Karl Friedrich Schinkel

2021 ◽  
Keyword(s):  
French Revolution ◽  
English Language ◽  
18Th Century ◽  
Second World War ◽  
World War ◽  
Urban Planner ◽  
Avant Garde ◽  
Personal Archives ◽  
Historical Moment ◽  
Second World

Karl Friedrich Schinkel (b. Neuruppin, 1781–d. Berlin, 1841) was a celebrated Prussian architect, theatre set designer, artist, furniture and object designer, urban planner, and civil servant. Born into modest yet respectable circumstances as the son of a deacon, Schinkel, by virtue of his talent and work ethic, rose in his own lifetime to become one of Prussia’s most celebrated cultural figures and its chief royal architect. He worked mostly in Berlin and its surrounding territories, including in some areas that are now part of Poland. His built works suffered heavy destruction during the Second World War, but important examples still survive or have been reconstructed, including the Altes Museum, the Friedrich-Werder Church, the Theatre (Schauspielhaus), and the New Guardhouse in Berlin, as well as the Charlottenhof and Glienicke Palaces in nearby Potsdam. His paintings, drawings, and personal archives can be found mostly in collections in and around Berlin, including at various departments of the Berlin State Museums. Recent debates have surrounded the potential reconstruction of Schinkel’s celebrated masterpiece, the Berlin Bauakademie (which was demolished in 1962), bringing a consciousness of Schinkel’s legacy to the fore in German public life once again. Despite his fame in Germany and his noted status as a reference-point for German avant-garde modernism, Schinkel’s work has remained under-explored in the English language (with some notable exceptions) due to difficulties accessing both his buildings and his archives in the years between the Second World War and German reunification. Since the 1990s, however, Schinkel’s international reputation has been steadily restored due to the efforts of a number of scholars and curators who have sought to disseminate his work more widely than ever before. Schinkel’s oeuvre is as eclectic as the tools and media he employed to realize it are versatile. They reveal traces of neoclassicism and the neogothic, French Enlightenment formalism, German Romanticism and Idealism, and 19th-century historicism. But at the same time, his work resists absolute categorization, by virtue of the fact that he lived and worked suspended between two epochs: he was born too late to be immersed in the worldview of the 18th-century Enlightenment and French Revolution, but nor did he live to see Germany’s development as a fully industrialized and unified nation. Occupying this ambiguous historical moment has given Schinkel’s work a versatility, a freedom, and an inquiring rigor that has assured its originality and enduring value.

The Nonviolent Struggle for Indian Freedom, 1905-19

2018 ◽  
Author(s):  
David Hardiman
Keyword(s):  
English Language ◽  
Second World War ◽  
World War ◽  
Passive Resistance ◽  
Civil Resistance ◽  
Political Concept ◽  
History Of ◽  
Second World ◽  
Moral Stance

Much of the recent surge in writing about the practice of nonviolent forms of resistance has focused on movements that occurred after the end of the Second World War, many of which have been extremely successful. Although the fact that such a method of civil resistance was developed in its modern form by Indians is acknowledged in this writing, there has not until now been an authoritative history of the role of Indians in the evolution of the phenomenon.The book argues that while nonviolence is associated above all with the towering figure of Mahatma Gandhi, 'passive resistance' was already being practiced as a form of civil protest by nationalists in British-ruled India, though there was no principled commitment to nonviolence as such. The emphasis was on efficacy, rather than the ethics of such protest. It was Gandhi, first in South Africa and then in India, who evolved a technique that he called 'satyagraha'. He envisaged this as primarily a moral stance, though it had a highly practical impact. From 1915 onwards, he sought to root his practice in terms of the concept of ahimsa, a Sanskrit term that he translated as ‘nonviolence’. His endeavors saw 'nonviolence' forged as both a new word in the English language, and as a new political concept. This book conveys in vivid detail exactly what such nonviolence entailed, and the formidable difficulties that the pioneers of such resistance encountered in the years 1905-19.

scholarly journals Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research

2020 ◽  
Vol 10 (24) ◽  
pp. 8817
Author(s):  
Lamberto Tronchin ◽  
Francesca Merli ◽  
Marco Dolci
Keyword(s):  
3D Model ◽  
18Th Century ◽  
Second World War ◽  
World War ◽  
National Library ◽  
Acoustic Parameters ◽  
Speech Transmission ◽  
The Will ◽  
Opera House ◽  
Second World

