305 research outputs found
Ivy and Bones: Ruins and Reversibility During the Blitz
No full textL’article « Le lierre et les os: ruines et réversibilité pendant le Blitz » s’attache à montrer que la représentation des ruines du Blitz est traversée par la tension esthétique et sémiotique entre abstraction, pureté moderniste et accrétion naturaliste et pittoresque. La notion de réversibilité sert de piste pour explorer la manière dont les destructions engendrées par la guerre ou encore le sentiment d’un déclin culturel s’inscrivent dans les œuvres de Elizabeth Bowen, Herbert Furst, Claire Leighton, Rose Macaulay, John Piper, et Virginia Woolf, tout en étant contrebalancés par des modes de compensation imaginaire. La figure de la réversibilité permet d’analyser certains sites où les conflits esthétiques sont réactivés, des espaces bombardés à la page du livre en tant qu’objet culturel emblématique et artefact moderniste menacé de disparition.‘Ivy and Bones: Ruins and Reversibility During the Blitz’ examines how the representation of the ruins of the Blitz is informed by the aesthetic and semiotic tension between abstraction, modernist purity and picturesque accretion. Subsequently building on the notion of reversibility, it explores the way wartime destruction and/or cultural decline is recorded as well as counteracted and compensated for in works by Elizabeth Bowen, Herbert Furst, Claire Leighton, Rose Macaulay, John Piper, and Virginia Woolf. The trope of reversibility provides a template to consider some of the sites where aesthetic conflicts are re-enacted, from blitzed spaces to the printed page as threatened modernist artefact and cultural asset
Bildungswerk BLITZ e.V. - the multicultural centre of education, job opportunities and entertainment
No full textDie Abschlussarbeit befasst sich in ihrem theoretischen Teil mit der Gesamtkonzeption und den Zielen des deutschen Bildungswerkes BLITZ e.V. Dieses wird insbesondere durch die Beschreibung seiner Entstehung, Entwicklung und der wichtigsten Projekten vorgestellt. Weiterhin soll auf den Förderverein BLITZ e.V., und dessen unterstützende Hilfe eingegangen werden. Das darauffolgende Kapitel soll das europäische Projekt „Freiwilliger Dienst“ beschreiben. Der zweite Teil dieser Arbeit behandelt den Praxiseinsatz des Autors beim Bildungswerk BLITZ e.V. im Zuge der Veranstaltung -„Kinderdorf 2009“.Bakalářská práce se ve své teoretické části zabývá celkovou koncepcí a cíli německého "Vzdělávacího střediska BLITZ e.V.". To je představeno především popisem jeho vzniku, vývoje a jednotlivých projektů. Zmíněn je také Förderverein BLITZ e.V. a jedna z kapitol je taktéž věnována evropskému projektu "Evropská dobrovolná služba". Druhá část pojednává o autorově praxi ve vzdělávacím středisku BLITZ e.V., v dětské vesničce "Kinderdorf 2009". Ta je v závěrečné práci důkladně popsána a doplněna o vlastní zhodnocení.In its theoretical part, the Bachelor thesis deals with the overall concept and aims of the German "Educational centre BLITZ e.V.". It is introduced particularly through a chronological description of its formation, development and individual projects. Also Förderverein BLITZ e.V. is mentioned and one chapter is also dedicated to the "European voluntary service". The second part deals with author´s training in BLITZ e.V., in the children´s village, "Kinderdorf 2009". The training is described in detail in the Bachelor thesis and is completed with author´s assessment.Katedra cizích jazykůDokončená práce s úspěšnou obhajobo
Ivy and Bones: ruins and reversibility during the Blitz
No full textInternational audience"Ivy and bones: ruins and reversibility during the Blitz" examines how the representation of the ruins of the Blitz is informed by the aesthetic and semiotic tension between abstraction, modernist purity and picturesque accretion. Subsequently building on the notion of reversibility, it explores the way wartime destruction and/or cultural decline is recorded as well as counteracted and compensated for in works by Elizabeth Bowen, Herbert Furst, Claire Leighton, Rose Macaulay, John Piper, and Virginia Woolf. The trope of reversibility provides a template to consider some of the sites where aesthetic conflicts are re-enacted, from blitzed spaces to the printed page as threatened modernist artefact and cultural asset.Cet article s'attache à montrer que la représentation des ruines du Blitz est traversée par la tension esthétique et sémiotique entre abstraction, pureté moderniste et accrétion naturaliste et pittoresque. La notion de réversibilité sert de piste pour explorer la manière dont les destructions engendrées par la guerre ou encore le sentiment d'un déclin culturel s'inscrivent dans les œuvres de Elizabeth Bowen, Herbert Furst, Claire Leighton, Rose Macaulay, John Piper, et Virginia Woolf, tout en étant contrebalancés par des modes de compensation imaginaire. La figure de la réversibilité permet d'analyser certains sites où les conflits esthétiques sont réactivés, des espaces bombardés à la page du livre en tant qu'objet culturel emblématique et artefact moderniste menacé de disparition
