College of Fine Arts UNSW. "From laughing at the world to living in the world." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.
Повний текст джерелаАнотація:
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.
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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
Повний текст джерелаАнотація:
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.
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Heath, Karen Patricia. "Conservatives and the politics of art, 1950-88." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:d62a078b-4009-40a8-8765-1a4f5e0fbcbc.
Повний текст джерелаАнотація:
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.
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Miller, Jennifer Anne. "The Politics of Nazi Art: The Portrayal of Women in Nazi Painting." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.
Повний текст джерелаАнотація:
The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.
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Ryder, Marianne. "Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.
Повний текст джерелаАнотація:
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.
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Martin, William R. "Corporatism in American foreign policy toward Germany between the wars, 1921-1936." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4380.
Повний текст джерелаАнотація:
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.
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Deupree, William Erik. "Innovation on a budget the development of military technology during the interwar period, 1919-1939." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4934.
Повний текст джерелаАнотація:
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
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Devillez, Virginie. "L'Etat et les artistes: entre révolution et réaction, les politiques culturelles de la Belgique (1918-1944)." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211733.
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Mihail, Benoît. "Le "Néo-Flamand" en France: un passé régional retrouvé et réinventé sous la Troisième République." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211363.
Повний текст джерелаКниги з теми "Art and state Germany History 20th century"
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Art as politics in the Third Reich. Chapel Hill: University of North Carolina Press, 1996.
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2
Art as politics in the third reich. North Carolina: University of North Carolina Press, 1996.
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3
Petropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. London: Allen Lane, 2000.
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4
Petropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. New York, N.Y: Oxford University Press, 2000.
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Hitlers kunstenaarsziel. Soesterberg, Nederland: Uitgeverij Aspekt, 2012.
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Kidron, Michael. The new state of the world atlas. London: Pan Books, 1987.
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7
Kidron, Michael. The new state of the world atlas. London: Pan Books, 1987.
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8
Kidron, Michael. The new state of the world atlas. 4th ed. London: Simon & Schuster, 1991.
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Kidron, Michael. The new state of the world atlas. Oxford: Heinemann Educational, 1987.
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Kidron, Michael. Sekai no kokusei chizu: The new state of the world atlas. Tōkyō: Chūō Kōronsha, 1985.
Знайти повний текст джерелаЧастини книг з теми "Art and state Germany History 20th century"
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Mahoney, Dillon. "Crafts Traders versus the State." In Art of Connection. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520292871.003.0003.
Повний текст джерелаАнотація:
This chapter traces the development of Kenya’s tourism and handicraft industries from their roots in 20th century British colonialism to provide some of the broader history of Kenya’s tourism and co-operative development, their emergence in Mombasa, and their relationships with local governments. I draw on archival as well as ethnographic data collected just before the 2002 demolition of Mombasa’s roadside kiosks, which form the starting point for the larger longitudinal study. I focus on the array of experiences of Mombasa’s roadside traders of diverse backgrounds as they struggle with the privatization and segregation of urban residential and commercial space both before and after the demolitions. The economy was radically altered as the roadsides were “cleaned” and a new wave of economic formalization characterized the relationship between small-scale businesspeople and the state. For many entrepreneurs invested in the global crafts trade, this was the final straw that pushed them toward new technologies, jumping scales into global markets, and investing in export and wholesale businesses that were not spatially dependent upon a connection to the city center.
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Barbin, Évelyne. "From experimental to theoretical geometry in new pedagogical movements at the turn of the 19th and 20th centuries (1872-1906)." In “DIG WHERE YOU STAND” 6. Proceedings of the Sixth International Conference on the History of Mathematics Education, 219–32. WTM-Verlag Münster, 2020. http://dx.doi.org/10.37626/ga9783959871686.0.17.
Повний текст джерелаАнотація:
There exist many historical works on the new pedagogical movements in the beginning of the 20th century, at the level of one country and at the international level also. Our purpose is to focus on teaching of geometry with comparing situations in four countries: United Kingdom, France, Germany and United States. We show that, behind the agreements, there are deep differences in relation with questions posed by geometrical teaching. We use two kinds of materials, discussions and textbooks, and we specially examine the questions on parallels definitions and their introduction in teaching. Keywords: laboratory method, concrete geometry, experimental geometry, intuitive geometry, practical geometry, rational geometry, Émile Borel, Carlo Bourlet, John Dewey, George Halsted, Julius Henrici, Adelia Hornbrook, Jules Houël, Charles Méray, Eliakim Moore, John Perry, Peter Treutlein.
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Walczynski, Mark. "Concluding Thoughts." In The History of Starved Rock, 186–90. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748240.003.0013.
Повний текст джерелаАнотація:
This concluding chapter demonstrates that under state management, Starved Rock State Park grew in popularity. The park provided specialists from the US Army Corps of Engineers with a training area to master the military art of pontoon bridge assembly in preparation for the Allied invasion of Germany in World War II. Equally important, the park was where locals came to work and to relax in the 1950s and 1960s, and it is where today over two million people come to hike, camp, picnic, fish, hunt, and enjoy nature every year. However, the very geologic composition of Starved Rock and its environs has created a new challenge for the twenty-first century. Sand companies now mine silica sand near the park. The challenge is one of balance between protection of the park's fragile natural resources versus the competing interests of local governments and residents desiring new employment opportunities. In addition, the Starved Rock Dam, completed in 1933, raised the level of the Illinois River above the dam about ten feet. Nevertheless, the Illinois Department of Natural Resources employees at Starved Rock State Park are dedicated to preserving and maintaining the park and to serving park visitors.
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Rivers, Ray. "Can Archaeological Models Always Fulfil our Prejudices?" In The Connected Past. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198748519.003.0014.
Повний текст джерелаАнотація:
The past few years have seen a significant growth in the use of quantitative models in archaeology. Such modelling has a long, albeit uneven, history, using ideas going back to Christaller’s (1933) use of Dirichlet/Voronoi tessellations of space in the early 20th century to construct ‘central places’. These elementary techniques for geometrizing social relations survived as late as the 1980s, most simply supplemented or replaced by other low-technology, ‘ruler and compass’ methods, such as Renfrew’s XTENT model (Renfrew 1975a, 1975b; Renfrew and Level 1979). By that time, archaeological modelling (e.g. Clarke 1968, 1977; Johnson 1977) was already incorporating the graph theory techniques of the social geographers, exemplified by the burgeoning network modelling of proximal point analysis (PPA) (e.g. Terrell 1977, 1986) and by the network-based spatial interaction models (SIMs) of the social planners and transport modellers (e.g. Wilson 1970; Wilson and Bennett 1986). However, even when adapted to historical processes (Rihll and Wilson 1987, 1991), such quantitative models were not part of the archaeological mainstream and limitations on computer power and cost meant that they had only restricted application. By the 1990s, these limitations were reinforced by a post-processual critique which led to a shift in emphasis in archaeology towards viewing space as a construct of human activity, a movement from ‘space to place’ (Hirsch 1995). Although SIMs had led this shift by downplaying the role of geography in characterizing social interactions, the dialogue about quantitative modelling turned against its reductive nature, even to the extent of shying away from mathematical analysis (e.g. Sheppard 2001). However, cheap computer power and the ready availability of commercial software packages have led to a revival in network methods. See Lock and Pouncett (2007) for an early overview, and for the current state of the art see Kandler and Steele (2012) and recent monographs edited by Bevan and Lake (2013) and Knappett (2013), as well as the other chapters in this book. The main focus of this article concerns the ‘retrodictive ability’ of archaeological models. In the absence of ‘laws’ of human behaviour, there is great freedom in how to proceed.