310 research outputs found
United We Stand: How the Election Results Dismiss the Narrative of a Divided #Nigeria
No full textLSE’s Lola Adeyemo looks at the numbers behind the 2015 Nigeria Presidential elections and analyses what it reveals about the Nigerian state. This post is part of our African Elections series
Max and Lola Gruenthal Collection 1880-2003 bulk 1936-1990
No full textThe Max and Lola Gruenthal Collection holds the papers of this husband and wife, with the focus of the collection on Lola Gruenthal and her work as a translator and author. The collection is largely comprised of correspondence, manuscripts and drafts of writing and translations, and restricted medical files, but it also includes many notes, diaries, clippings, and a few photographs and personal papers.A significant amount of correspondence is present in this collection. Much of this is letters between Max and Lola Gruenthal prior to their marriage, located in Series I. This correspondence is primarily personal.The correspondence of Max and Lola Gruenthal concerns mainly private matters and the description of the their daily life in Germany, France, U.S and Switzerland. In 1936 and 1937 they wrote to each other daily.The first subseries of Series II holds the correspondence of Lola Gruenthal, also largely personal but containing some correspondence of publishers. A small amount of professional correspondence, including letters of recommendations and requests for employment, is located in Subseries 2 of Series II. Lola Gruenthal's writing, including her translations, comprise a substantial part of this collection; much of these papers are located in Subseries 3 of Series II. Included are drafts of her poetry and other creative writing as well as drafts of translations and related notes and research material. Diaries, present in her personal papers in Subseries 2, also mention her written work.Series III holds the medical files of the psychiatrist Max Gruenthal along with his correspondence with patients. This series is restricted.Clara Lore (Lorette) "Lola" Gruenthal (née Braunstein/ Bronstein) was born in 1914 in Berlin, where she grew up in a Russian-Jewish family. In 1937 she came to New York via Ellis Island as an "illegal immigrant" and later immigrated to the United States via Cuba under the German quota. She studied psychology and psycho-diagnostic testing at New York University and Columbia University. She worked as a secretary and also as a psychological research assistant, as well as writing her own poetry and short stories. Her early poetry was published in Blätter des jüdischen Kulturbunds in Germany and other Jewish journals. In the United States she began to publish mainly English translations of poetry and prose, such as Rainer Maria Rilke's Evald Tragy, among many others. She also translated from English into German, especially Emily Dickinson's poetry. She was a co-editor of Frauenfahrplan, a collection of writings by members of WIG (Women in German). Occasionally she was published under the pseudonym "Lola Boerner." Lola Gruenthal maintained extensive correspondence with many well-known individuals such as Walter Bräutigam, Christina Malman, and Lucille Nawara.Max Gruenthal was born in Germany and earned his medical degree in 1916 from the University of Berlin. In the mid-1930s he immigrated to New York, where he established his psychiatric practice; in 1945 he and Lola were married. He and Lola Gruenthal had three sons. Max Gruenthal counted several well-known individuals among his patients. He died in 1962 in New York City.digitize
Reseña de Patricia Fernández Martín (2024). Mística, cristianismo y fenomenología: El discurso religioso femenino en la Edad Moderna hispánica. Ultreia. Colección Isabel de Villena, 3. ISBN: 978-84-125879-2-0
No full textReview of Fernández Martín, P. (2024). Mysticism, Christianity, and Phenomenology: The Female Religious Discourse in Early Modern Hispanic Era. Ultreia. Isabel de Villena Collection, 3. ISBN: 978-84-125879-2-0 https://ultreia.ucv.es/index.php/ultreia/article/view/10
Author: Lola Vivo AlonsoReseña de Fernández Martín, P. (2024). Mística, cristianismo y fenomenología: El discurso religioso femenino en la Edad Moderna hispánica. Ultreia. Colección Isabel de Villena, 3. ISBN: 978-84-125879-2-0
https://ultreia.ucv.es/index.php/ultreia/article/view/10
Autora: Lola Vivo Alons
Lola Hoffman Collection Finding Aid
No full textLola B. Hoffman was a Whittier College alumna from the class of 1923 and the author of the popular children’s book, California Beginnings (1933), among others. The Hoffman Collection is made up of Hoffman’s personal library, revealing her wide array of interests on a variety of subjectshttps://poetcommons.whittier.edu/finding/1013/thumbnail.jp
Lola, daughter of Cangas
No full textEn trinta e unha historias que transcorren dende 1925 ata 1941, Lola, unha filla de Cangas (Pontevedra), recorda o que viviu na infancia e xuventude nunha das vilas mariñeiras galegas nas que existía un potente movemento obreiro ao redor da pesca, das fábricas de conserva e salgaduras ós inicios do sécululo XX.
