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Studie zur Geschichte der Hoeheren Israelitischen Schule zu Leipzig : 1933-1942.
No full textThe "Hoehere Israelitische Schule" in Leipzig was founded in 1912, and closed in 1942. The manuscript describes the history of the school, but focuses on the period 1933-1942.Master's thesis submitted at Université de Paris III, Sorbonne Nouvelle, Institut d’Allemand d’Asnieres.HIS (Leipzig
The construction of artistic identity in turn-of-the-century Berlin: The prints of Klinger, Kollwitz, and Liebermann.
No full textThe prints of Max Klinger, Kathe Kollwitz, and Max Liebermann serve as case studies for exploring how artistic identity was constructed through the vehicle of art criticism in turn-of-the-century Berlin. What follows is not a sequential "history" of Berlin's fin-de-siecle art community nor is it an institutional history of German museums or art academies. Rather, this is a story of historical misrepresentation. The received histories of Klinger, Kollwitz, and Liebermann have, for one reason or another, neglected to interrogate the period discourse produced during the 1880s and 1890s. Once these sources have been examined, a very different picture of the artists begins to emerge. The recovery of this important historical perspective allows us to retrieve what has been overlooked or written out of subsequent discourses that has largely reduced these complex figures to mere place holders in an unbroken art-historical genealogy.While the questions necessarily vary due to the tenor of the discourse associated with each artist, the answers are surprisingly inter-connected. Each case study reveals what critics saw as the function of culture and how this culture related to German nationalism. The power invested in Klinger's, Liebermann's, and Kollwitz's art relates directly to the capacity of their images to reinforce or demean preexisting cultural stereotypes, and how such imagery was used or abused for its perceived capability to formulate a distinctly German visual culture. For example, as a painter, Liebermann was seen to have brought a sometimes welcome sometimes unwelcome foreign (read French/Jewish) element into German art, and yet as a graphic artist he was unanimously praised as distinctly "German." One may ask how Liebermann's prints, which employed the same facture and subject matter as his paintings, served to position him as a carrier of German cultural pride. While the shifting terms of Liebermann's artistic identity were constituted primarily through the lens of race, the larger questions raised by such transitions in period discourses, when combined with similar instabilities surrounding issues of gender in Kollwitz and German nationalism in Klinger, collectively enable our revision of turn-of-the-century print culture.Thesis (Ph.D.)--Brown University, 1999.School code: 0024
Temple Adath Yeshurun, Syracuse, NY (Flat file, Folder 4)
No full textTorah mantlesDigital ImageDigital finding aid
Kosovar Refugees, Macedonian Camp (Box 107, Folder 13)
No full textThis folder of material was located in Box 107. Folder originally titled: Leonard Glickman in Kosovo.Digital ImageDigital finding aid
Progressive primitivism: Race, gender and turn-of-the-century American art.
No full textThis dissertation explores concepts of art, race, and gender in the turn-of-the-century celebration of Native American handicrafts. Identifying the Progressive Era interest in Indian art as distinct from the modernist concerns of the twenties and thirties, I identify this phenomenon of the reformist Arts and Crafts Movement. Anglo-Americans of this period promoted private and federal support of "pre-industrial" Indian art to facilitate their own social and cultural progress and accelerate the "civilization" of Indian people. Middle-class women arguing that the advance of American civilization depended on the active participation of their sex helped redefine both the manufacture and enjoyment of Indian art as female activities. Like other aspects of federal assimilationist policy of the time, the celebration of Indian art encouraged Indian people to develop a modern, transcultural understanding of Indianness. This history is not only vital to the understanding of the subsequent course of Native American art, but it illuminates the role of visual culture in concepts of American cultural identity. While American artistic culture of this period is frequently described as anti-modern, conservative, and masculinist, my research allows us to see this period, and the history of American art in general, as a site in which attitudes toward art and commerce, and gender and race, are contested.I have arranged this material in four chapters. Chapter one analyzes the cultural messages about primitivism, civilization and gender in the use of Indian art as home decoration by examining photographs of the George Wharton James, Jewett and Joseph Keppler collections. Chapter two looks at publications celebrating handicraft-oriented Indian reform projects designed by non-Indians Sybil Carter and Estelle Reel to bring Native American women into a middle class American economy and value system. Chapter three examines the relationship between gender, primitivism and early American modernism in representations of Native American artists by pictorialist photographer Gertrude Kasebier. The last chapter looks at how Angel DeCora, a Winnebago painter, manipulated contemporary aesthetic ideas to advance a politicized theory of Indian art within the context of the Indian rights movement.Thesis (Ph.D.)--Stanford University, 1999.School code: 0212
The third logic : Adolf Hitler and abductive logic /
No full textDoctoral thesis in history of consciousness at The Pennsylvania State University: A biography of Adolf Hitler, explaining his character’s development through logic of “abduction”, developing a “Ratiocinative Man”
Looking back : Paper given for the chestnut club.
No full textMemoir and family history written between 1979 and 1982.Eva Lande (née Morgenroth) was born in Berlin in 1909.Synopsis in fileSee also Julius Morgenroth Collection (AR 2499) for additional information about Eva Lande's father