Conserving liberty
No full textOriginating in Hoover Institution discussions held under the auspices of the Boyd and Jill Smith Task Force on Virtues of a Free Society, Conserving Liberty defends the principles of American conservatism, clarifying many of the narrow or mistaken views that have arisen from both its friends and its foes. Author Mark Blitz asserts that individual liberty is the most powerful, reliable, and true standpoint from which to clarify and secure conservatism--but that individual freedom alone cannot produce happiness. He shows that, to fully grasp conservatism's merits, we must we also understand the substance of responsibility, toleration and other virtues, traditional institutions, individual excellence, and self-governmen
Sales Blitz Marketing Communication Strategy in Increasing Revenue at Horison Hotel Pekalongan
No full textThe company\u27s marketing efforts influence sales growth in the hotel service lodging industry in addition to the caliber of the products. For instance, the company should implement an appropriate marketing plan because of the intense competition. The sales blitz is a key component of the marketing plan to boost Hotel Horison Pekalongan\u27s revenue. The sales blitz team needs to be improved once more due to the volume of new competitors. This thesis aims to explain the Blitz sales marketing communication technique used to boost revenue at the Horison Hotel Pekalongan. Also, describe the challenges and how to conduct a successful sales campaign. It is anticipated that sales will rise due to the sales blitz events. The author interviewed people in the marketing industry, specifically sales executives and managers
Paysage fracturé, société divisée, sujets tiraillés—Londres post-Blitz comme « tiers-paysage » dans The World My Wilderness de Rose Macaulay (1950)
No full textInternational audienceFrom her autobiographical short story ‘Miss Anstruther’s Letters’ (1942) to her postwar novel The World My Wilderness (1950), Rose Macaulay explores the devastating effects of war on London, its cityscape, society and inhabitants. Confronted to the bombing of her flat during the Blitz as recalled in ‘Miss Anstruther’s Letters,’ Macaulay expands on this traumatising event in The World My Wilderness and depicts outcasts rambling in the ruins amidst fault lines, be they architectural, geological or psychological. This paper examines The World My Wilderness via the prism of the ‘third landscape’ as defined by Gilles Clément in recent landscape theory (2020). Drawing on Clément’s concept, I contend that the ‘broken city’ (Macaulay, 45) provides a space of in-betweeness for outcasts and biodiversity, as Rose Macaulay invests the fractures scarring landscape, society and individuals at a time when the preservation of ruins was much debated.De sa nouvelle autobiographique « Miss Anstruther’s Letters » (1942) à son roman post-guerre The World My Wilderness (1950) Rose Macaulay explore les conséquences dévastatrices de la guerre sur le paysage, la société et les habitants londoniens. Confrontée au bombardement de son appartement pendant le Blitz, narré en creux dans « Miss Anstruther’s Letters », Macaulay revient sur cet évènement traumatisant dans The World My Wilderness. Elle y dépeint des marginaux errant dans les ruines parcourues de lignes de faille, tant architecturales que géologiques ou psychologiques. Cet article analyse The World My Wilderness sous le prisme du « tiers-paysage » défini par Gilles Clément dans le champ des études de paysage contemporaines (2020). Ainsi, la « ville brisée » constitue un espace d’entre-deux pour marginaux et biodiversité, tandis que Macaulay investit les fractures zébrant paysage, société et individus dans un contexte post-guerre où la préservation des ruines fait débat
Rose Hobart
No full textJoseph Cornells filmisches Meisterwerk
ist eine überarbeitete Collage
des Films >East of Borneo< (1931) mit Rose Hobart in der
Hauptrolle. Die Montage und Verwendung
von Fragmenten eines
wissenschaftlichen Filmes drehen
das System von Ursache und Wirkung
um, isolieren Rose Hobarts
Ausdrücke und Gesten und kehren
das übliche Hollywood-Dschungel-Drama um in eine surrealistische
Begegnung einer schönen,
aber nervösen Heidin mit
einer unwirklichen und böswilligen
Natur. (Anthology Film Archives)
»Rose Hobart ist ein CollageFilm
aus dem Jahr 1939, als sich
Cornell sehr eingehend mit Surrealismus
beschäftigte. Er verwendet
eine Hollywood-Auftragsarbeit aus
dem Jahre 1931, East of Bomeo
(George Melford), als Grundlage.
