75 research outputs found
AHC interview with Alfred Josef Todrys.
No full textAugust 22, 2016Alfred Josef Todrys was born on July 9th 1924 in Vienna, Austria. His father was the representative of several bicycle companies. His Hungarian mother owned a meat market in Czernigasse, in the building where they lived. The family fled Austria in October 1938 to Paris. Due to an affidavit from a distant, wealthy relative in New York his father was able to obtain papers necessary for the emigration. They left for the United States in November 1938. Alfred became a US citizen in May 1943, when he joined the US Navy. After the war he started working in his father’s bike business.Austrian Heritage Collectio
"Solidarität zuerst" : zur Neuentdeckung einer politischen Idee /
No full textDie Solidarität ist im Vergleich zur Freiheit und zur Gerechtigkeit merkwürdig "theorielos". Liegt dies an der Dominanz eines politischen Liberalismus aus vorindustriellen Zeiten, der unser Denken bis heute prägt? An die sozialphilosophischen Aufbrüche des französischen Solidarismus von Akteuren wie Léon Bourgeois, Alfred Fouillée und Charles Gide erinnernd, fragt Hermann-Josef Große Kracht, ob es nicht an der Zeit ist, die philosophischen Freiheitslektionen des 18. Jahrhunderts mit den soziologischen Solidaritätslektionen des 19. Jahrhunderts zu einem postliberalen Solidarismus zu verbinden.Die Solidarität ist im Vergleich zur Freiheit und zur Gerechtigkeit merkwürdig "theorielos". Liegt dies an der Dominanz eines politischen Liberalismus aus vorindustriellen Zeiten, der unser Denken bis heute prägt? An die sozialphilosophischen Aufbrüche des französischen Solidarismus von Akteuren wie Léon Bourgeois, Alfred Fouillée und Charles Gide erinnernd, fragt Hermann-Josef Große Kracht, ob es nicht an der Zeit ist, die philosophischen Freiheitslektionen des 18. Jahrhunderts mit den soziologischen Solidaritätslektionen des 19. Jahrhunderts zu einem postliberalen Solidarismus zu verbinden.Includes bibliographical references.Online resource; title from PDF title page (EBSCO, viewed July 15, 2021)
Représenter l’auteur dans le livre auto-illustré au début du XXe siècle : Jean Bruller, Josef Váchal, Bruno Schulz et Alfred Kubin
No full textInternational audienceThis paper aims at discussing the assumption that self-illustrated books tend to favour self-representation, a phenomenon that would be somehow determined by the exclusive mastery of an author on the work that he writes, illustrates and sometimes even publishes himself. Comparing self-illustrated books of the early twentieth century (by Josef Váchal, Bruno Schulz, Alfred Kubin and Jean Bruller) with comics and artist’s books reveals that even if the author’s omnipresence cannot be regarded as a particularity of self-illustration, these authors still have their own way of exploring self-representation by combining both elements from autobiography and self-portrait. The main interest of such books might thus be the invasion of the paratext by the figure of the author-illustrator as well as the diffraction of this figure, which often splits itself into multiple or even contradictory characters.Cette étude entend questionner l’hypothèse d’une tendance à l’autoreprésentation dans les œuvres auto-illustrées, tendance qui serait en quelque sorte conditionnée par la maîtrise exclusive d’un auteur sur l’oeuvre qu’il écrit, illustre voire édite. En comparant des œuvres d’auteurs-illustrateurs du début du XXe siècle (Josef Váchal, Bruno Schulz, Alfred Kubin, Jean Bruller) avec la bande dessinée et le livre d’artiste, on constate que si l’omniprésence de l’auteur ne constitue pas une spécificité de l’auto-illustration, les auteurs y explorent néanmoins l’autoreprésentation de façon originale, mêlant des éléments relevant de l’autobiographie et de l’autoportrait. Sans doute l’intérêt de ces œuvres tient-il de ce point de vue à l’invasion du paratexte par la figure de l’auteur-illustrateur, ainsi qu’à la diffraction de cette figure qui en vient souvent à se scinder en avatars multiples sinon contradictoires
Représenter l’auteur dans le livre auto-illustré au début du XXe siècle : Jean Bruller, Josef Váchal, Bruno Schulz et Alfred Kubin
No full textInternational audienceThis paper aims at discussing the assumption that self-illustrated books tend to favour self-representation, a phenomenon that would be somehow determined by the exclusive mastery of an author on the work that he writes, illustrates and sometimes even publishes himself. Comparing self-illustrated books of the early twentieth century (by Josef Váchal, Bruno Schulz, Alfred Kubin and Jean Bruller) with comics and artist’s books reveals that even if the author’s omnipresence cannot be regarded as a particularity of self-illustration, these authors still have their own way of exploring self-representation by combining both elements from autobiography and self-portrait. The main interest of such books might thus be the invasion of the paratext by the figure of the author-illustrator as well as the diffraction of this figure, which often splits itself into multiple or even contradictory characters.Cette étude entend questionner l’hypothèse d’une tendance à l’autoreprésentation dans les œuvres auto-illustrées, tendance qui serait en quelque sorte conditionnée par la maîtrise exclusive d’un auteur sur l’oeuvre qu’il écrit, illustre voire édite. En comparant des œuvres d’auteurs-illustrateurs du début du XXe siècle (Josef Váchal, Bruno Schulz, Alfred Kubin, Jean Bruller) avec la bande dessinée et le livre d’artiste, on constate que si l’omniprésence de l’auteur ne constitue pas une spécificité de l’auto-illustration, les auteurs y explorent néanmoins l’autoreprésentation de façon originale, mêlant des éléments relevant de l’autobiographie et de l’autoportrait. Sans doute l’intérêt de ces œuvres tient-il de ce point de vue à l’invasion du paratexte par la figure de l’auteur-illustrateur, ainsi qu’à la diffraction de cette figure qui en vient souvent à se scinder en avatars multiples sinon contradictoires
Italy: is there a permanent establishment?
