The Internment Camp at Terezín, 1919

1996 ◽  
Vol 27 ◽  
pp. 199-211 ◽  
Author(s):  
Todd Huebner

Although the fortress at Terezín attained a dubious international distinction during World War II as the Nazi concentration camp. Theresienstadt, it already possessed a gloomy history as a place of imprisonment, having held Austrian political offenders since the first half of the nineteenth century. Gavrilo Princip had been confined there along with his fellow conspirators after assassinating Archduke Francis Ferdinand at Sarajevo; the young man ultimately died in the garrison hospital. During World War I, Terezín became the largest prisoner-of-war camp in Bohemia, housing its mostly Russian prisoners in makeshift subcamps scattered outside the fortress. In 1919 the new Czechoslovak state employed some of these same facilities to intern various “suspicious elements” from Slovakia. Unfortunately the zeal with which the authorities took people into custody produced a flood of internees for which Terezín was ill prepared, and conditions in the debilitated Austrian camp soon threatened to provoke a public scandal. The circumstances of this rather unpleasant episode provide a revealing—though ambiguous—glimpse of the sterner side of the Czechoslovak First Republic, and by extension, post-Habsburg Central Europe.

Author(s):  
Mark Franko

This book is an examination of neoclassical ballet initially in the French context before and after World War I (circa 1905–1944) with close attention to dancer and choreographer Serge Lifar. Since the critical discourses analyzed indulged in flights of poetic fancy a distinction is made between the Lifar-image (the dancer on stage and object of discussion by critics), the Lifar-discourse (the writings on Lifar as well as his own discourse), and the Lifar-person (the historical actor). This topic is further developed in the final chapter into a discussion of the so-called baroque dance both as a historical object and as a motif of contemporary experimentation as it emerged in the aftermath of World War II (circa 1947–1991) in France. Using Lifar as a through-line, the book explores the development of critical ideas of neoclassicism in relation to his work and his drift toward a fascist position that can be traced to the influence of Nietzsche on his critical reception. Lifar’s collaborationism during the Occupation confirms this analysis. The discussion of neoclassicism begins in the final years of the nineteenth-century and carries us through the Occupation; then track the baroque in its gradual development from the early 1950s through the end of the 1980s and early 1990s.


Author(s):  
DEJAN D. ANTIĆ ◽  
IVAN M. BECIĆ

Numerous local monetary bureaus owned by shareholders were established in the Kingdom of Serbia in the late nineteenth century. Many of these institutions, such as the Niš Cooperative, not only engaged in banking services but also owned industrial and trade companies. Economic circumstances changed so significantly after World War I that bank managements often were unable to cope with them. The Niš Cooperative was an example of a stable yet not particularly powerful monetary bureau whose reputation depended on the leading members of its Board of Directors. Unlike most other monetary bureaus, the Niš Cooperative continued operating after World War II up until privately-owned monetary bureaus were closed by the socialist Yugoslav government.


Author(s):  
Stathis Kalyvas

Just a few years ago, Greece appeared to be a politically secure nation with a healthy economy. Today, Greece can be found at the center of the economic maelstrom in Europe. Beginning in late 2008, the Greek economy entered a nosedive that would transform it into the European country with the most serious and intractable fiscal problems. Both the deficit and the unemployment rate skyrocketed. Quickly thereafter, Greece edged toward a pre-revolutionary condition, as massive anti-austerity protests punctuated by violence and vandalism spread throughout Greek cities. Greece was certainly not the only country hit hard by the recession, but nevertheless the entire world turned its focus toward it for a simple reason: the possibility of a Greek exit from the European Monetary Union, and its potential to unravel the entire Union, with other weaker members heading for the exits as well. The fate of Greece is inextricably tied up with the global politics surrounding austerity as well. Is austerity rough but necessary medicine, or is it an intellectually bankrupt approach to fiscal policy that causes ruin? Through it all, Greece has staggered from crisis to crisis, and the European central bank’s periodic attempts to prop up its economy fall short in the face of popular recalcitrance and negative economic growth. Though the catalysts for Greece’s current economic crises can be found in the conditions and events of the past few years, one can only understand the factors that helped to transform these crises into a terrible political and social catastrophe by tracing Greece’s development as an independent country over the past two centuries. In Greece: What Everyone Needs to Know, Stathis Kalyvas, an eminent scholar of conflict, Europe, and Greece, begins by elucidating the crisis’s impact on contemporary Greek society. He then shifts his focus to modern Greek history, tracing the nation’s development from the early nineteenth century to the present. Key episodes include the independence movement of the early nineteenth century, the aftermath of World War I (in which Turkey and Greece engaged in a massive mutual ethnic cleansing), the German occupation of World War II, the brutal civil war that followed, the postwar conflict with Turkey over Cyprus, the military coup of 1967, and-finally-democracy and entry into the European Union. The final part of the book will cover the recent crisis in detail. Written by one of the most brilliant political scientists in the academy, Greece is the go-to resource for understanding both the present turmoil and the deeper past that has brought the country to where it is now.


