Valle d’Aosta. La sfida della continuità / Aosta Valley. The challenge of continuity

ARCHALP ◽  
2018 ◽  
pp. 54-65
Author(s):  
Corrado Binel
Keyword(s):  
Second World War ◽  
Modern Architecture ◽  
Public Works ◽  
World War ◽  
Collective Interest ◽  
The Public ◽  
History Of ◽  
Private Homes ◽  
Near Future ◽  
Second World

The text traces the history of Aosta Valley architecture from the Second World War to the present day. The first part focuses on the evolution of architecture in the fifties and sixties, on modern architecture and on the international influences in a long phase of great economic growth. In the central part it focuses rather on the regionalist and sometimes folkloristic evolution of the following decades. He then tried to analyse, starting from the 2000s, the profound transformations generated by the economic crisis but also by the extraordinary occupation of land that over the course of about 50 years has saturated most of the territory of a small Alpine region. Finally, it attempts an analysis of the most recent development, of relations with the rest of the Alpine world and of the not easy attempt to combine history, environment, aesthetics and rationality. The text is accompanied by the choice of eight architectures from 2010 in the last eight years. As you can see only two are public works, two of collective interest and four are private homes and this choice wants to focus your attention to the fact that in the near future, in all likelihood, will no longer be the public commission to be at the center of possible experiments with new architectural languages.

scholarly journals The Societal Relevance of the “Rheinischer Merkur”

2021 ◽  
Vol 34 (1) ◽  
pp. 180-199
Author(s):  
Regina M. Frey
Keyword(s):  
Decisive Role ◽  
Second World War ◽  
Federal Republic Of Germany ◽  
World War ◽  
The Public ◽  
Societal Relevance ◽  
Christian Worldview ◽  
History Of ◽  
Second World

At present, there is no societally relevant political newspaper in Germany that is based on a Christian worldview. The Rheinischer Merkur, founded in 1946 shortly after the end of the Second World War and shut down by the German Bishops’ Conference in 2010, was a newspaper of this kind. It went beyond the Christian milieu in the fulfilment of its mission in the public arena. The closure of the Rheinischer Merkur obscures even today the decisive role it played in the elaboration of the Constitution of the Federal Republic of Germany and the substantial quality of the paper. This essay sketches the history of the Rheinischer Merkur and its self-understanding, as well as its decline, locating these in the context of the journalistic autonomies and media-ethical tensions to which every journalistic medium is subject.

Breaking the Taboo: Architects and Advertising in Depression and War

2010 ◽  
Vol 69 (3) ◽  
pp. 406-429 ◽  
Author(s):  
Andrew M. Shanken
Keyword(s):  
Public Relations ◽  
The United States ◽  
Second World War ◽  
World War ◽  
The Public ◽  
The Great Depression ◽  
History Of ◽  
Public Relations Campaign ◽  
American Institute Of Architects ◽  
Second World

Breaking the Taboo: Architects and Advertising in Depression and War chronicles the fall of a professional interdiction in architecture, precipitated by the Second World War. For much of the history of their profession in the United States, architects——unlike builders and engineers, their main competition——faced censure from the American Institute of Architects if they advertised their services. Architects established models of professional behavior intended to hold them apart from the commercial realm. Andrew M. Shanken explores how the Great Depression and the Second World War strained this outdated model of practice, placing architects within consumer culture in more conspicuous ways, redefining the architect's role in society and making public relations an essential part of presenting the profession to the public. Only with the unification of the AIA after the war would architects conduct a modern public relations campaign, but the taboo had begun to erode in the 1930s and early 1940s, setting the stage for the emergence of the modern profession.

‘The dancing front’: dance music, dancing, and the BBC in World War II

Popular Music ◽  
2006 ◽  
Vol 25 (3) ◽  
pp. 347-368 ◽  
Author(s):  
CHRISTINA BAADE
Keyword(s):  
World War Ii ◽  
Case History ◽  
Second World War ◽  
National Service ◽  
Dance Music ◽  
World War ◽  
Social Dance ◽  
The Public ◽  
History Of ◽  
Second World

This paper offers a case history of the BBC's ambivalent engagement with dance music during the Second World War. It examines what ‘dance music’ meant to the BBC, musicians, and the public, and how they contested and performed those meanings in the context of new social dance practices and the growing popularity of what became known as ‘swing’ in Britain. Although broadcasting in effect disembodied music closely associated with the physical, the BBC was a primary way for people to access dance music which supported their bodily acts of leisure and regimentation. The BBC's study and regulation of dance music centred around two goals: pleasing important groups in national service and broadcasting morale-boosting music. The problem of whether these goals were congruent lay at the heart of the issue, for the youth active in national service emerged as the primary audience for the two genres – ‘swing’ and ‘sentimentality’ – about which the BBC felt most dubious.

