Reflections of the Contemporary Schizophrenia in Josef Berg’s Two Versions of Johanes doktor Faust

Author(s):  
Martin Flašar

Czech music has a lengthy tradition of Faustian settings extending back to the nineteenth century. Two important Faust compositions from the mid-twentieth century were created by the composer, writer, and poet Josef Berg. Berg’s position in post–World War II music resembled the story of Doctor Faustus in that he was faced with the choice of an official existence provided by the Czechoslovak Composers' Union or a life in isolated opposition. After starting his career as an optimistic supporter of communism, Berg shifted to a critical mode involving irony and parody. In the 1960s, Berg worked on two different adaptations of the Faust theme entitled Johanes doktor Faustus (Johanes Doctor Faustus). The first was created as a chamber opera for three persons and a small ensemble, while the second was conceived as a grand opera inspired by the poetics of folk puppet theater.

2018 ◽  
Vol 3 ◽  
pp. 1-34
Author(s):  
Lorne D. Bruce

This article undertakes a historical survey of university and college library developments in Canada between 1945 and 1960. It examines contemporary accounts in relation to library architecture, the acquisition and organization of collections, administrative library structures and staffing, services for faculty and students, and efforts by librarians to realize professional standing. A national review of academic libraries and librarianship expands our knowledge beyond the typical themes applied to this era: "growth" and "progress." The architectural redefinition of libraries, the impetus to establish research collections, the maturation of academic librarianship, and the increasing complexity of library operations were prominent features in the postwar period. The gradual evolution of academic libraries towards more-uniform organizational purposes and structures on a national basis following World War II can be considered a period of “midcentury modernization” that preceded the more memorable and better documented decades of the 1960s and later.


2013 ◽  
Vol 38 (1) ◽  
pp. 37-52
Author(s):  
Balázs Fekete

This article discusses the revival of comparative law in Hungarian Socialist jurisprudence. Prior to World War II, the development of comparative law generally had followed international trends; however, it was disrupted at both a personal and an institutional level at the end of the 1940s due to the Marxist-Leninist turn of legal thinking that accompanied the introduction of a Communist regime in the country. Nonetheless, this rejection of comparative law was gradually replaced by a more open attitude that strongly supported participation in the international comparative-law movement from the 1960s. Imre Szabó and Gyula Eörsi played a prominent role in this transformation. They legitimized the use of comparative methods in Socialist jurisprudence and, also, created a plausible conceptual framework for Socialist comparative law.


Res Publica ◽  
1986 ◽  
Vol 28 (1) ◽  
pp. 111-137
Author(s):  
Theo Berben ◽  
Joop Roebroek ◽  
Göran Therborn

Social security systems differ not only in size, hut also in form. These forms have often been more controversial than the size of social expenditure. Different social forces have different conceptions of social security.Here is looked into the post-World War II settlements with regard to social security in Austria, Belgium, Britain, France, Germany, and the Netherlands, with a further glance at Denmark, Italy, Norway and Sweden. It is argued, that the labour movement had a particular vision of social security, which was carried through where the labour had the political majority and was defeated where it was a minority. Postwar developments derive form this settlement, which is more visible in the current crisis than in the 1960s - early 1970s period of expansion.


2021 ◽  

Assessments of Dwight D. Eisenhower’s performance as the Supreme Allied Commander during World War II and the nation’s thirty-fourth president have evolved across the more than seventy-five years from the conclusion of World War II in 1945 to the dedication in 2020 of the Dwight D. Eisenhower Memorial in Washington, DC. Historians have sought to explain Eisenhower’s unlikely rise from his modest upbringing in Abilene, Kansas, to his ascendance to command of western allies in the European theater. Selected over several senior officers in 1942 to command the invasion of North Africa (Operation Torch), Eisenhower initially experienced a series of setbacks and controversies resulting from inexperienced troops, incompetent subordinate leaders, a formidable enemy, and political deals with leaders of Vichy France. Although historians continue to debate his decisions regarding command and strategy in the European theater, they generally praise Eisenhower’s ability to maintain the western alliance amid national rivalries, professional jealousies, strong personalities, and competing political ambitions. Assessments of Eisenhower’s performance as president have undergone a remarkable transformation. Initially ranked in 1961 near the bottom in assessments of presidential leadership, he currently appears within the top tier. Initial accounts in the 1960s portrayed Eisenhower as a bumbling, docile president who appeared to be out of touch with the basic policies and operations of his administration. He appeared unwilling to address the major issues confronting American society, and to defer to his Secretary of State, John Foster Dulles, on matters of foreign policy and national security. For his critics, Eisenhower perilously, inflexibly, and imprudently relied upon the superiority of the nation’s nuclear arsenal to contain communist expansion, then allowed the Soviet Union to beat the United States into space and create a missile gap. Scholars collectively labeled “Eisenhower Revisionists” assessing declassified documents beginning in the mid-1970s forged a revised consensus that Eisenhower was clearly thoughtful, informed, and firmly in command of his administration. Moreover, the nation’s nuclear arsenal retained and even strengthened its predominance of power. “Postrevisionist” analysts generally concur that Eisenhower was clearly the dominant decision-maker and developed an effective policy development process, but they question the efficacy of some of his decisions and policies, including his management of crises in this dangerous period of the Cold War, his increased use of covert operations and propaganda, his approach to decolonization, and his efforts to ease tensions and slow the nuclear arms race.


