scholarly journals The image of Berlin in the works of “New objectivity” artists of the 1920-s

2020 ◽  
Author(s):  
Мария Андреевна Беликова
Keyword(s):  
Everyday Life ◽  
Urban Life ◽  
Left Wing ◽  
Subjective Experiences ◽  
Class Inequality ◽  
New Objectivity ◽  
Weimar Germany ◽  
Critical Orientation ◽  
Social Insecurity

В статье рассматриваются произведения немецких художников представителей направления новая вещественность , в которых отражена берлинская жизнь 1920-х годов. Автор анализирует работы, посвященные городской тематике, созданные Г. Гроссом, Р. Шлихтером, К. Хуббухом, О. Диксом, Г. Вундервальдом в период их проживания в столице Веймарской Германии. Будучи в идейной оппозиции с экспрессионизмом как стилем и мировоззрением, вышеупомянутые авторы создали в своих произведениях иной образ Берлина, наполненный не субъективными переживаниями и впечатлениями, а сконструированный из объективных характеристик столичной жизни. В стремлении запротоколировать окружающую действительность художники критически подходили к выбору сюжетов городской жизни, предпочитая преимущественно темы социально-критической направленности. В этой связи на фоне увлечения левыми идеями художников интересовали проблемы классового неравенства, социальной незащищенности, бедности, проституции, которые ярко проявились в берлинской жизни 1920-х годов. Таким образом, художники превратились в своеобразных бытописателей жизни мегаполиса, которым уже стал Берлин в исследуемый период, и запечатлевали в своих работах не только жизнь и виды центральных, наиболее известных и привлекательных районов Берлина, но и его наиболее неприглядные промышленные окраины, в которых жило малоимущее население. The article deals with the works of new objectivity artists, which reflect Berlin urban life of the 1920s. The author analyses the works by G. Grosz, R. Schlichter, K. Hubbuch, O. Dix, G. Wunderwald devoted to urban themes within the period of their residence in the capital of Weimar Germany. Being in ideological opposition to expressionism both as a style and worldview, the above-mentioned authors created in their works a different image of Berlin, filled not with subjective experiences and impressions, but rather constructed from the objective features of the metropolitan life. In their effort to record the surrounding reality, the artists critically approached the choice of urban lifes subjects, preferring mainly themes of social and critical orientation. In this regard, against the backdrop of left-wing ideas, artists were tend to depict the problems of class inequality, social insecurity, poverty, prostitution, which clearly manifested themselves in Berlin life of the 1920s. Thus, artists turned into a kind of painters of everyday life scenes of the metropolis and captured in their works not only the life and views of the central, most famous and attractive Berlin areas, but also its most unsightly industrial suburbs, where the underclass lived. In the course of the analysis, the author reveals the aesthetics intrinsic to the most of the works under consideration the so-called aesthetics of the ugliness.

scholarly journals »Heimat im Koffer.« – »Oder über das Emigrantendasein. (Falls nicht zu traurig).«

Aschkenas ◽  
2014 ◽  
Vol 24 (2) ◽  
Author(s):  
Joachim Schlör
Keyword(s):  
United States ◽  
New York ◽  
Popular Music ◽  
Everyday Life ◽  
The United States ◽  
National Socialist ◽  
Weimar Germany ◽  
Musical Traditions ◽  
German Jewish ◽  
Insight Into