scholarly journals The history of archaeological research at the site of the former Kulmhof extermination camp

2020 ◽  
Vol 6 (1) ◽  
pp. 4-14
Author(s):  
Andrzej Grzegorczyk
Keyword(s):  
Second World War ◽  
Archaeological Research ◽  
World War ◽  
The Public ◽  
Area Of Interest ◽  
History Of ◽  
The Subject ◽  
Set Up ◽  
Second World

The Kulmhof extermination camp in Chełmno nad Nerem was the first camp set up by the Nazis to exterminate Jews during the Second World War. The history of Kulmhof has long been an area of interest for academics, but despite thorough research it remains one of the least-known places of its kind among the public. Studies of the role of archaeology in acquiring knowledge about the functioning of the camp have been particularly compelling. The excavations carried out intermittently over a thirty-year period (1986–2016), which constitute the subject of this article, have played a key role in the rise in public interest in the history of the camp.

scholarly journals Professional activities of Latvian born Lithuanian architect and engineer Karolis Reisonas (1894–1981) in Šiauliai

2018 ◽  
Vol 2 ◽  
pp. 100-116
Author(s):  
Sigitas Vladas Saladžinskas ◽  
Kristina Vaisvalavičiene
Keyword(s):  
Cultural Values ◽  
Interwar Period ◽  
Historical Context ◽  
Second World War ◽  
Modern Architecture ◽  
World War ◽  
Petersburg Institute ◽  
Professional Activities ◽  
History Of ◽  
Second World

The article introduces the life of not well-known in Latvia Latvian born Lithuanian Karolis  Reisonas  (in  Latvian:  Kārlis   Reisons;   1894–1981) and his professional activities in Šiauliai city, as well as highlights the main features of the architect’s creative work and the importance of his work in the history of Lithuanian architecture. K. Reisonas was one of the most prominent creators of modern architecture of the 20th century during interwar period in Lithuania. He is the author and co-author of representative buildings in the cities of Lithuania, as well as in Riga and Adelaide (Australia). K. Reisonas graduated from Riga Real School (1913) and St. Petersburg Institute of Civil Engineers (1920). He has worked as the Engineer of the Šiauliai city and Head of the Construction Department of the Municipality (1922–1930), the Director of the Tenth1 Courses of Šiauliai Construction (1925), later –  the Director of the Šiauliai Vocational School (1926), and an Advisor of Lithuania Chamber of Agriculture (1927–1928). Fourteen building to his design in Kaunas and Šiauliai cities are included in the list of cultural values of Lithuania. K. Reisonas’ early projects are characterized by historicism, eclectic elements, of «brick style». Later projects have the features of aesthetic rationalism, functionalism, and adaptation to urban and cultural-historical context. After the Second World War, he and his family immigrated to Germany, later Adelaide in Australia, where he participated in the life of the Adelaide Lithuanian community.

scholarly journals Music in a ‘classless society’: Activities of members and ‘fellow travelers’ of communist party of Yugoslavia on the construction of conceptual and practical basis of the new musical order

Muzikologija ◽  
2012 ◽  
pp. 27-52
Author(s):  
Ivana Vesic
Keyword(s):  
Dialectical Materialism ◽  
Second World War ◽  
Historical Narrative ◽  
World War ◽  
Literary Field ◽  
The Public ◽  
Cultural Policies ◽  
History Of ◽  
Classless Society ◽  
Second World