Author(s):  
Cecelia Hopkins Porter

This chapter looks into the life of Baroness Maria Bach (1896–1978), her promising professional future, and her lifelong struggle to attract renown and respect as a “serious” woman composer. Born into Austria's late-nineteenth-century privileged “aristocracy”—the affluent upper middle class—the Viennese composer and pianist prided herself on her intellectual and artistic heritage. Her birth in 1896 set her solidly within the imperial capital's golden age—that brilliant constellation of the arts known as Viennese modernism. From the last decade of the nineteenth century to World War I, fin-de-siècle Vienna was a cultural mecca unequaled anywhere else in central Europe.


2000 ◽  
Vol 94 (1) ◽  
pp. 31-41 ◽  
Author(s):  
Detlev F. Vagts

The Hague Conferences of 1899 and 1907, and the conventions they produced, opened the doors—just barely—to the era of arms control. But they did so in a way that would not have been expected. Arms control can be understood as having two main branches—the quantitative and the qualitative. “Quantitative”refers to controls that permit a given category of weapons—such as batdeships, nuclear warheads, and andballistic missile systems—but restrict the number that each of the participating powers may hold. “Qualitative” refers to prohibitions on the use of specified items—such as explosive bullets, poison gas, and bacteriological weapons. Curiously, it was the matter of quantitative control—the desire to check the costs of the arms race—that led to the calling of the Hague Conferences, but their only arms control outcome concerned qualitative limitations. One can trace influences of the Hague experience in this regard on both sides of the arms control movement after World War I and more faintly after World War II, though its descent is less clear than that of the prisoner-of-war conventions and other law of war rules. The inclination of scholars and policymakers to neglect the arms control efforts made between the two world wars has tended to obscure the indirect influence of the Hague Conferences.


Author(s):  
Davide Rodogno

This epilogue discusses the European powers' humanitarian interventions from the interwar period and since 1989. It first considers the massacres, atrocities, and other abuses committed during World War I and World War II before looking at interventions during the Cold War (1945–1989). It then compares instances of humanitarian intervention and nonintervention since 1989 with those of the nineteenth century. It also examines humanitarian intervention as a means of addressing threats to international peace and security, nineteenth-century humanitarian interventions as ex post facto events with unexceptional outcomes and unintended consequences, and the transformation of intervention from one focused on short-term rescue to one focused on long-term protection of victims of massacres and atrocities. Finally, the chapter explores public opinion regarding humanitarian intervention, the emergence of “new humanitarianism,” and the United Nations's The Responsibility to Protect (R2P) document.


Author(s):  
Rina Baroukh

David Fogel was born in 1891 in the town of Satanov in Podolia. In 1912 he moved to Vienna where he stayed until 1925. During World War I, he was arrested and spent time in internment camps. In 1917, he began publishing short lyrical poems in the Hebrew press. He married in 1919, but his wife soon died from tuberculosis, an illness he also suffered from since 1920. His collection of poetry, Lifnei ha-sha’ar ha-afel (Before the Dark Gate), was published in 1923 in Vienna. In 1925 he moved to Paris and settled there. While in Paris, he wrote prose and poetry and remarried. In 1929 he and his new wife emigrated to Palestine and his daughter was born. However, their settlement in Palestine was not successful, and soon after they returned to Paris. Upon his return to Europe he gave a series of lectures concerning language and style in modern Hebrew literature. When World War II erupted, Fogel and his family were in Paris. His wife and daughter were saved, but he was arrested by the Vichy Police. The last time he was seen alive was in 1942. From this point on he disappeared; information concerning his whereabouts was fragmentary and contradictory. He was probably released from internment camp, but in 1944 he was arrested again by the Gestapo and sent to Drancy, a transit camp for French Jews. He was later sent to Auschwitz and murdered there.


2002 ◽  
Vol 1 (1) ◽  
pp. 89-100 ◽  
Author(s):  
DOUGLAS A. IRWIN

This paper examines the statistical relationship between world trade and world income (GDP) over three different epochs: the pre-World War I era (1870–1913), the interwar era (1920–1938), and the post-World War II era (1950–2000). The results indicate that trade grew slightly more rapidly than income in the late nineteenth century, with little structural change in the trade–income relationship. In the interwar and post-war periods, the trade–income relationship can be divided into different periods due to structural breaks, but since the mid 1980s trade has been more responsive to income than in any other period under consideration. The trade policy regime differed in each period, from the bilateral treaty network in the late nineteenth century to interwar protectionism to post-war GATT/WTO liberalization. The commodity composition of trade has also shifted from primary commodities to manufactured goods over the past century, but the results cannot directly determine the reasons for the increased sensitivity of trade to income.


Cinema’s Military Industrial Complex examines how the American military has used cinema and related visual, sonic, and mobile technologies to further its varied aims. The essays in this book address the way cinema was put to work for purposes of training, orientation, record keeping, internal and external communication, propaganda, research and development, tactical analysis, surveillance, physical and mental health, recreation, and morale. The contributors examine the technologies and types of films that were produced and used in collaboration among the military, film industry, and technology manufacturers. The essays also explore the goals of the American state, which deployed the military and its unique modes of filmmaking, film exhibition, and film viewing to various ends. Together, the essays reveal the military’s deep investment in cinema, which began around World War I, expanded during World War II, continued during the Cold War (including wars in Korea and Vietnam), and still continues in the ongoing War on Terror.


Author(s):  
Karen Ahlquist

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”


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