No full textThe author in this chapter of the book analyzes the Supreme Court decision No. 5649 delivered on 20 March 2015 which deals with the existence of a permanent establishment (PE) (stabile organizzazione occulta) in Italy of a non-resident company
Notas sobre la historia de la enseñanza del derecho en Estados Unidos.
No full textEn estas notas, la autora describe, concisamente, la historia de la enseñanza del derecho en Estados Unidos desde sus orígenes hasta los tiempos modernos. La autora relata los obstáculos que hubo que superar para establecer una cátedra de derecho dentro de la universidad, la influencia que los colegios de abogado y la asociación de facultades de derecho tuvieron en este desarrollo, el establecimiento de la metodología del caso como vehículo pedagógico
principal, y la función que tienen los abogados dentro de la sociedad. Estas notas concluyen con una breve descripción de los
requerimientos actuales para cursar una carrera de derecho en una universidad acreditada americana.In this brief essay, the author describes the origins of American legal education and situates it within the role that lawyers
play within American society. The essay explains the development of the profession from the apprenticeship system to the modem day requirement of a gradúate degree and a bar exam. The essay also covers the creation of the fírst full-time teaching positions, the teaching innovations introduced by C. C. Langdell, the influence of the American Bar Association and the Association of American Law Schools in the movement toward the institutionalization of legal studies. It concludes with a brief account of the modem requirements to enter a program of legal studies at an accredited law school.Publicad
Editio Cimelia Bohemica Vol. V
No full textThis is one of the most curious and wonderful of the collection's recent acquisitions. Canvas-spined heavy marbled boards enclose a text and sixteen oversized (7½ x 13) heavy-paper reproductions of Russian copper engravings of pictures and text. The text is an introduction by Josef Strnadel in five languages (Czech/English/French/German/Russian) to the prints. Strnadel notes that Aesop was translated into Czech in 1487 and that there were as many as twenty editions of Aesop's fables published in Germany alone between 1476 and 1510. The German editions, particularly that of Steinhöwel, served as models, especially artistic models, for the Russian editions. Strnadel notes the opinion of Alfred Stange that Ludwig Schongauer, one of the creators of the wood-carvings and painted decorations at the Ulm Cathedral, was the author of the illustrations accompanying Aesop's fables and life. The first independent edition of the life of Aesop in Russia was published in 1750 from copper plates. Text was supplemental to illustration. The cradle of Russian engraved books was the Kiev-Petcher monastery. In Russia, the life of Aesop seems to have captured more attention than the fables themselves. For Strnadel, Aesop is the spirit of anti-serfdom. The tsarist censor prohibited the publication of Aesop's life in the first quarter of the nineteenth century. Apparently the only known copy of the 1750 edition is in the Lenin Library in Moscow. The work reproduced here is apparently in the Slavonic Library; Strnadel believes it is one of the last editions of that 1750 original, dating from Russia in the late eighteenth or early nineteenth century. He sees it as a particular treasure of Russian engraving art. After the full-page portrait of Aesop, each page tends to have a top quarter showing several scenes from Aesop's life, while the lower portion of the page is all print. Though some scenes are hard to identify, many are clear from the tradition. All have print identifications and are numbered. The last page includes at its bottom the thrusting of Aesop from the cliff in Delphi.This is a hardbound book (hard cover)Language note: Russian/Czech/English/French/GermanJosef Strnade
The soft-focus lens and Anglo-American pictorialism
No full textElectronic version excludes illustrations for which permission has not been granted by the rights holderThe history, practice and aesthetic of the soft focus lens in photography is elucidated and developed from its earliest statements of need to the current time with a particular emphasis on its role in the development of the Pictorialist movement. Using William Crawford's concept of photographic 'syntax', the use of the soft focus lens is explored as an example of how technology shapes style.