Author(s):  
Keith L. Camacho

This chapter examines the creation and contestation of Japanese commemorations of World War II in the Mariana Islands. As an archipelago colonized by Japan and the United States, the Mariana Islands have become a site through which war memories have developed in distinct and shared ways. With respect to Japanese commemorations, the analysis demonstrates why and how they inform and are informed by Chamorro and American remembrances of the war in the Mariana Islands. By analyzing government, media, and tourist accounts of the war from the 1960s to the present, I thus show how we can gain an understanding and appreciation for the complex ways by which Japanese of various generations reckon with a violent past.


2021 ◽  
pp. 323-350
Author(s):  
Jon D. Wisman

The United States was an anomaly, beginning without clear class distinctions and with substantial egalitarian sentiment. Inexpensive land meant workers who were not enslaved were relatively free. However, as the frontier closed and industrialization took off after the Civil War, inequality soared and workers increasingly lost control over their workplaces. Worker agitation led to improved living standards, but gains were limited by the persuasiveness of the elite’s ideology. The hardships of the Great Depression, however, significantly delegitimated the elite’s ideology, resulting in substantially decreased inequality between the 1930s and 1970s. Robust economic growth following World War II and workers’ greater political power permitted unparalleled improvements in working-class living standards. By the 1960s, for the first time in history, a generation came of age without fear of dire material privation, generating among many of the young a dramatic change in values and attitudes, privileging social justice and self-realization over material concerns.


Author(s):  
Lorenzo Gradoni

Against the prevailing opinion, the present chapter argues that the impact of Marxism on Italian international legal scholarship, although quantitatively marginal, has been important and fruitful, so much so that its rediscovery should not be seen as merely a matter of antiquarian interest. This minor tradition of legal studies failed to take root in the first quarter of a century after World War II, despite the endorsement of a powerful communist party. Cultural changes that took place in the 1960s reverberated throughout international legal scholarship only during the 1970s. Although Marxist international legal studies subsided within the space of a few years they produced a significant body of work whose pioneering character and unsurpassed subtlety should be acknowledged in the context of current revivals of Marxist legal studies.


Author(s):  
Anne Gray

Russell Drysdale was an Australian artist who created an original vision of the Australian landscape from the 1940s to the 1960s, portraying the emptiness and loneliness of the Australian outback and country townships in his paintings, drawings, and photographs. During World War II, he depicted everyday subjects, including groups of servicemen waiting at railway stations. He traveled numerous times to the interior of Australia, including a trip to record the drought devastation in South Western New South Wales in 1944, where he created images that convey the environmental degradation of the landscape. In 1947, he explored the Bathurst region with Donald Friend where he discovered Sofala and Hill End, an area that served as the subject matter for his art for a number of years. Drysdale painted many images of deserted country towns as well as brooding landscapes peopled with stockmen and station hands. In his paintings of Aborigines, Drysdale expressed a deep concern for the Indigenous people, often placing them within his paintings in a manner that conveys a sense of dispossession. His work was singled out by Kenneth Clark in 1949 as being among the most original in Australian art, and his exhibition at the Leicester Galleries, London, in 1950 convinced British critics that Australian artists had an original vision.


Author(s):  
Helen Ennis

Australian photographer Max Dupain distinguished himself as a professional and artistic presence from the 1930s well into the 1970s. His earliest works were in the Pictorialist style, but by the mid-1930s he had become an ardent modernist—using sharp focus, bold and geometric compositions, and contemporary subject matter. Dupain was strongly influenced by vitalist philosophy, the work of Australian artist Norman Lindsay, the photography of Man Ray, Margaret Bourke-White, and Edward Steichen, as well as writer D.H. Lawrence. The son of Ena and George Dupain, Max Dupain lived in Sydney his entire life. He joined the studio of Cecil Bostock in 1930, taking night classes at East Sydney Technical College and the Julian Ashton School of Art. In 1934 he opened his own studio and quickly established his reputation in fashion, advertising, and celebrity portraiture. After World War II he reoriented his practice towards industry and government assignments, favoring a documentary approach. During the 1960s and 1970s, he specialized in architectural photography. Dupain’s photography is distinguished by its physicality and embrace of Australian sunlight and conditions (as seen in Sunbaker, his best-known work). He also regularly wrote on photography, contributing spirited reviews to the Sydney Morning Herald. His work was widely exhibited and published and is held in numerous public collections.


Author(s):  
Neilton Clarke

Gutai Art Association [Gutai Bijutsu Kyōkai] [具体美術協会] was an influential post-World War II Japanese avant-garde collective with an outward-looking mindset. Founded in 1954 in Ashiya, near Osaka, by Japanese artist Jirō Yoshihara (1905–1972), it had fifty-nine members over the course of its eighteen-year lifespan. Gutai—meaning ‘‘embodiment’’ and ‘‘concreteness’’—saw its artists engage a plethora of media and presentation contexts, often beyond gallery walls and frequently with more emphasis upon process than on finished product. A unifying factor among its multifarious tendencies was a spirit of adventure, exemplified by Yoshihara’s oft-cited call to ‘‘do what no one has done before.’’ Embracing performance, theatricality, and outdoor manifestations, with a characteristic impromptu modus operandi, Gutai’s experimental tendencies and liberal ideals breathed new life into art and into a society remaking itself following the cataclysm and repressions of World War II. As Japan entered the 1960s, consolidating its economy and engagement with the rest of the world, the decidedly offbeat stance of Gutai’s earlier years assumed a cooler demeanor, due in part to nation-wide technological advancement, growing internationalism, and an evolving audience base and receptivity. The Gutai group disbanded following Yoshihara’s passing in 1972.


Sign in / Sign up

Export Citation Format

Share Document