scholarly journals Living for creating, painting for staying sane. The complex story-board of Charlotte Salomon

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Angela Articoni
Keyword(s):  
Twentieth Century ◽  
Expressive Power ◽  
Work Life ◽  
Nazi Germany ◽  
Artistic Development ◽  
Total Work ◽  
Work Of Art ◽  
Private And Public ◽  
Working Out

The talent of Charlotte Salomon, a young Jewish artist from Berlin, takes shape during Nazism. Her artistic development is concentrated in a single work, Life? Or Theatre?, whereby the author retraces her life in a style bringing together painting with comics, cinema, music. A total work of art as it is embodied in and hinged on her own life, and the only Gesamtkunstwerk is one where the work is an extension of her own existence, where everything becomes art.Salomonʼs work is much more than a diary: it is a way of working out grief and mourning, a stratagem for reacting and driving out pain in the madness of Nazi Germany. It is a ‘graphic novelʼ hybridizing codes and languages with an overflowing expressive power, in which each panel is a story in itself, it is staged memory, the private and public twentieth-century obscenity dealt with and thought out by means of words, images and music, with characters, dialogues, breaks, changes in perspective.

Hoffmann, Josef Franz Maria (1870–1956)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Twentieth Century ◽  
Czech Republic ◽  
Interior Design ◽  
Fine Arts ◽  
Turn Of The Century ◽  
Art Nouveau ◽  
Total Work ◽  
Work Of Art ◽  
The Czech Republic ◽  
Classical Architecture

Josef Hoffmann was an Austrian architect and designer who proved instrumental in formulating the aesthetics and theory of modernist design. Among the most progressive architects in turn-of-the-century Austria, he was a founder of the Vienna Secession and the Wiene Werkstätte. His early work was aligned with Jugendstil, the German and Austrian manifestation of Art Nouveau, but graduated towards an abstract, geometric simplicity that anticipated twentieth-century Modernism. Committed to the concept of the Gesamtkunstwerk (total work of art), Hoffmann applied his talents to architecture, interior design, furniture and metalwork. His greatest achievement is the Palais Stoclet in Brussels, a true Gesamtkunstwerk in which all elements are synthesized into symphonic unity. Born in Pirnitz, Moravia (now part of the Czech Republic), Hoffmann studied at the Higher State Crafts School in Brno and at Vienna’s Academy of Fine Arts. He worked in the office of proto-modernist architect Otto Wagner, where he met future collaborator Joseph Maria Olbrich. He won the Prix de Rome in 1895, which gave him the opportunity to study classical architecture, and Mycenaean influences proliferated in his early work. Hoffmann was among the group of artists, architects and designers who seceded from the Association of Austrian Artists in 1897, objecting to what they saw as the inherent conservatism of established academies.

scholarly journals Images of War in Opera

2020 ◽  
Vol 3 (2) ◽  
pp. 25-34
Author(s):  
Anastasia Siopsi
Keyword(s):  
Twentieth Century ◽  
Cultural History ◽  
Human Activities ◽  
Human Experience ◽  
The Political ◽  
Total Work ◽  
Work Of Art ◽  
The Core ◽  
Western European

The main aim of this article is to raise questions with wars seen as part of cultural history attempting, thus, to provide a cultural reading. As such, I attempt to show operatic responses to war, to the meaning of violence, and to the ways they illustrate emotions that are at the core of such destructive activities (that is, patriotism, heroism and so forth) and depict wartime ideologies, practices, values and symbols. This paper is a critical and selective overview of images of war in opera mainly up to the twentieth century. There is no aspect in human activities which is not related, more or less, with the issue of war. War has been part of the total human experience. Subsequently, my paper is about the various ways of projecting images of war in opera. In more detail, it is about the ways that opera, since the era of its birth, responds to human conflicts, named wars, and bring on stage an interpretation: an illustration of a hero, a context of values related to the necessity or the avoidance of war, a message to humanity to make us look at our civilization in either positive or negative ways. A cultural contemplation is not about “truths” of the war but raises the question as to how different “truths” inhabit the political and cultural Western European world by means of the total work of art of opera. Opera has had a fundamental role in privileging some ideals of “truths” from others. The main aim is to raise questions with wars seen as part of cultural history attempting, thus, to provide a cultural reading. As such, I attempt to show operatic responses to war, to the meaning of violence, and to the ways they illustrate emotions that are at the core of such destructive activities (that is, patriotism, heroism and so forth) and depict wartime ideologies, practices, values and symbols.

scholarly journals Ópera, texto y audiovisualización. Estudio de un caso: "El anillo del Nibelungo"