Indem er zwei Drittel davon wegwirft,
entledigt sich Cornell jeder
Verpflichtung zu linearem Zeitaufbau
und zur Kausalität von Melfords
Film. Stattdessen sehen wir
eine ironische Überarbeitung des
Originals und eine Hommage an
eine Lieblingsschauspielerin.
Kinematographisch basiert
Rose Hobart auf Widerspruch, der
auf verschiedenen Ebenen deutlich
wird. Obwohl Cornel viele der
Kino-Codes Hollywoods bestätigt -
z.B. Schuß-Gegenschuß, gegeneinander
geschnittene Kamerawinkel,
gegenüberliegende Winkel,
die Schnittechnik des >match-cut< -
unterminiert er nahtlose Kontinuität,
indem er poetisiert, >überdeterminiert<
und so die Beziehung zwischen
einer Sequenz und der
nächsten problematisch macht. Einige
sind sehr kurz, aus ein oder
zwei Aufnahmen bestehend, diese
Aufnahmen können nebeneinandergesteIlt
werden (besser als zusammengeklebt),
so daß Ursache
und Wirkung, Blick und Objekt
eher nicht harmonieren als Gestalt
anzunehmen (durch Pathos,
Mysterium, Widersprüche). Wenn
die räumlich-zeitliche Kontinuität
zwischen den Aufnahmen gesichert
ist, genügt eine Detailveränderung
(meistens Roses Kleid),
um unsere Erwartungen in Verwirrung
zu bringen (zu traumatisieren).
Gleichzeitig wird eine Sequenz
durch das Einfügen von
Blitz-Aufnahmen poetisiert, die
den Ablauf unterbrechen und im
Gegensatz zur Struktur stehen (da
sie aus den letzten paar Bildern einer
bezuglosen Überblendung bestehen
können). Ein Schnittplan
von Rose Hobart beginnt dann, einem
Gesangsstück Albert Roussells zu gleichen, mit Klammern in
Klammern von Klammern; dies
regt an zu einer Mehrfachinterpretation
von Kontinuiät und Ellipse,
von Fokus und Träumerei zur
gleichen Zeit.« (Paul Hammond
Literatura ectópica: Party im Blitz de Elias Canetti
No full textEl propósito de este artículo es analizar la obra Party im Blitz, de Elias Canetti, desde un punto de vista ectópico. Para ello partiremos de la definición que Tomás Albaladejo ofrece del concepto literatura ectópica, entendida como aquella creada por el autor que cambia su tópos —lugar físico, cultural o lingüístico— habitual por uno a priori extraño. Una vez se ha diferenciado esta literatura de otras como la literatura intercultural o la del exilio, ahondamos en la idea de la literatura ectópica misma, así como en sus rasgos definitorios y factores determinantes, que más tarde aplicaremos al análisis de la obra. A continuación posamos nuestra mirada sobre el autor Elias Canetti, partiendo sobre todo de su autobiografía e incidiendo especialmente en los numerosos desplazamientos que marcan tanto su vida como su obra y que le convierten en un autor ectópico que llega a coleccionar hasta cinco patrias. Después llegamos al propio análisis de Party im Blitz, narración de las dos primeras décadas que Canetti pasa en Inglaterra, que refleja la sociedad inglesa del momento y que nace del desplazamiento del autor. El examen busca caracterizar la obra como ectópica y rastrear las repercusiones que el cambio de tópos tiene en la misma, sobre todo evidentes en la temática y en el uso de la lengua. El análisis nos permite afirmar con seguridad que se trata de una obra ectópica plena de referencias y consecuencias surgidas de los diferentes desplazamientos del autor que se entrelazan y suponen diferentes niveles referencialesThe aim of this paper is to analyse the work Party im Blitz, by Elias Canetti, from an ectopic point of view. In so doing, we will start from Tomás Albaladejo's definition of ectopic literature, undesrtood as the literature that is produced by an author who changes their usual tópos —physical, cultural or linguistic scene— for an initially odd one. Once this kind of literature has been distinguished from other kinds such as intercultural literature or literature in exile, the idea of ectopic literature itself will be studied thoroughly, as well as its distinctive features and significant factors, which will be applied to the work analysis later on. Next, we will look at the author Elías Canetti, chiefly starting from his authobiography and paying special attention to the numerous journeys which have marked both his life and his work and made him an ectopic author who collects up to five homelands. After that, we will get to the analysis itself of Party im Blitz, an account of the first two decades that Canetti spent in England, which reflects the English society of the period and stems from the author's journey. Such exam seeks for defining the work as ectopic and for ascertaining the impact that the change of tópos has on it, mainly present on the topics and language use. The analysis allows to safely say that we are in front of an ectopic work full of references and consequences as the result of the various author's journeys which interweave with each other and mean different referential level
Literatura ectópica: Party im Blitz de Elias Canetti
No full textEl propósito de este artículo es analizar la obra Party im Blitz, de Elias Canetti, desde
un punto de vista ectópico. Para ello partiremos de la definición que Tomás Albaladejo
