Legend: From Einfache Formen (“Simple Forms”)

PMLA ◽  
2013 ◽  
Vol 128 (3) ◽  
pp. 728-743
Author(s):  
André Jolles ◽  
Peter J. Schwartz
Keyword(s):  
World War I ◽  
Cultural History ◽  
Middle Ages ◽  
Art History ◽  
World War ◽  
Ancient Greek ◽  
Stage Design ◽  
Italian Poetry ◽  
Habilitation Thesis ◽  
The One

Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.

A Fontana de Lutécia: Contos Virais

2021 ◽  
Author(s):  
Wilson Alves de Paiva
Keyword(s):  
World War I ◽  
Middle Ages ◽  
Ancient Greece ◽  
World War ◽  
Marcus Aurelius ◽  
The North ◽  
The World ◽  
Spanish Flu ◽  
The Village ◽  
Water Spring

A fictional book with five short stories that address the main pandemics in the world. The first story takes place in Ancient Greece, in 428 BC at the time of the Peloponnesian War. Tavros, the main character flees the plague by traveling to Gaul and discovers a mysterious water spring near the village of the Parisii. In AD 166, when Rome, is devasted by the plague, Marcus Aurelius sends out soldiers to the North. One of them, Lucius, arrives in the region of Lutecia and finds the same fountain that Tavros had been to. The water from this spring gives him strength to escape from the persecution of Christians and Jews. In his old age, Lucius becomes a Church elder and writes letters. One of them was read, many centuries later, by a Franciscan Parisian monk during the Middle Ages, who decides to pilgrimage to Jerusalem but is surprised by the Black Death. Back home, he is saved by the water spring, builds an orphanage and has his life converted into a book - which is red by a young journalist who takes the ship Demerara with his fiancée to Brazil in order to avoid the World War I, the Spanish flu and some Russian spies. The last story is about a Brazilian professor, called Lucius Felipe who, in 2019, travels to Paris to develop his postdoctoral studies. Unfortunately he has to return to Brazil due to the COVID-19 pandemic. But not before having visited Lutetia’s fountain and felt its power and the memories it holds.

Igołomia i Wawrzeńczyce – dwa kościoły przy Wielkiej Drodze / Igołomia and Wawrzeńczyce – two churches by the Great Road

2020 ◽  
pp. 175-203
Author(s):  
Monika Kamińska
Keyword(s):  
World War Ii ◽  
World War I ◽  
Middle Ages ◽  
18Th Century ◽  
Virgin Mary ◽  
World War ◽  
Mary Magdalene ◽  
Parish Church ◽  
History Of ◽  
The Church

The parish churches in Igołomia and Wawrzeńczyce were founded in the Middle Ages. Their current appearance is the result of centuries of change. Wawrzeńczyce was an ecclesial property – first of Wrocław Premonstratens, and then, until the end of the 18th century, of Kraków bishops. The Church of St. Mary Magdalene was funded by the Bishop Iwo Odrowąż. In 1393 it was visited by the royal couple Jadwiga of Poland and Władysław Jagiełło. In the 17th century the temple suffered from the Swedish Invasion, and then a fire. The church was also damaged during World War I in 1914. The current furnishing of the church was created to a large extent after World War II. Igołomia was once partly owned by the Benedictines of Tyniec, and partly belonged to the Collegiate Church of St. Florian in Kleparz in Kraków. The first mention of the parish church of the Nativity of the Blessed Virgin Mary comes from the first quarter of the fourteenth century. In 1384, a brick church was erected in place of a wooden one. The history of the Igołomia church is known only from the second half of the 18th century, as it was renovated and enlarged in 1869. The destruction after World War I initiated interior renovation work, continuing until the 1920s.

Art and Propaganda

Art History ◽  
2017 ◽  
Author(s):  
Evonne Levy
Keyword(s):  
World War Ii ◽  
Cold War ◽  
World War I ◽  
Digital Media ◽  
Art History ◽  
World War ◽  
Post Cold War ◽  
Political Upheaval ◽  
Art Historians ◽  
The Cold War

The rise of the propaganda production in World War I coincided with art history’s consolidation as a discipline. Immediately, the modern category “propaganda” was taken up to describe the relations between art, politics (sacred and secular), and power. After World War II, and in the Cold War, the use of the word “propaganda” shifted and many North American and European art historians resisted the categorization of “art” (associated with freedom) and propaganda (associated with fascist instrumentalization), although historians were less troubled by its use for “images.” The end of the Cold War loosened the prohibition on the term, though many art historians still prefer cognate terms, “persuasion” or “rhetorical,” when pointing to the key element of audience and effectiveness; similarly, many speak of “power,” “politics,” or “ideology” when pointing to institutions and their messages. Because there are alternatives for “propaganda,” the emphasis here is on the literature that have engaged the term itself and the problems it poses to art history, including its ongoing toxicity. Because propaganda arts are so closely associated with the modern regimes that perfected their use (communist Russia, fascist Italy, Nazi Germany), one of the major questions in the art historical literature is the appropriateness of the concept before the 20th century and for nonautocratic regimes. While some periods have attracted the term more than others, since Foucault and post–Cold War, there has been at once an understanding of all institutions, sacred and secular, as imbricated in power relations and on the other, a relaxation of rigid definitions of propaganda as “deceptive” or “manipulative.” These factors have opened scholars in art history considerably to a use of the term, although a reductive understanding of propaganda as inherently deceptive still persists. Three main criteria were used in compiling this article: periods of political upheaval or change in government that have attracted the term in particularly dense ways and generated dialogue over these issues; works that explicitly frame the study of objects as propaganda or substitute terms, rhetoric, persuasion, and ideology; and works by historians of images that explicitly engage with the category of propaganda (excluding, with a few exceptions, popular forms like posters as well as film, television, and digital media). Whenever possible, propaganda’s specificity is insisted on here in relation to art, for art poses special problems to the use of the word propaganda, and its invocation in art history often makes an explicit point.

