Suchergebnisse

One of the most intriguing questions of our time is how some of the masterpieces of modernity originated in a country in which personal liberty and democracy were slow to emerge. This Companion provides an authoritative account of modern German culture since the onset of industrialisation, the rise of mass society and the nation state. Newly written and researched by experts in their respective fields, individual chapters trace developments in German culture - including national identity, class, Jews in German society, minorities and women, the functions of folk and mass culture, poetry, drama, theatre, dance, music, art, architecture, cinema and mass media - from the nineteenth century to the present. Guidance is given for further reading and a chronology is provided. In its totality the Companion shows how the political and social processes that shaped modern Germany are intertwined with cultural genres and their agendas of creative expression.

"Guerrilla Aesthetics confronts the legacy of the urban guerrilla movement active in West Germany since the 1970s. It draws from archival source materials, giving particular attention to West Germany's Red Decade of 1967 to 1977. The decade was characterized by not only the 'terrorist' actions and police brutality, but also countercultural aesthetics that favoured self-displacement over instrumental goals. As the author, Kimberly Mair, writes, "the guerrillas were known for violent operations, which had a spectacular, even staged characteristic; as if it was more important that the event produce its own phantasmagorical mise en scène than be successful in any standard instrumental sense." To again quote Mair, "the core argument of the manuscript is that West German urban guerrillas grew out of an aesthetic ethos that encouraged individuals to break free from modern liberal subjectivity and instrumental rationality, and led to the public illegibility of their actions." From hunger strikes to textual work, Mair's work looks at the movement's reverberations through artistic and memorial practices."--

Made available to the public for the first time, these posters from the archives of the German Historical Museum reveal a regime determined to influence and control the citizens of East Germany

Since the Middle Ages artists from the Low Countries were known to be fond of travelling, as Guicciardini in his "Descrittione di tutti i Paesi Bassi" (Antwerp, 1567) and Karel van Mander in his 1604 "Schilderboeck", already noticed. Much more mobile than their colleagues from other European countries, many Netherlandish artists spread all over Europe; a remarkable number among them achieved great fame as court artists, as the careers of Claus Sluter in Burgundy, Anthonis Mor in Spain, Bartholomeus Spranger or Adriaen de Vries in Prague, Giambologna and Jacob Bijlevelt in Florence demonstrate. Moreover, they exerted considerable influence on the artistic production of their time. Nevertheless most of them sank into oblivion soon after they died. Dutch art history neglected them for a long time as they did not fit into the traditional canon of the Low Countries, nor were they adopted by the art histories of their new homelands. This new NKJ volume is an attempt to change this