AbstractThe idea to create and stage a play called »Heimat im Koffer« – »A home in the suitcase« – emerged, I presume, in Vienna shortly before Austria became part of National Socialist Germany in 1938: the plot involved the magical translocation of a typical Viennese coffeehouse, with all its inhabitants and with the songs they sang, to New York; their confrontation with American everyday life and musical traditions would create the humorous situations the authors hoped for. Since 1933, Robert Gilbert (Robert David Winterfeld, 1899–1978), the son of a famous Jewish musician and himself a most successful writer of popular music for film and operetta in Weimar Germany, found himself in exile in Vienna where he cooperated with the journalist Rudolf Weys (1898–1978) and the piano artist Hermann Leopoldi (1888–1959). Whereas Gilbert and Leopoldi emigrated to the United States and became a part of the German-Jewish and Austrian-Jewish emigré community of New York – summarizing their experience in a song about the difficulty to acquire the new language, »Da wär’s halt gut, wenn man Englisch könnt« (1943) – Weys survived the war years in Vienna. After 1945, Gilbert and Weys renewed their contact and discussed – in letters kept today within the collection of the Viennese Rathausbibliothek – the possibility to finally put »Heimat im Koffer« on stage. The experiences of exile, it turned out, proved to be too strong, and maybe too serious, for the harmless play to be realized, but the letters do give a fascinating insight into everyday-life during emigration, including the need to learn English properly, and into the impossibility to reconnect to the former life and art.

The Brazilian Public Health in Contemporary Capitalism

2018 ◽  
Vol 48 (4) ◽  
pp. 760-775 ◽  
Author(s):  
Virgínia Junqueira ◽  
Áquilas N. Mendes
Keyword(s):  
Public Debt ◽  
Labor Rights ◽  
Private Capital ◽  
Left Wing ◽  
Public Fund ◽  
Popular Resistance ◽  
Unified Health System ◽  
Brazilian Government ◽  
Social Insecurity ◽  
The Right

This article examines some political and economic facts that led to an intensification of austerity measures by the Brazilian government, including ones against the Unified Health System (SUS) and its progressive dismantling. In a country where fundamental human rights were never fully respected, nowadays social and labor rights are under severe attacks. The deepening of the capital crisis and the rise of interest-bearing capital dominance have been causing unemployment, social insecurity growth, and resulting public fund appropriation by the private capital. The Brazilian governments in the 1990s and 2000s have implemented deeper cuts in social policy expenditure, freezing security benefits, privatizing services, and prioritizing the payment of public debt interests. The right wing’s project involves the demoralization of not only the Workers’ Party but also the left as a whole, so that the adoption of austerity measures could be achieved without popular resistance. It is the duty of the Brazilian left wing to denounce such a project and to provoke firm initiatives to rebuild its bonds with the working class.

Neue Sachlichkeit in Visual Arts [New Objectivity in Visual Arts]

2018 ◽  
Author(s):  
Michael Mackenzie
Keyword(s):  
Visual Arts ◽  
Right Wing ◽  
Left Wing ◽  
Still Life ◽  
Social Commentary ◽  
Local Color ◽  
New Objectivity ◽  
Neue Sachlichkeit ◽  
Contour Lines ◽  
The Right

Neue Sachlichkeit, which can be translated as "New Objectivity," was the name given to a tendency in painting which, from about 1921 on, returned to something like traditional compositional and representational codes, eschewed vehemence of any kind, "Primitivism," and even painterliness, while emphasizing unbroken contour lines and unbroken local color. Painters depicted conventional subject matter such as still life, landscapes, and portraits with the pictorial means of sculptural volume, perspectival space, natural proportions, and unbroken, evenly modulated tonal values which had dominated painting since the Renaissance but which had been systematically dismantled by Modernism. The tendency received its name with an exhibition at the Mannheim Kunsthalle in 1925, organized by Gustav Friedrich Hartlaub, although art critics had sought to name and define it since 1920, and explicitly in opposition to an Expressionism widely perceived as moribund. Hartlaub described what he saw as a split in the overall tendency, with an inclination toward traditionalism and classicism on the "right" wing, and toward aggressively critical social commentary and a propensity to exaggeration and caricature on the "left" (although Hartlaub denied that there was any political significance to his terminology of "left" and "right," the artists assigned to the "left" wing were either active in or openly sympathetic to the left wing of German politics).