The Eszterháza Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterházy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterházy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterháza Opera House could favor the Prince’s listening. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. Moreover, the results confirm that the geometry and the shape of the Eszterháza Opera House favored the Prince’s view and listening, amplifying onstage voices and focusing the sound into his box.

scholarly journals Przegląd badań nad historią bibliotek i bibliotekarstwa w Polsce z lat 1945–2015

2017 ◽  
Vol 60 ◽  
pp. 97-139
Author(s):  
Jacek Puchalski
Keyword(s):  
18Th Century ◽  
International Perspective ◽  
Second World War ◽  
History Of The Book ◽  
World War ◽  
History Of ◽  
Book Collections ◽  
Historical Resources ◽  
Second World

AN OVERVIEW OF RESEARCH INTO THE HISTORY OF LIBRARIES AND LIBRARIANSHIP IN POLAND IN 1945–2015The author of the article discusses selected academic and popular publications concerning the history of libraries and librarianship in Poland which appeared in 1945–2015. In that period information about the most important historical resources of various Polish libraries and early book collections was made available; in addition, the period was marked by progress in the study of materials originating before the end of the 18th century. Scholars published a range of methodological studies as well as studies dealing with sources, contributing to the development of scholarship. On the other hand, there were too few editions of source materials.After 1989 scholars intensified their efforts to find sources in foreign collections, especially in Lithuania, Belarus, Ukraine, Russia and Germany. Polish collections kept abroad are yet to be fully researched and have their inventories and catalogues published.The vast body of literature is uneven when it comes to its focus on the various historical periods, regions, subregions and local centres. It comprises publications dealing with the history of libraries, their function and role in culture with regard to the history of the book, and publications focused on the types of libraries or individual libraries — of different traditions, sizes and stature. Scholars also explored the history of home book collections, reading rooms and libraries as well as biographies of librarians and collectors. The quality of the publications varies. There are gaps in, for example, the history of libraries in the former Polish Eastern Borderlands as well as “blank pages” in the historiography of Polish librarianship after the Second World War. There is a visible shortage of quantification of phenomena from the past of libraries, despite the fact that there are some possibilities in this respect. What is also needed is development in comparative studies, also in an international perspective, although this would require Polish historians to become more interested than before in the history of librarianship in other countries.

Memories of Jewishness

2010 ◽  
pp. 315-332
Author(s):  
Todd M. Endelman
Keyword(s):  
Early Modern ◽  
French Revolution ◽  
Collective Identity ◽  
Second World War ◽  
Early Modern Europe ◽  
World War ◽  
Cultural Status ◽  
Lost Time ◽  
Second World ◽  
Distinguished Member

This chapter looks at Marcel Proust's epic, a multi-volume novel titled In Search of Lost Time, where a distinguished member of the Jockey Club named Charles Swann is regarded as a Jew before the Dreyfus affair erupted and heightened the Jew-consciousness. It explains why Marcel and others in the aristocratic world of the Faubourg Saint-Germain regarded Swann as a Jew, who saw himself in a similar light towards the end of his life. It also explores why the lines demarcating Jews from Christians became blurred between the French Revolution and the Second World War and how this blurring affected Jews who had converted to Christianity. The chapter refers to Jews in medieval and early modern Europe, with the exception of Iberian Conversos, who were not troubled by issues of collective identity. It recounts how Jews exchanged one well-defined legal and cultural status for another when they rejected Judaism and became Christians.

