354 research outputs found
Il "demonismo della forma" e il "trascendimento nel nulla". Ferruccio Masini legge Gottfried Benn
No full textIl saggio è suddiviso in una premessa in cui si inquadra il nichilismo di Gottfried Benn, in un secondo paragrafo in cui si analizza la ragione dell'interesse prioritario di Ferruccio Masini per una raccolta tarda di poesie di Gottfried Benn, Aprèslude (1955) - pubblicata in traduzione italiana dal germanista nel 1963 - che si collega con i capisaldi del prontuario dell'artista maturo che Benn esplicita in "Altern als Problem für Künstler" (1954); poi, un successivo paragrafo enuncia il significato del misticismo estetico di Benn nell'ottica di Masini, mostrando l'insistenza del germanista sul concetto di "prospettiva geometrica-astratta" della lirica benniana. Successivamente, negli ultimi due paragrafi, si chiude il cerchio dell'impegno di Masini rivolto all'autore espressionista, giacché a otto anni dalla traduzione e cura di Aprèslude pubblica un'edizione tradotta e commentata della famosa raccolta di liriche del primo periodo benniano, intitolata Morgue (1912). Nelle riflessioni di Benn distillate da Masinil a carica distruttiva della forma e il pensiero sulla violenza si mostrano indipendenti dal conflitto tra individuo e società. In un paragrafo conclusivo è possibile constatare l'interesse di Masini per il nichilismo dello scrittore romantico Jean Paul, alle cui spalle si definisce, come del resto per Benn, il pensiero maturato da Masini sul rapporto tra Dio e uomo attraverso la filosofia di Nietzsche.The essay ist divided into an introduction concerning Gottfried Benn's nihilism, into a second paragraph, in which is analysed the reason of Ferruccio Masini's priority interest for a late collection of poems of Gottfried Benn, Aprèlude (1955) - published in italian translation by the germanist 1963, - placed here in connection with the main points of the mature artist spelt out in the essay "Altern als Problem für Künstler" (1954); furthermore, into a following paragraph which concerns Benn's aesthetic mysticism, read using the interpretation of Ferruccio Masini and showing his insistence on the concept of "geometric-abstract perspective" in Benn's lyric poetry. In the last two paragraphs the circle of the argumentation is closed with some considerations concerning the translated and commented edition of the famous collection of Benn's early poems "Morgue" (1912). In Benn's reflections explicated by Masini the destructive power of the form and the meditation on violence are showed as indipendent from the conflict between the individual and the society. In a last paragraph it is possible to ascertain Masini's interest in the nihilism of the romantic german author Jean Paul, to whose horizont is defined Masini's thought developed on the relationship between god and man by means of Nietzsche's philosophy
Presenza e poesia in Gottfried Benn
No full textIn this article, the Author intends to show how the German poet Gottfried Benn addressed the issue of the poetical “quality” of man’s existence in relation to the notions of time and presence. The Author examines a number of lectures that Benn gave in the timespan ranging from Weimar Germany to the period following World War II. The Author’s analysis focuses on some particularly illustrative theo-retical passages where Benn, while speculating on the meaning of the German and European expressionist movement, outlined an interpretative horizon of both poetry and poet that offers an original approach to the contemplation on the notion of “presence”
Il "demonismo della forma" e il "trascendimento nel nulla". Ferruccio Masini legge Gottfried Benn
No full textIl saggio è suddiviso in una premessa in cui si inquadra il nichilismo di Gottfried Benn, in un secondo paragrafo in cui si analizza la ragione dell'interesse prioritario di Ferruccio Masini per una raccolta tarda di poesie di Gottfried Benn, Aprèslude (1955) - pubblicata in traduzione italiana dal germanista nel 1963 - che si collega con i capisaldi del prontuario dell'artista maturo che Benn esplicita in "Altern als Problem für Künstler" (1954); poi, un successivo paragrafo enuncia il significato del misticismo estetico di Benn nell'ottica di Masini, mostrando l'insistenza del germanista sul concetto di "prospettiva geometrica-astratta" della lirica benniana. Successivamente, negli ultimi due paragrafi, si chiude il cerchio dell'impegno di Masini rivolto all'autore espressionista, giacché a otto anni dalla traduzione e cura di Aprèslude pubblica un'edizione tradotta e commentata della famosa raccolta di liriche del primo periodo benniano, intitolata Morgue (1912). Nelle riflessioni di Benn distillate da Masinil a carica distruttiva della forma e il pensiero sulla violenza si mostrano indipendenti dal conflitto tra individuo e società. In un paragrafo conclusivo è possibile constatare l'interesse di Masini per il nichilismo dello scrittore romantico Jean Paul, alle cui spalle si definisce, come del resto per Benn, il