On account of its illegal status in the Kingdom of Yugoslavia, the CPY underwent many transformations in its organizational structure and methods of political struggle during the 1920s and 1930s. Although there are different periodizations of the pre-Second World war history of the CPY, most historiographers designate as most important moments the termination of the five-year long dictatorship of King Aleksandar in 1934 and the implementation of new policies in Comintern in 1935. After that, the CPY began very dynamic political campaigning attempting to reach different parts of the population which affected the definition and application of its cultural policies. Closer alignment with the leftist element of the field of culture created fertile ground for the construction of a broad cultural programme as well as the institutional circuit that enabled the implementation of some of its parts. A group of music specialists among the left-oriented cultural actors contributed to the process of the conceptual and practical articulation of the parts of the programme regulating musical practice. The so-called ?left music front? activists developed plural perspectives in the discussion of the music order in a classless society, interpreting the problem of the popularization of high-art music as well as the emancipation of proletarian music from different ideological positions. In that process they leaned on a specific version of the canon of composers both in the local and international music traditions and also on a historical narrative grounded in a dialectical materialism that was deduced from the Soviet model of the history of music. At the dawn of the Second World War, ?left music front? became more homogenized which was the result of strict ideological disciplining of members of the CPY in that period. Unlike the leftist segment of the literary field in which party policies were strongly opposed and criticized publicly, there were no ideological conflicts of that sort in its musical counterpart. Because of strict political control of the public sphere, activists of the ?left music front? had difficulties in the implementation of their cultural programme. They focused mostly on cultural work within workers` and students` organizations and societies that gave them an opportunity to promote in the public some of the core concepts of that programme. Although the activities in the abovementioned organizations gave modest results in the process of the institutionalization of the CPY`s cultural policies, they could be seen as an important basis for the development of musical practices after the Second World War. Together with other artistic projects in the leftist part of the cultural field, the musical undertakings of the members and ?fellow travellers? of the CPY contributed to the pluralisation and differentiation of that field, creating an alternative understanding of the production of music as well as of cultural policies on music.

De bestraffing van de collaboratie na de Tweede Wereldoorlog: mild in Vlaanderen en streng in Franstalig België? Een pleidooi voor een sociale geschiedenis van de Tweede Wereldoorlog

2014 ◽  
Vol 73 (1) ◽  
pp. 34-65
Author(s):  
Koen Aerts
Keyword(s):  
Social History ◽  
Common Law ◽  
Second World War ◽  
World War ◽  
The Public ◽  
French Speaking ◽  
Long Time ◽  
History Of ◽  
The Difference ◽  
Second World

De bestraffing van de collaboratie na de Tweede Wereldoorlog is één van de meest gepolitiseerde gebeurtenissen uit het Belgisch nationaal verleden. In Vlaanderen werd de repressie al gauw afgeschilderd als een Belgische, zelfs francofone, wraakoefening om de Vlaamse beweging te breken. Die beeldvorming vindt nog steeds bijval bij het brede publiek. Nochtans heeft de wetenschappelijke geschiedschrijving de zogenaamde anti-Vlaamse repressie al lange tijd ontmaskerd als een mythe. Op basis van de uitkomst van de repressierechtspraak wordt er geconcludeerd dat er in Vlaanderen meer en in Franstalig België zwaarder is gestraft. Dat verschil zou te wijten zijn aan het succes van de politieke collaboratie in het Vlaams landsgedeelte en een meer apolitieke, gemeenrechtelijke samenwerking met de Duitse vijand in Franstalig België. Deze bijdrage stelt vraagtekens bij de gegrondheid van die veronderstelde verklaring vanuit de stelling dat de repressie in Franstalig België simpelweg strenger was. De resultaten van het repressief apparaat zeggen immers meer over het karakter van de bestraffing dan over de aard van de collaboratie. Om die reden is er nood aan een sociale geschiedenis van de Tweede Wereldoorlog die rekening houdt met het mens- en maatschappijbeeld van alle betrokkenen, aan welke kant van de beklaagdenbank ook. ________ The prosecution of collaboration after the Second World War: mild in Flanders and severe in French-speaking Belgium? An argument for a social history of the Second World War.The prosecution of collaboration after the Second World War is one of the most politicised events from the Belgian national history. In Flanders the repression would soon be described as a Belgian or even French-speaking revenge intended to destroy the Flemish movement. The public at large still supports that representation of the issue. However, scientific historiography disclosed a long time ago that the so-called anti-Flemish repression was a myth. Based on the results of the repression jurisprudence it has been concluded that prosecution took place more often in Flanders, and that it was more severe in French-speaking Belgium. The difference could be explained by the success of political collaboration in the Flemish part of the country and a more a-political common law-based collaboration with the German enemy in French-speaking Belgium. This contribution questions the merits of that supposed explanation, based on the theory that repression in French-speaking Belgium was simply more severe. After all, the results of the repressive system are more indicative of the character of the prosecution than the nature of the collaboration. For that reason, we need a social history of the Second World War, which takes account of the concept of man and society of all those involved, no matter on which side of the dock they stood.