Beckett, Samuel Barclay (1906–89)

2018 ◽  
Author(s):  
Yan (Amy) Tang
Keyword(s):  
James Joyce ◽  
Second World War ◽  
World War ◽  
Dramatic Works ◽  
Avant Garde ◽  
Trinity College Dublin ◽  
Literature And Philosophy ◽  
Waiting For Godot ◽  
Post War ◽  
Second World

Samuel Barclay Beckett is widely considered one of the most influential writers of the twentieth century. Born in Ireland and living in France for half of his life, he wrote prose, dramatic works, poems, and criticism in both English and French. He started to write fiction after he met James Joyce and other intellectuals in Paris in the 1920s. His research on languages, literature and philosophy at Trinity College, Dublin, and at the École Normale Supérieure in Paris provided a solid basis for his works. His popularity grew rapidly after the Second World War, particularly after the publication of his groundbreaking play, En attendant Godot (1953, Waiting for Godot), and his trilogy, Molloy (1951), Malone meurt (1951, Malone Dies), and L’innommable (1953, The Unnamable). He was not only a prolific modernist who innovated avant-garde prose, theatre, radio, television, and cinema; he also joined the French Resistance during the Second World War and the post-war reconstruction. He won the Nobel Prize for Literature in 1969.

When George met Bill: Orwell, Empson, and the Language of Propaganda

2020 ◽  
pp. 1-22
Author(s):  
Stefan Collini
Keyword(s):  
Critical Analysis ◽  
English Language ◽  
Second World War ◽  
George Orwell ◽  
Fake News ◽  
World War ◽  
Complex Words ◽  
Basic English ◽  
Second World

George Orwell and William Empson worked closely together at the BBC during the Second World War and they remained friends thereafter. In The Structure of Complex Words (1951) Empson paid surprisingly serious attention to the view of language expounded in Nineteen Eighty-Four, seeing in Orwell's presentation of the meaningless slogans of totalitarianism, such as “War Is Peace,” a challenge to his own more rationalistic analysis of how language works. This article first explores the development of Orwell's thinking about language, including his engagement with Basic English (which Empson helped to propagate); a particularly close, and critical, analysis is given of his celebrated essay “Politics and the English Language.” Orwell's views are then contrasted with Empson's unpacking of the interplay of multiple senses within individual words, demonstrating that even the most extreme propaganda statements need to draw upon and respect the mechanics of meaning as embodied in such words if they are to be persuasive. Intellectual historians have much to learn from these exchanges, as do contemporary analysts of “fake news” and authoritarian bombast more generally.

Falls and rises: meanings and universals

1981 ◽  
Vol 17 (1) ◽  
pp. 77-91 ◽  
Author(s):  
Alan Cruttenden
Keyword(s):  
English Language ◽  
Language Teaching ◽  
Second World War ◽  
English Language Teaching ◽  
Real Problem ◽  
World War ◽  
Discourse Function ◽  
The Real ◽  
Second World

The study of intonation has gone through phases in which it has been fashionable to ascribe the meaning of intonation to one particular sort of function.1 Most traditionally that function has been grammatical (see, e.g., the earliest British attempts at intonation analysis (e.g. Butler, 1634) and many recent textbooks on English language teaching). More recently (i.e. since the second world war), speakers' attitude has often been taken as most important (e.g. Pike, 1945; Kingdon, 1958). In the light of current fashion, the discourse function is often seen as most important (e.g. Brazil,, 1975, 1978; Pilch, 1977).I argue in this article that intonation operates with its own set of meanings which are of higher abstraction than those of grammar, attitude or discourse; and that it is only at a lower level that these meanings of higher abstraction become relevant to one or more of these functions (in so far as the functions can in any case be clearly separated). Such a hypothesis is relevant to the question of how intonation is acquired by children (where the real problem for investigators has always been WHAT exactly is being acquired). It is also important to questions of cross-dialectal intonational translation (whether across social or regional boundaries) and also to possible intonation universals.

Australian Poetry, 1940s–1960s

2017 ◽  
Author(s):  
Peter Kirkpatrick
Keyword(s):  
The United States ◽  
Second World War ◽  
World War ◽  
Avant Garde ◽  
Political Debates ◽  
American Tradition ◽  
Bona Fide ◽  
Anglo American ◽  
Poetic Culture ◽  
Second World