The manipulations of time: On the temporal embeddedness of urban insecurity

Urban Studies ◽  
2017 ◽  
Vol 56 (4) ◽  
pp. 836-851 ◽  
Author(s):  
Daniel E Agbiboa
Keyword(s):  
Everyday Life ◽  
Linear Time ◽  
Urban Life ◽  
Future Time ◽  
Popular Imagination ◽  
Flow Of Time ◽  
Popular Arts ◽  
Sub Saharan ◽  
The City ◽  
Structure Of Everyday Life

Turning the table on Henri Lefebvre’s argument that the structure of everyday life is closely associated with the non-accumulative routing of cyclical or immanent time whereas it lags behind the forward-moving linear or transcendent time, I argue that cyclical and linear time are in fact intertwined in lived reality and popular imagination. This suggests that the ebb and flow of time cannot be grasped in rigidly binary terms such as the opposition of cyclical and linear time. Interrogating popular arts like the entextualised slogans painted on the mobile bodies of commercial minibus-taxis ( danfos) and tricycles ( keke napeps) in Nigeria’s – and in fact, sub-Saharan Africa’s – most populous city, I argue that the interaction of these seemingly conflicting representations of time affects and ultimately shapes the grounds of our meaning(lessness), (in)security and being-in-the-city. At these interfaces and interstices of conflicting notions of time, and in the interchange between familiar and unfamiliar termini, a powerful sense of unknown (or future) time can emerge, which in turn reinforces the need for a more experimental re-positioning and re-orientation in everyday urban life.

THE INTELLECTUAL MIGRATION AND THE “OTHER WEIMAR”

2015 ◽  
Vol 14 (2) ◽  
pp. 597-606
Author(s):  
NOAH B. STROTE
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Intellectual History ◽  
The United States ◽  
The Other ◽  
Left Wing ◽  
Weimar Germany ◽  
Jewish Heritage ◽  
The Us ◽  
History Of

These two books bring fresh eyes and much-needed energy to the study of the intellectual migration from Weimar Germany to the United States. Research on the scholars, writers, and artists forced to flee Europe because of their Jewish heritage or left-wing politics was once a cottage industry, but interest in this topic has waned in recent years. During the height of fascination with the émigrés, bookstores brimmed with panoramic works such as H. Stuart Hughes's The Sea Change: The Migration of Social Thought, 1930–1965 (1975), Lewis Coser's Refugee Scholars in America: Their Impact and Their Experiences (1984), and Martin Jay's Permanent Exiles: Essays on the Intellectual Migration from Germany to America (1985). Now, while historians still write monographs about émigré intellectuals, their focus is often narrowed to biographies of individual thinkers. Refreshingly, with Emily Levine's and Udi Greenberg's new publications we are asked to step back and recapture a broader view of their legacy. The displacement of a significant part of Germany's renowned intelligentsia to the US in the mid-twentieth century remains one of the major events in the intellectual history of both countries.

scholarly journals ELECTRIFICATION, URBAN LIFE AND THE ROLE OF WOMEN

2020 ◽  
Vol 1 (31) ◽  
pp. 6-29
Author(s):  
Odette Seabra
Keyword(s):  
Everyday Life ◽  
Urban Space ◽  
Social Reproduction ◽  
Electric Energy ◽  
Urban Life ◽  
Energy Utilization ◽  
Technological Innovations ◽  
Job Market ◽  
Role Of Women

Technological innovations have significantly changed the society in many ways. This paper analyses the major changes caused by the development and the spread of electric energy utilization in the production of urban space, in labour, in the organization of family and households, in everyday life and in the role of women, such as the changes brought to the households as an outcome of the introduction of everyday technologies in them, as well as in the role they play, whether in the job market, in the artistic and political vanguards and in the fight for rights, as well as in their role of household management as the person responsible for maintaining the conditions of social reproduction of their families. This debate is supported by the notions of modern, modernization, modernity and utopia, while highlights the contradictions and inequalities that remain and permeate the life of the working class in the cities.