ofrece del concepto literatura ectópica, entendida como aquella creada por el autor
que cambia su tópos —lugar físico, cultural o lingüístico— habitual por uno a priori
extraño. Una vez se ha diferenciado esta literatura de otras como la literatura
intercultural o la del exilio, ahondamos en la idea de la literatura ectópica misma, así
como en sus rasgos definitorios y factores determinantes, que más tarde aplicaremos
al análisis de la obra. A continuación posamos nuestra mirada sobre el autor Elias
Canetti, partiendo sobre todo de su autobiografía e incidiendo especialmente en los
numerosos desplazamientos que marcan tanto su vida como su obra y que le
convierten en un autor ectópico que llega a coleccionar hasta cinco patrias. Después
llegamos al propio análisis de Party im Blitz, narración de las dos primeras décadas
que Canetti pasa en Inglaterra, que refleja la sociedad inglesa del momento y que
nace del desplazamiento del autor. El examen busca caracterizar la obra como
ectópica y rastrear las repercusiones que el cambio de tópos tiene en la misma, sobre
todo evidentes en la temática y en el uso de la lengua. El análisis nos permite afirmar
con seguridad que se trata de una obra ectópica plena de referencias y consecuencias
surgidas de los diferentes desplazamientos del autor que se entrelazan y suponen
diferentes niveles referenciales.The aim of this paper is to analyse the work Party im Blitz, by Elias Canetti, from an
ectopic point of view. In so doing, we will start from Tomás Albaladejo's definition of
ectopic literature, undesrtood as the literature that is produced by an author who changes their usual tópos —physical, cultural or linguistic scene— for an initially odd
one. Once this kind of literature has been distinguished from other kinds such as
intercultural literature or literature in exile, the idea of ectopic literature itself will be
studied thoroughly, as well as its distinctive features and significant factors, which will
be applied to the work analysis later on. Next, we will look at the author Elías Canetti,
chiefly starting from his authobiography and paying special attention to the numerous
journeys which have marked both his life and his work and made him an ectopic
author who collects up to five homelands. After that, we will get to the analysis itself
of Party im Blitz, an account of the first two decades that Canetti spent in England,
which reflects the English society of the period and stems from the author's journey.
Such exam seeks for defining the work as ectopic and for ascertaining the impact that
the change of tópos has on it, mainly present on the topics and language use. The
analysis allows to safely say that we are in front of an ectopic work full of references
and consequences as the result of the various author's journeys which interweave
with each other and mean different referential levels
Making vision into power : Britain's acquisition of the world's first radar-based integrated air defence system 1935 - 1941
No full textThis thesis represents the first application of a current conceptual model of defence acquisition to analyse the historical process, the 1935 - 1941 British acquisition of an integrated air defence system pivoted upon the innovative technology of radar. For successful acquisition of a military capability, the model posits that balanced attention must be focused acoss eight 'lines of developmen' - not only equipment, but also doctrine and concepts, logistics, structures, personnel, organisation, training and information with an overarching requirement for interoperability. This thesis contrasts what turned out to be a successful acquisition, of radar to achive air interception capability by day in the Battle of Britain, with less successful acquisition, or radar to achieve the same capability at night, where an effective system arrived too late to ward off the Blitz. The results establish the validity of the model and its attendant lines of development concepts, and furnish new insights into acquisition processes and military history. Acquisition lessons are derived for the capability-based involvement of industry, for the experience and personality necessary for key managers at different 'life stages' of an acquisition and for the avoidance of over-rapid 'dysfunctional diffusion' of innovative technologies. Historical insights for the Battle of Britain include the sub-optimal performance, for trivial reasons, of key South Coast radars, and the critical importance of the human elements of the radar-based air defence system. For the Blitz, airborne radar hardware has previously been identified as a key problem, whereas research here exposes the greater need for accurate ground control radar, the sound selection and training of pilots and operators in new tactics, and provision of equipment maintainers and test gear. New evidence illustrates that pursuit of an alternative to radar significantly delayed the optimal solution, and throws fresh light both on personalities and on development process management
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