When situating 20th-century Australian poetry within world literary space, critical histories often map it against the Anglo-American tradition and find it wanting. In particular, and despite the strong reputations that poets such as Judith Wright and A. D. Hope continue to enjoy, there is a tendency to regard Australian poetry from the Second World War until the mid-1960s as variously complacent, insular, or retrograde: representative of what John Tranter in his introduction to The New Australian Poetry in 1979 called “a moribund poetic culture.” Certainly, there was a turning away from avant-garde experimentalism in the immediate postwar period (as there was in Britain and the United States), but in Australia, this has been linked to a discrediting of modernism as a result of the Ern Malley hoax. In the Malley “affair,” as Michael Heyward dubbed it, two conservative poets hoodwinked the editor of the avant-garde journal Angry Penguins with a suite of poems written by a wholly invented working-class surrealist. As a result, according to Wright (among others), Australian poets became less adventurous in favor of more traditional forms. On top of this, recent revisionist accounts of the hoax have virtually canonized “Malley” himself as a bona fide modernist and so exacerbated a sense of lost opportunity after the mid-1940s. Yet modernizing impulses may take many forms, and it is an overstatement to suggest that innovation had ceased, or that the poetry of this period was somehow disengaged from the rest of the world or from international literary-political debates. A reassessment shows that Australian poets were keenly engaged with the questions of their time but also dealt with the persistent, unresolved problem of how to become “unprovincial,” overcoming a cultural cringe that now gravitated away from Britain and toward America. In fact, for Australian literature prior to the emergence of Patrick White, poetry, rather than beating a retreat, actually led the way forward. It is time, then, to reconsider the poetry of the postwar era within its own cultural ecologies, acknowledging that Australian poetic modernism, while it remains contested, may also be distinctive.

scholarly journals The Neo-Colonial Political Economy of Scholarly Publishing: Its UK-US Origins, Maxwell’s Role, and Implications for Sub-Saharan Africa

2021 ◽  
pp. 1-9
Author(s):  
Eve Gray
Keyword(s):  
English Language ◽  
Second World War ◽  
Scholarly Publishing ◽  
Sub Saharan Africa ◽  
Academic Publishing ◽  
German Language ◽  
World War ◽  
Sub Saharan ◽  
Post War ◽  
Second World

The prevailing dynamics of today’s global scholarly publishing ecosystem were largely established by UK and US publishing interests in the years immediately after the Second World War. With a central role played by publisher Robert Maxwell, the two nations that emerged victorious from the war were able to dilute the power of German-language academic publishing—dominant before the war—and bring English-language scholarship, and in particular English-language journals, to the fore. Driven by intertwined nationalist, commercial, and technological ambitions, English-language academic journals and impact metrics gained preeminence through narratives grounded in ideas of “global” reach and values of “excellence”—while “local” scholarly publishing in sub-Saharan Africa, as in much of the developing world, was marginalised. These dynamics established in the post-war era still largely hold true today, and need to be dismantled in the interests of more equitable global scholarship and socio-economic development.

Diaries Real and Fictional in Twentieth-Century French Writing

2018 ◽  
Author(s):  
Sam Ferguson
Keyword(s):  
Twentieth Century ◽  
Life Writing ◽  
Second World War ◽  
Andre Gide ◽  
World War ◽  
Avant Garde ◽  
Diary Writing ◽  
Second World ◽  
The Way

This is the first study of the diary in French writing across the twentieth century, as a genre including both fictional and non-fictional works. From the 1880s it became apparent to writers in France that their diaries (or journaux intimes) – a supposedly private form of writing – would probably come to be published, strongly affecting the way their readers viewed their other published works, and their very persona as an author. More than any other, André Gide embraced the literary potential of the diary: the first part of this book follows his experimentation with the diary in the fictional works Les Cahiers d’André Walter (1891) and Paludes (1895), in his diary of the composition of his great novel, Le Journal des faux-monnayeurs (1926), and in his monumental Journal 1889–1939 (1939). The second part follows developments in diary-writing after the Second World War, inflected by radical changes in attitudes towards the writing subject. Raymond Queneau’s works published under the pseudonym of Sally Mara (1947–1962) used the diary playfully at a time when the writing subject was condemned by the literary avant-garde. Roland Barthes’s experiments with the diary (1977–1979) took it to the extremes of its formal possibilities, at the point of a return of the writing subject. Annie Ernaux’s published diaries (1993–2011) demonstrate the role of the diary in the modern field of life-writing, especially in comparison with autobiography. Throughout the century, the diary has repeatedly been used to construct an œuvre and author, but also to call these fundamental literary concepts into question.

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