pensiero maturato da Masini sul rapporto tra Dio e uomo attraverso la filosofia di Nietzsche.The essay ist divided into an introduction concerning Gottfried Benn's nihilism, into a second paragraph, in which is analysed the reason of Ferruccio Masini's priority interest for a late collection of poems of Gottfried Benn, Aprèlude (1955) - published in italian translation by the germanist 1963, - placed here in connection with the main points of the mature artist spelt out in the essay "Altern als Problem für Künstler" (1954); furthermore, into a following paragraph which concerns Benn's aesthetic mysticism, read using the interpretation of Ferruccio Masini and showing his insistence on the concept of "geometric-abstract perspective" in Benn's lyric poetry. In the last two paragraphs the circle of the argumentation is closed with some considerations concerning the translated and commented edition of the famous collection of Benn's early poems "Morgue" (1912). In Benn's reflections explicated by Masini the destructive power of the form and the meditation on violence are showed as indipendent from the conflict between the individual and the society. In a last paragraph it is possible to ascertain Masini's interest in the nihilism of the romantic german author Jean Paul, to whose horizont is defined Masini's thought developed on the relationship between god and man by means of Nietzsche's philosophy
Caribbean Report 15-05-1989
No full text1. Headlines (00:00-00:59)2. Haitian Ruler reshuffles cabinet as intimidation on the streets increases. Michael Morton reports (01:00-04:53)3. London gets an Afro-Caribbean community radio station. Interview with Stuart Patterson (04:54-08:11)4. Financial News interviews with Norris James and Ingrid Avason (08:12-12:04)5. Nigel Benn, the British Boxing star with Barbados roots fights Michael Watson for the Commonwealth Middleweight title. Ian Darke interviews Michael Watson and Nigel Benn (12:05-15:20
The Hour That Breaks: Gottfried Benn - A Biography
No full textThe Hour That Breaks is the first biography of Gottfried Benn to appear in English. The author of this study charts in impressive detail the complex paths of Benn’s life, through the demands of his medical practice and military involvement in two world wars, his brief political advocacy of Hitler and Nazism in 1933, to his final «comeback» in post Second World War Germany. The author also engages with Benn’s extensive body of poetry which, inventive, challenging and formally wrought, was the product of mind that was both radical and conservative. The same propensity to invention and transformation also informed Benn’s personal and professional life, giving rise to a practice of role-playing and dissimulation that the poet termed a «double life». As Travers shows in this well-written and informative biography, this was a strategy of survival of which Benn, ultimately, was as much the victim as the master. This biography also offers fresh translations of many of Benn’s poems, a number of which appear here in English for the first time.Arts, Education & Law Group, School of Humanities, Languages and Social ScienceFull Tex
The Fightback of the Traditional Right in the Labour Party 1979 to 1987
No full textPhDThe Labour Party, having lost the General Election in 1979 after the Winter of
Discontent,d escendedin to internalt urmoil, ast he Left-dominatedN ational Executive
Committee( NEC) and conferences oughtr evengeo n the centre-rightP arliamentary
Labour Party (PLP) for its alleged failures in government. In 1981, the Social
Democratic Party (SDP) split from Labour, leaving the Labour Party facing possible
electoral extinction. However, the trade unions - founders of the Labour Party - came
to its rescue,le d by a small groupo f dedicatedg enerals ecretariesa nd staff, who set out
to regaint he NEC for the moderatesa, ndt o return the Labour Partyt o what they termed
"sanity" and electability,b y expellingM ilitant, safeguardingth e position of Deputy
LeaderD enis HealeyM P whenc hallengedb y Tony Benn MP, andd eliveringf or Neil
Kinnock MP (the Leader they helped install after the 1983 election) an NEC committed
to supporting him in changing the party.
The thesis documents the organisation of the Right within the PLP before 1981 (the
Manifesto Group and Labour First). It then covers the internal party groupings which
organised the Fightback of the party's traditional right (the St Ermins Group of trade
union leaders, Labour Solidarity Campaign and Forward Labour). It details their role in
the leadership and deputy leadership elections, in changing the NEC's political
composition and its workings, in the expulsion of Militant, in campaigning for One
Member One Vote, and in helping keep Moderate members within the party.
Contrary to some academic writings, this thesis shows how this was initially undertaken
without the supporto f the Leader,a nd it detailst he amounto f organisationawl ork
neededto achievec hangea nd assisti n Labour's re-emergencea s an electablep arty.