An Outline History of Photography in Africa to ca. 1940

1989 ◽  
Vol 16 ◽  
pp. 197-208 ◽  
Author(s):  
David Killingray ◽  
Andrew Roberts
Keyword(s):  
International Workshop ◽  
Metal Plate ◽  
Second World War ◽  
World War ◽  
History Of Photography ◽  
Technical Developments ◽  
History Of ◽  
Historical Photographs ◽  
Near Future ◽  
Second World

Photographs are attracting growing interest among Africanists. A bibliographical essay in the Cambridge History of Africa, vol. 7, drew attention to the value and availability of photographs of colonial Africa. The critical use of such documents has been discussed in this journal by Christraud Geary, and historical photographs have been a prominent feature of several recent publications. In May 1988 an international workshop at SOAS considered the problems and possibilities of using photographs as sources for African history. It is hoped that a larger conference on photographs and Africa will be convened in the near future. Meanwhile, the papers for the SOAS meeting have been distributed to interested scholars, librarians, and archivists. A version of the present paper forms part of this collection; since there is as yet no recommendable history of photography in Africa, it seemed worthwhile to republish this modest sketch of the more important developments in the practice and uses of photography in Africa. We conclude with the Second World War, since to have pursued the subject further would have asked too much of the authors' knowledge and readers' patience.It may be helpful to begin with a reminder of the major technical developments in photography during the nineteenth century. The daguerreotype, introduced in 1839, yielded only a single image, on a sensitized metal plate. The calotype, introduced two years later, yielded multiple paper positives from a paper negative, but like the daguerreotype required exposures of one to three minutes.

scholarly journals Derek Howse (1919–98)

2000 ◽  
Vol 33 (2) ◽  
pp. 223-225
Author(s):  
D. W. Waters
Keyword(s):  
Eighteenth Century ◽  
Second World War ◽  
Royal Navy ◽  
World War ◽  
The Public ◽  
Public Benefit ◽  
Royal Observatory ◽  
History Of ◽  
Marine Engineering ◽  
Second World

Commander Derek Howse, who has died aged 78, was a man of many talents which he used unstintingly in time of war, and in times of peace for the public benefit. After a distinguished career in the Royal Navy he joined the Museum service, and rose in it to become the leading authority on the history of the buildings, instruments and astronomical timekeepers of the Royal Observatory at Greenwich, on the solution in the eighteenth century of the problem of determining the longitude at sea by lunar distance and by chronometer, and on the development and use of radar at sea.Derek was the son of a Captain of the Royal Navy, and at the age of thirteen and a half years followed his father into the Navy as a Naval Cadet. In HMS Britannia (then the Royal Naval College, Dartmouth) for the next three and a half years Derek was given a very broad – for those, even more for present times – education, for it was in the sciences and the humanities, in marine engineering and in seamanship, before going to sea as a midshipman in the 16″-gun battleship HMS Rodney for some two years. He then completed his sub-lieutenant's qualifying courses in navigation, gunnery, torpedoes, anti-submarine warfare and signals in 1939, as the Second World War broke out, when he again went to sea.

Turning Aliens into Socialists

2010 ◽  
Vol 1 (1) ◽  
pp. 75-93
Author(s):  
Jessica Moberg
Keyword(s):  
Outer Space ◽  
The United States ◽  
Second World War ◽  
World War ◽  
History Of ◽  
Swedish History ◽  
Second World ◽  
The Universe ◽  
Highly Evolved

Immediately after the Second World War Sweden was struck by a wave of sightings of strange flying objects. In some cases these mass sightings resulted in panic, particularly after authorities failed to identify them. Decades later, these phenomena were interpreted by two members of the Swedish UFO movement, Erland Sandqvist and Gösta Rehn, as alien spaceships, or UFOs. Rehn argued that ‘[t]here is nothing so dramatic in the Swedish history of UFOs as this invasion of alien fly-things’ (Rehn 1969: 50). In this article the interpretation of such sightings proposed by these authors, namely that we are visited by extraterrestrials from outer space, is approached from the perspective of myth theory. According to this mythical theme, not only are we are not alone in the universe, but also the history of humankind has been shaped by encounters with more highly-evolved alien beings. In their modern day form, these kinds of ideas about aliens and UFOs originated in the United States. The reasoning of Sandqvist and Rehn exemplifies the localization process that took place as members of the Swedish UFO movement began to produce their own narratives about aliens and UFOs. The question I will address is: in what ways do these stories change in new contexts? Texts produced by the Swedish UFO movement are analyzed as a case study of this process.

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