A detailed study of the soft focus lenses from the earliest forms to the present is presented, enumerating the core properties of pinhole, early experimental and commercial soft focus lenses. This was researched via published texts in period journals, advertising, private correspondence, interviews, and the lenses themselves. The author conducted a wide range of in-studio experiments with both period and contemporary soft focus lenses to evaluate their character and distinct features, as well as to validate source material.
Nodal points of this history and development are explored in the critical debate between the diffuse and sharp photographic image, beginning with the competition between the calotype and daguerreotype. The role of George Davison's The Old Farmstead is presented as well as the invention of the first modern soft focus lens, the Dallmeyer-Bergheim, and its function in the development of the popular Pictorialist lens, the Pinkham & Smith Semi-Achromatic. The trajectory of the soft focus lens is plotted against the Pictorialist movement, noting the correlation betwixt them, and the modern renaissance of soft focus lenses and the diffuse aesthetic.
This thesis presents a unique history of photography modeled around the determining character of technology and the interdependency of syntax, style and art
Cello techniques and performing practices in the nineteenth and early twentieth centuries
No full textThis thesis comprises a study of cello performance practices throughout the nineteenth century and into the early decades of the twentieth. It is organised in terms of the increasing complexity of the concepts which it examines, as they are to be found in printed and manuscript music, instrumental methods and larger treatises, early recordings, concert reviews and pictures. Basic posture is considered along with different ways of holding the
bow. The development of the tail-pin shows that even when it was widely used, the older posture was still referred to as a model. Some implications for tone quality and tonal
projection are considered in the light of the shape of the arms. Some connections between the cellist's posture and that recommended by etiquette books are explored. The
functionality of the left hand and arm, and the development of modem scale fingerings, show that there was a considerable period of overlap between newer and older practices, with modern scale fingerings evolving over a long period of time. Similarly, views on the function of the right wrist in bowing are shown to change gradually, moving towards a more active upper arm movement with less extreme flexibility of the wrist. Two central expressive techniques especially associated with string playing arc considered in the context of the cello, namely vibrato and portamento. These topics are examined in the light of written indications in music, recommendations in cello treatises, and the practices evidenced in early recordings. The sources for this study can be brought into an overall
framework of a constant dialogue between `theory', as expressed in verbal instructions to the learner, or general a priori reflections about the cello, and `practice', manifested in performing editions and early recordings, or in individual acts of reception. A wide divergence is noted, both between theory and practice in general, and in terms of different styles of playing observable at any one time. It is suggested that tensions between practice
and critical disapproval can be resolved in terms of Lacanian discourse. Several test cases are used in order to compare several different recordings of the same works. The question of the musical character of the cello is discussed in terms of widespread assumptions about its gendered identity. A wide range of sources suggest that this moved from a straightforwardly `masculine' identity expressed through a controlling, elevated eloquence to a less clearly defined one, incorporating the 'feminine', with a greater stress on uninhibited emotional expression. Some performance implications for this change of view are pursued with respect to specific repertoires. Broad conclusions stress the importance of the diversity of performance practices as opposed to unifying generalisations
Introduction to the history of the descendants of Abraham Felsenstein 1813-1885.
No full textEarly history of Felsenstein family; family of Abraham Felsenstein; family of Siegfried Felsenstein (father of author); courtship and marriage of Siegfried and Rosa Felsenstein; family move from Fuerth to Leipzig in 1909; medical study at universities of Leipzig, Munich, Heidelberg; outbreak of World War I; work as medical officer during war; imprisonment of brother during war; end of war; marriage; death of mother; emigration and death of father; lives of brothers; lives of uncles and their family members.The following individuals are mentioned: Felsenstein, Alfred; Felsenstein, Ernest S; Felsenstein, Eugen; Felsenstein, Felix; Felsenstein, Isidor; Felsenstein, Jacob; Felsenstein, Jitzchok; Felsenstein, Josef; Felsenstein, Ludwig; Felsenstein, Mortiz; Felsenstein, Robert; Felsenstein, Rosa; Felsenstein, Semy; Felsenstein, Siegfried; Felsenstein, Siegmund; Felsenstein, Sophie; Marx, George; Marx, Gertrude.Ernest S. Felsenstein was born in Fuerth and immigrated to the USA in 1937.Synopsis in fileManners and customsProfessions and occupations; fur tradersUniversity of HeidelbergUniversity of LeipzigUniversity of MunichFürth famil
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