Factionalism Among Syrian Nationalists During the French Mandate

1981 ◽  
Vol 13 (4) ◽  
pp. 441-469 ◽  
Author(s):  
Philip S. Khoury
Keyword(s):  
World War Ii ◽  
World War I ◽  
Preliminary Investigation ◽  
Early Years ◽  
World War ◽  
Arab Nationalism ◽  
Independence Movement ◽  
French Mandate ◽  
The One ◽  
The Military

It is ironic and perhaps telling that the one national independence movement largely ignored by historians of the Arab Middle East is the Syrian nationalist movement. The irony, of course, is that the birthplace of Arab nationalism was Syria; it was to Damascus that Arab nationalists in Palestine, Iraq and elsewhere looked for inspiration, guidance, and moral support in the interwar period; and out of the Syrian movement sprang the radical nationalism of the Ba'thists. Intellectual histories of the precursors, birth, and content of Arab nationalism abound, and, insofar as these histories deal with the birthplace of Arab nationalism, they must discuss Damascus and Syria just prior to and during World War I. But once the intellectual birth of Arab nationalism has been discussed, interest in the history of Syria wanes to be revived only after World War II, with the emergence of Ba'thism and the military in politics. What follows is by no means a comprehensive analysis of the nature and organization of the Syrian national independence movement; rather, it is a preliminary investigation of some salient characteristics of the politics of Syrian-Arab nationalism in the early years of the French Mandate.

Overseas History in the Netherlands after the Second World War. Historical Backgrounds, Modern Developments, Present-Day Situation

Itinerario ◽  
1994 ◽  
Vol 18 (2) ◽  
pp. 97-115
Author(s):  
H.L. Wesseling
Keyword(s):  
History Of Science ◽  
Art History ◽  
Second World War ◽  
World War ◽  
Spiritual Climate ◽  
History Of Art ◽  
History Of ◽  
The One ◽  
Second World ◽  
Or History

Is history science or art? This is a problem which has been on people's minds for more than a century and certainly it is an interesting question. But within the framework of this contribution it is not really important, for, whether one practises art history or history of science, one faces the same problem. On the one hand such a history is first and foremost a history of the work and achievements of individuals. A history of science which does not deal with the work of Copernicus, Newton and Einstein is as useless as a history of art in which Rembrandt, Rubens and Michelangelo do not figure. Art and history are and will remain foremost the work of individuals of genius. On the other hand it is also true that a history of art or science which confines itself exclusively to a series of sketches of individuals and their work is not satisfactory either. Artists and scientists do not work within a vacuum. As one discerns tendencies and trends in art, likewise within the field of science one finds schools and paradigms. In order to understand works of art and science we have to look closely at influences and examples, at the time-spirit, the spiritual climate, et cetera.

Safekeeping and Sifting: Observations on the German Reformed Tradition, 1900-1930

2012 ◽  
Vol 6 (2) ◽  
pp. 143-164
Author(s):  
Georg Plasger
Keyword(s):  
World War I ◽  
Karl Barth ◽  
The Other ◽  
World War ◽  
National Socialist ◽  
Nineteen Twenties ◽  
Reformed Tradition ◽  
Other Hand ◽  
The One ◽  
National Socialist Era

Abstract The German Reformed tradition between 1900 and 1930 has received little interest. Much more attention has been given to the Reformed churches during the National Socialist era and on acknowledging the massive influence of Karl Barth. The article gives an overview of the minority denomination of the Reformed confession in Germany. On the one hand we see that the Reformierte Bund, founded in 1884, breaks up during the Calvin jubilee of 1909. On the other hand, the crisis after World War I brought further difficulties. In the nineteen-twenties, a discussion grew about the function of the Reformed Confessions—are they to be kept intact and normative (so the Young Reformed line) or should they function to sift and sort out what is needed in each era and location (so Karl Barth)?

scholarly journals Deutsch als Minderheitensprache

2021 ◽  
Vol 45 (1) ◽  
pp. 7
Author(s):  
Claudia Maria Riehl ◽  
Rahel Beyer
Keyword(s):  
World War I ◽  
Early Modern ◽  
Middle Ages ◽  
Language Contact ◽  
Historical Overview ◽  
World War ◽  
Modern Times ◽  
German Speaking ◽  
Early Modern Times ◽  
The Middle Ages

<p>This contribution focusses on varieties of German which are spoken in extraterritorial German communities. Many of these groups go back to emigration in the Middle Ages or in Early Modern Times and have developed a specific koiné which is characterized by dialect merger and language contact with the surrounding languages. Another group are so-called "border minorities", extraterritorial communities that emerged after World War I and are bordering German-speaking countries. The article first provides a historical overview of the various German-speaking minorities. Then, the different sociolinguistic settings of the respective language communities are addressed and illustrated by examples of communities with a different sociolinguistic and linguistic background.</p><p> </p>

Sign in / Sign up

Export Citation Format

Share Document