Este é unha historia feita a partir do fío das lembranzas que deixou nunha memorio oral Lola Rodal Blanco, cuxa familia estivo implicada nesas loitas sociais e políticas, e que sufriu a dura represión no levantamento militar que acabou poñendo a Franco no poder en España despois do ano 1936.
Mestúranse aquí as lembranzas de Lola coa memoria familiar e vital da autora do libro. Os personaxes que aparecen existiron e son nomeados cos seus nomes e apelidos cunha vontade de rescatalos do esquencemento da Historia mal contada.En treinta y una historias que transcurren desde 1925 hasta 1941, Lola, una mujer nacida en Cangas (Pontevedra), recuerda lo vivido durante su infancia y primera juventud en uno de los pueblos marineros gallegos en los que existía entonces un potente movimiento obrero al rededor de la pesca, de las fábricas de conserva y las salazones al inicio del siglo XX.
Esta historia está hecha a partir del hilo de las memoria oral que dejó Lola Rodal Blanco, cuya familia estuvo implicada en estas luchas sociales y políticas, y que sufrió la dura represión durante el levantamiento militar que acabó poniendo a Franco en el poder en España después del año 1936.
Se mezclan aquí los recuerdos de Lola con la memoria familiar y vital de la autora del libro. Los personajes que aparecen existieron y son nombrados con sus nombres y apellidos con una voluntad de rescatarlos del olvido de una Historia mal contada.In thirty-one stories that take place from 1925 to 1941, Lola, a woman born in Cangas (Pontevedra), recalls what she experienced during her childhood and early youth in one of the Galician fishing villages where there was then a powerful labor movement around of fishing, canning and salting factories at the beginning of the 20th century.
This story is made from the thread of the oral memory left by Lola Rodal Blanco, whose family was involved in these social and political struggles, and who suffered harsh repression during the military uprising that ended up putting Franco in power in Spain after of the year 1936.
Lola's memories are mixed here with the familiar and vital memory of the author of the book. The characters that appear existed and are named with their first and last names with a desire to rescue them from oblivion of a badly told story.En trente et une histoires qui se déroulent de 1925 à 1941, Lola, une femme née à Cangas (Pontevedra), raconte ce qu'elle a vécu pendant son enfance et sa prime jeunesse dans l'un des villages de pêcheurs galiciens où il y avait alors un puissant mouvement ouvrier autour d'usines de pêche, de conserves et de salaisons au début du XXe siècle.
Cette histoire est faite à partir du fil de la mémoire orale laissée par Lola Rodal Blanco, dont la famille a été impliquée dans ces luttes sociales et politiques, et qui a subi une dure répression lors du soulèvement militaire qui a fini par mettre Franco au pouvoir en Espagne après de l'année. 1936.
Les souvenirs de Lola se mêlent ici à la mémoire familière et vitale de l'auteur du livre. Les personnages qui apparaissent ont existé et sont nommés par leur nom et prénom dans le but de les sauver de l'oubli dans une histoire mal racontée.Depto. de Periodismo y Nuevos MediosFac. de Ciencias de la InformaciónTRUEpu
Lola Arias: To Remain in Fiction in Order to Transcend It
No full textIn this article, the author describes the work of the Argentinian artist, Lola Arias, from the perspective of her interest in individual and collective memory. The frame for this research is the notion of „time machine” compared with Maria Janion’s notion of „archive of existence”. The author situates the work and biography of Lola Arias the director, filmmaker and visual artist within the „archeontology in action”. Also, he describes Arias’ strategy of overlapping reality and fiction to project the new vision of the future. Her performances are juxtaposed with Donna Haraway’s notion of „speculative fabulation” according to whichsmall, individual stories help us to understand complex reality and new modes of perception
Lola Szereszewska (1895–1943) – zapomniana poetka pogranicza
No full textThis article aims at reading “Uchodźcom” [“To Refugees”] in the context of Polish-Jewish literature. A forgotten poet of the interwar period in Poland, Lola (Leonia) Szereszewska (1895–1943, born Lola Rotbard) is mostly unknown to readers and academics; she was, however, a respected author in after World War I. She published five volumes of poetry and poetic prose: Kontrasty [Contrasts] (1917), Trimurti. Fantazje historyczne [Trimurti. Historical Fancies] (1919), Ulica [The Street] (1930), Niedokończony dom [The Unfinished Home] (1936), Gałęzie [Branches] (1938), all in prestigious publishing houses. Reading her poems allows us to investigate the universal processes of exclusion and alienation.Artykuł ma na celu interpretację wiersza Uchodźcom autorstwa zapomnianej poetki dwudziestolecia międzywojennego w kontekście literatury polsko-żydowskiej. Lola (Leonia) Szereszewska (1895–1943) z domu Rotbard jest we współczesnej recepcji badawczej i czytelniczej, z małymi wyjątkami, nieobecna, tymczasem w dwudziestoleciu międzywojennym była autorką rozpoznawalną. Wydała pięć tomów wierszy i prozy poetyckiej: Kontrasty (1917), Trimurti. Fantazje historyczne (1919), Ulica (1930), Niedokończony dom (1936), Gałęzie (1938), które zostały opublikowane w liczących się wydawnictwach. Interpretacja utworu poetyckiego pozwala zbadać uniwersalne procesy wykluczenia i wyobcowania