scholarly journals The urban public sector as commons

Focaal ◽  
2013 ◽  
Vol 2013 (66) ◽  
pp. 125-127
Author(s):  
Jane Collins
Keyword(s):  
Public Sector ◽  
Everyday Life ◽  
Common Property ◽  
Urban Life ◽  
Right To The City ◽  
Urban Settings ◽  
Collective Property ◽  
The Right ◽  
Urban Commons ◽  
The City

Susser and Tonnelat’s article on the three urban commons is both visionary and heartening. Its counterpastoral polemic glorifies urban modes of sociality and the forms of common property fostered by urban life. The authors find in cities communities of experience that cross class lines and create inadvertent coalitions around shared problems. They argue that specific components of what has been called “the right to the city” need to be understood as “commons”—collective property that is neither fully public nor private but shared by individuals as they go about everyday life in urban settings.

The Generative Politics of Presentism in Post-15M Spain

boundary 2 ◽  
2021 ◽  
Vol 48 (3) ◽  
pp. 169-190
Author(s):  
Katryn Evinson
Keyword(s):  
Everyday Life ◽  
Political Party ◽  
National Election ◽  
Left Wing ◽  
Nationalist Party ◽  
Founding Member ◽  
Parliamentary Politics ◽  
Dignified Life ◽  
Embodied Presence

This essay revises post-15M movement political party landscape, emphasizing the intentional yet unusual use of the present within the New Left's organizing grammar. Against sectors of the traditional Left, who see presentism as a product of neoliberalism, I claim that in the post-15M conjuncture, the present constituted a battleground in the struggle for a dignified life. First, I focus on the Catalan left-wing nationalist party CUP's use of anarchist symbols to suggest that references to sabotage were deployed to disrupt parliamentary politics, forcing constant interruption. Second, I analyze Podemos founding member Iñigo Errejón's speech after the party's 2016 national election defeat, where his rhetoric linked the temporality of the present with anti-austerity protestors’ embodied presence. Last, I read the rise of neomunicipalisms as another iteration of presentism, aiming to politicize everyday life. To conclude, I advance that such material practices of “generative presentism” problematize presentism's assumed depoliticizing nature.

Concealing the urban dominant: The socio-spatial dialectic and urban protest in Gonzalo Torrente Ballester’s La saga/fuga de J.B.

2021 ◽  
Vol 8 (1) ◽  
pp. 39-56
Author(s):  
Michael L. Martínez, Jr
Keyword(s):  
Everyday Life ◽  
Present Article ◽  
Critical Analysis ◽  
Urban Life ◽  
Close Reading ◽  
Urban Context ◽  
Henri Lefebvre ◽  
Critical Pathway ◽  
Urban Protest ◽  
Gonzalo Torrente Ballester

In the post-Fordist world, cities emerged as increasingly contested terrains upon which capital and ordinary citizens struggled to control the urban process. Henri Lefebvre discerned this contestatory dynamic early on and in response developed the ‘urban’, a concept that cleaves a critical pathway towards a host of material, cultural and ideological processes that attach to capitalist modernity. Around the same time, the Spanish novelist Gonzalo Torrente Ballester was working to sketch the contours of his magnus opus La saga/fuga de J.B. Torrente would eventually come to recognize the roles that the urban process and the socio-spatial dialectic play in mediating contemporary urban life. The present article thus carries out first a close reading of Torrente’s personal journals to detail the ascendency of the ‘urban dominant’ as a central structuring component of his fictional writings. Thereafter, the critical analysis of La saga/fuga de J.B. will reveal that the ‘urban dominant’ stands concealed at the heart of this notoriously complicated novel. This urban cultural studies reading of La saga/fuga de J.B. will argue that, like Lefebvre, Torrente denounces capital’s static conception of space at the same time that he draws upon historical movements of urban protest for textual inspiration. And what will eventually emerge is that, beyond a master of the metafictional novel, Torrente was also an astute observer of everyday life in the urban context.

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