2017 ◽  
pp. 136 ◽  
Author(s):  
Jaume Radigales ◽  
Yaiza Bermúdez Cubas
Keyword(s):  
Twentieth Century ◽  
Richard Wagner ◽  
Total Work ◽  
Musical Drama ◽  
Work Of Art ◽  
Global Performance ◽  
Late Twentieth ◽  
Siglo Xx ◽  
Late Twentieth Century

La ópera es un espectaculo globalizado, una Gesamtkunstwerk (obra de arte integral) según las teorías de Richard Wagner. Esa interacción de elementos convergentes (música, texto, canto, puesta en escena) culmina con la incorporación de la pantalla como parte integrante del montaje escénico desde finales del siglo XX. En este texto nos fijamos en el proceso de la audiovisualización de la ópera como espectáculo con el estudio de un caso: el montaje de El anillo del Nibelungo de Richard Wagner realizado por Carlus Padrissa y estrenado en el Palau de las Arts de Valencia (2007). En él, la interacción de la pantalla era fundamental para la comprensión del drama musical wagneriano. Opera is a global performance, a Gesamtkunstwerk (total work of art) according to the theories of Richard Wagner. This interaction of converging elements (music, text, singing, staging) culminates with the incorporation of the screen as part of staging since the late twentieth century. In this paper we look at the process ‘audiovisualisation’ of the opera as performance with a case study: the production of Richard Wagner’s The Ring of the Nibelung by Carlus Padrissa and premiered at the Palau de les Arts in Valencia (2007). In it, the interaction of the screen was essential to understanding the Wagnerian musical drama.

The Doctor Faustus Dossier

2018 ◽  
Author(s):  
Adrian Daub
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Primary Source ◽  
Music And Literature ◽  
Twentieth Century Music ◽  
Private And Public ◽  
Doctor Faustus ◽  
Public Lives ◽  
Nazi Era ◽  
The Impact

Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann's novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters are complemented by diary entries, related articles, and other primary source materials, as well as an introduction that contextualizes the impact that these two great artists had on twentieth-century thought and culture.

The Return of the New Woman and Other Subjects of Weimar Gender History

2015 ◽  
Vol 24 (1) ◽  
pp. 127-137
Author(s):  
MARTI LYBECK
Keyword(s):  
Twentieth Century ◽  
Weimar Republic ◽  
National Socialism ◽  
Nazi Germany ◽  
Central Question ◽  
Gender History ◽  
High Stakes ◽  
Femininity And Masculinity ◽  
The New Woman

After a drought of more than a decade, a substantial group of recent works has begun revisiting Weimar gender history. The fields of Weimar and Nazi gender history have been closely linked since the field was defined thirty years ago by the appearance of the anthologyWhen Biology Became Destiny: Women in Weimar and Nazi Germany. Following a flurry of pioneering work in the 1980s and early 1990s, few new monographs were dedicated to investigating the questions posed in that formative moment of gender history. Kathleen Canning, the current main commentator on Weimar gender historiography, in an essay first published shortly before the works under review, found that up to that point the ‘gender scholarship on the high-stakes histories of Weimar and Nazi Germany has not fundamentally challenged categories or temporalities’. Weimar gender, meanwhile, has been intensively analysed in the fields of cultural, film, and literary studies. The six books discussed in this essay reverse these trends, picking up on the central question of how gender contributed to the end of the Weimar Republic and the rise to power of National Socialism. In addition, four of the books concentrate solely on reconstructing the dynamics of gender relations during the Weimar period itself in their discussions of prostitution, abortion and representations of femininity and masculinity. Is emerging gender scholarship now shaping larger questions of German early twentieth-century history? How are new scholars revising our view of the role of gender in this tumultuous time?

Book Review: The Total Work of Art

Thesis Eleven ◽  
2005 ◽  
Vol 83 (1) ◽  
pp. 104-121 ◽  
Author(s):  
David Roberts
Keyword(s):  
Total Work ◽  
Work Of Art

scholarly journals Hannah Arendt's Ghosts: Reflections on the Disputable Path from Windhoek to Auschwitz

2009 ◽  
Vol 42 (2) ◽  
pp. 279-300 ◽  
Author(s):  
Robert Gerwarth ◽  
Stephan Malinowski
Keyword(s):  
Twentieth Century ◽  
Nazi Germany ◽  
Dark Side ◽  
Western Civilization ◽  
Mass Violence ◽  
The Holocaust ◽  
The Impact ◽  
Sensitive Issues

Historians on both sides of the Atlantic are currently engaged in a controversy about the allegedly genocidal nature of western colonialism and its connections with the mass violence unleashed by Nazi Germany between 1939 and 1945. The debate touches upon some of the most “sensitive” issues of twentieth-century history: the violent “dark side” of modern western civilization, the impact of colonial massacres on the European societies that generated this violence and, perhaps most controversially, the origins and uniqueness of the Holocaust.

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