The researchd rawso n extensivep rivatep apersa nd archives,t ogetherw ith over 70
interviews with key players
Distorsioni cerebrali. Ithaka di Gottfried Benn come esperimento drammatico
No full textStarting from the discussion of the premiere of Ithaka (Landestheater Darmstadt 1967) and its context, the paper contends that the piece, written by Gottfried Benn half a century earlier, cannot be merely read as an essayistic dialogue about scientific debates of the late 19th and early 20th centuries, as an autobiographic showdown behind the mask of Dr. Rönne or even as a sombre anticipation of Nazism. In fact, a close reading of the text and its multi-layered, masterly dramatic construction shows the avant-gardist openness of Ithaka, which can be considered as a theatrical experiment: the author tests on fictitious characters affected by ‘cerebral distortions’, reflecting disparate tendencies of the fin-de-siècle epistemology and philosophy, and observes the consequences of such a collision up to its tragic ending
Benn Pitman home interior balcony
No full textDated ca. 1930-1943, this photograph shows an interior view of the home of Benjamin Pitman, an English author and proponent of Pitman shorthand, developed by his brother Isaac Pitman. Benn, along with his wife and children, arrived in the United States in 1853 and first settled in Philadelphia, Pennsylvania, and later Canton, Ohio, and then Cincinnati. After his brother made changes to his system, Pittman refused to endorse it, and the original shorthand system was adopted in the United States. Pittman served in the Union Army during the Civil War and became the official stenographer for the trials of Abraham Lincoln's assassin and other cases. He became active in the arts in the 1870s and introdiced the Pitman School of Woodcarving.
The Benn Pitman house is located at 1852 Columbia Avenue, Cincinnati, Ohio. The home was built between 1800 and 1804 and the exterior incorporates many styles including Italian Chateau, Romanesque, and Rococo. Among his many accomplishments, Pitman taught woodcarving at the Art Academy of Cincinnati. He himself made much of the woodwork inside the home, including doors, panels, and wainscoting. Much of the more delicate work depicting flowers and leaves was done by Pitman's wife and her twin sister, who taught at the local art school. It was added to the National Register of Historic Places in 1969.
This photograph is one of the many visual materials collected for use in the Ohio Guide. In 1935, President Franklin D. Roosevelt established the Works Progress Administration by executive order to create jobs for the large numbers of unemployed laborers, as well as artists, musicians, actors, and writers. The Federal Arts Program, a sector of the Works Progress Administration, included the Federal Writers’ Project, one of the primary goals of which was to complete the America Guide series, a series of guidebooks for each state which included state history, art, architecture, music, literature, and points of interest to the major cities and tours throughout the state. Work on the Ohio Guide began in 1935 with the publication of several pamphlets and brochures. The Reorganization Act of 1939 consolidated the Works Progress Administration and other agencies into the Federal Works Administration, and the Federal Writers’ Project became the Federal Writers’ Project in Ohio. The final product was published in 1940 and went through several editions. The Ohio Guide Collection consists of 4,769 photographs collected for use in Ohio Guide and other publications of the Federal Writers’ Project in Ohio from 1935-1939
Benn Pitman home interior fireplace
No full textDated ca. 1930-1943, this photograph shows a fireplace and doors in the home of Benjamin Pitman. The molding and woodwork feature elaborate carvings. Benjamin Pitman, an English author and proponent of Pitman shorthand, developed by his brother Isaac Pitman. Benn, along with his wife and children, arrived in the United States in 1853 and settled first in Philadelphia, Pennsylvania, and later Canton, Ohio, and then Cincinnati. After his brother made changes to his system, Pittman refused to endorse it, and the original shorthand system was adopted in the United States. Pittman served in the Union Army during the Civil War and became the official stenographer for the trials of Abraham Lincoln's assassin and others. He became active in the arts in the 1870s and introduced the Pitman School of Woodcarving.
The Benn Pitman house is located at 1852 Columbia Avenue, Cincinnati, Ohio. The home was built between 1800 and 1804 and the exterior incorporates many styles, including Italian Chateau, Romanesque and Rococo. Among his many accomplishments, Pitman taught woodcarving at the Art Academy of Cincinnati. He himself made much of the woodwork inside the home, including doors, panels and wainscoting. Much of the more delicate work depicting flowers and leaves was done by Pitman's wife and her twin sister, who taught at the local art school. It was added to the National Register of Historic Places in 1969.
This photograph is one of the many visual materials collected for use in the Ohio Guide. In 1935, President Franklin D. Roosevelt established the Works Progress Administration by executive order to create jobs for the large numbers of unemployed laborers, as well as artists, musicians, actors, and writers. The Federal Arts Program, a sector of the Works Progress Administration, included the Federal Writers’ Project, one of the primary goals of which was to complete the America Guide series, a series of guidebooks for each state which included state history, art, architecture, music, literature, and points of interest to the major cities and tours throughout the state. Work on the Ohio Guide began in 1935 with the publication of several pamphlets and brochures. The Reorganization Act of 1939 consolidated the Works Progress Administration and other agencies into the Federal Works Administration, and the Federal Writers’ Project became the Federal Writers’ Project in Ohio. The final product was published in 1940 and went through several editions. The Ohio Guide Collection consists of 4,769 photographs collected for use in Ohio Guide and other publications of the Federal Writers’ Project in Ohio from 1935-1939
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