Lola Szereszewska (1895–1943) – the Forgotten Poet of the Peripheries
No full textThis article aims at reading “Uchodźcom” [“To Refugees”] in the context of Polish-Jewish literature. A forgotten poet of the interwar period in Poland, Lola (Leonia) Szereszewska (1895–1943, born Lola Rotbard) is mostly unknown to readers and academics; she was, however, a respected author in after World War I. She published five volumes of poetry and poetic prose: Kontrasty [Contrasts] (1917), Trimurti. Fantazje historyczne [Trimurti. Historical Fancies] (1919), Ulica [The Street] (1930), Niedokończony dom [The Unfinished Home] (1936), Gałęzie [Branches] (1938), all in prestigious publishing houses. Reading her poems allows us to investigate the universal processes of exclusion and alienation.Artykuł ma na celu interpretację wiersza Uchodźcom autorstwa zapomnianej poetki dwudziestolecia międzywojennego w kontekście literatury polsko-żydowskiej. Lola (Leonia) Szereszewska (1895–1943) z domu Rotbard jest we współczesnej recepcji badawczej i czytelniczej, z małymi wyjątkami, nieobecna, tymczasem w dwudziestoleciu międzywojennym była autorką rozpoznawalną. Wydała pięć tomów wierszy i prozy poetyckiej: Kontrasty (1917), Trimurti. Fantazje historyczne (1919), Ulica (1930), Niedokończony dom (1936), Gałęzie (1938), które zostały opublikowane w liczących się wydawnictwach. Interpretacja utworu poetyckiego pozwala zbadać uniwersalne procesy wykluczenia i wyobcowania
« Écrire depuis un lieu de mémoire. 'Quand tu écouteras cette chanson' de Lola Lafon »
No full textInternational audienceIn Quand tu écouteras cette chanson (2022), Lola Lafon tells the story of her one-night immersion in the Anne Frank Museum in Amsterdam. This article examines the way the author concretely and symbolically invests this memory space (lieu de mémoire): as she offers a spatialized scenography of memory through her writing, she manages to articulate her personal history, her link to Jewishness, and a tribute to the disappeared, while at the same time highlighting the limits of such memorial work. We also question the specificity of this text within Holocaust literature, as well as its singular place in Lola Lafon's work, marking a significant turn towards non-fiction.Dans 'Quand tu écouteras cette chanson' (2022), Lola Lafon fait le récit de son immersion d’une nuit dans le Musée Anne Frank à Amsterdam. A travers cet article, on interroge la façon dont l’autrice investit concrètement et symboliquement ce lieu de mémoire : c’est en construisant une scénographie spatialisée du souvenir par l’écriture qu’elle parvient à articuler son histoire personnelle, son lien à la judéité, et à rendre hommage aux disparus, tout en soulignant les limites d’un tel travail mémoriel. On questionne également la spécificité de ce texte au sein des écritures de la Shoah, ainsi que sa place singulière dans l’œuvre de Lola Lafon, marquant un tournant signifiant vers le récit de non-fiction
« Écrire depuis un lieu de mémoire. 'Quand tu écouteras cette chanson' de Lola Lafon »
No full textInternational audienceIn Quand tu écouteras cette chanson (2022), Lola Lafon tells the story of her one-night immersion in the Anne Frank Museum in Amsterdam. This article examines the way the author concretely and symbolically invests this memory space (lieu de mémoire): as she offers a spatialized scenography of memory through her writing, she manages to articulate her personal history, her link to Jewishness, and a tribute to the disappeared, while at the same time highlighting the limits of such memorial work. We also question the specificity of this text within Holocaust literature, as well as its singular place in Lola Lafon's work, marking a significant turn towards non-fiction.Dans 'Quand tu écouteras cette chanson' (2022), Lola Lafon fait le récit de son immersion d’une nuit dans le Musée Anne Frank à Amsterdam. A travers cet article, on interroge la façon dont l’autrice investit concrètement et symboliquement ce lieu de mémoire : c’est en construisant une scénographie spatialisée du souvenir par l’écriture qu’elle parvient à articuler son histoire personnelle, son lien à la judéité, et à rendre hommage aux disparus, tout en soulignant les limites d’un tel travail mémoriel. On questionne également la spécificité de ce texte au sein des écritures de la Shoah, ainsi que sa place singulière dans l’œuvre de Lola Lafon, marquant un tournant signifiant vers le récit de non-fiction
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