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From the Explaining History series, this is a new ebook for students of Germany history designed to dispel the six most pervasive myths about the Third Reich and help students get to grips with the most common problems. Also check out the link for additional bonus material and a free six part modern history course

THERE AND NOW by Tinghua Huang History/Observation of Life/Rebellion/Challenge/ Time/(without)Intention In my exhibition, I have photos, bags, garments, the FIT IN room, and a clock with a second display. I will explain my points for choosing to put them in my show, and it is up to you, the viewers, to take it, expand it, or not. I believe there is never a final answer to art, as long as humans have their own ability to think. I made the choice of putting the photos in my show to convey a straightforward sense of my personal background: where I am from, where I grew up before I moved to Hubei with my parents, why I use bamboo, why I hung them in the show, and so on. After I became a "visitor" to my hometown, the subtle relationship of familiar and unfamiliar has brought me a lot of memories and curiosities toward this homeland. With the general impression of black and white photos as an old form and color photos as a modern form, I installed them into diptych in order to put the different aesthetic aspects of each together. With the different impressions in the viewer's mind, I wonder how they would "buy" it. Would one judge the black and white photos are from an old time? However, in reality they were taken over the same period of time (winter, 2017). That doesn't mean that the person is wrong, because when each moment is new, it becomes old next second. I made the choice of remaking my adult dress and my childhood garments because I am attached to the object that I wear. I often have the experience of having clothes that I really like but will not wear as much as the other ones, because I want to protect/save it. The clothes are the bridge that connects me with my histories/memories. How much can I save, represent, or connect with a history/memory? By recapturing and reentering my history/memory though remaking the black adult dress and the green childhood garment, the anxiety of losing "the only" becomes less. In my opinion, capturing the sense of a "real/vivid history" is not easy. In a museum, valuable ...

"After Urban Regeneration is a comprehensive study of contemporary trends in urban policy and planning. Leading scholars come together to create a key contribution to the literature on gentrification, with a focus on the history and theory of community in urban policy. Engaging with debates as to how urban policy has changed, and continues to change, following the financial crash of 2008, the book provides an essential antidote to those who claim that culture and society can replicate the role of the state. Based on research from the UK Arts and Humanities Research Council's Connected Communities programme and with a unique set of case studies drawing on artistic and cultural community work, the book will appeal to scholars and students in geography, urban studies, planning, sociology, law and art as well as policy makers and community workers. After Urban Regeneration is a comprehensive study of contemporary trends in urban policy and planning. Leading scholars come together to create a key contribution to the literature on gentrification, with a focus on the history and theory of community in urban policy. Engaging with debates as to how urban policy has changed, and continues to change, following the financial crash of 2008, the book provides an essential antidote to those who claim that culture and society can replicate the role of the state. Based on research from the UK Arts and Humanities Research Council's Connected Communities programme and with a unique set of case studies drawing on artistic and cultural community work, the book will appeal to scholars and students in geography, urban studies, planning, sociology, law and art as well as policy makers and community workers."

The contemporary art critics while studying the works of arts usually attach great importance to aspects related to archetypes. Epics, legends and fairy tales which contain mythological elements create valuable resources for archetype literature. Both the Turks and Greeks being important nations of history, have their own rich literature backgrounds. By carrying out comparative studies on the epic works belonging to these two nations it is possible to reach at various results. Probably the most striking one among these results is related to determining their general levels of attitude towards various events. The comparison method will be applied in order to attain the desired results. In this study, the rational attitude adopted by the Turkish nation against towards various events will be underlined through the comparative method with the help of the Greeks epic Iliad and Odyssey. The contemporary art critics while studying the works of arts usually attach great importance to aspects related to archetypes. Epics, legends and fairy tales which contain mythological elements create valuable resources for archetype literature. Both the Turks and Greeks being important nations of history, have their own rich literature backgrounds. By carrying out comparative studies on the epic works belonging to these two nations it is possible to reach at various results. Probably the most striking one among these results is related to determining their general levels of attitude towards various events. The comparison method will be applied in order to attain the desired results. In this study, the rational attitude adopted by the Turkish nation against towards various events will be underlined through the comparative method with the help of the Greeks epic Iliad and Odyssey.

This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar "multiplication" of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism.Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal. In the first chapter, I provide a conceptual overview of the terms used by abstract artists and their contemporaries, as well as provide a historicization of the meaning of pure abstraction in terms of the relationship of modernism to its own eighteenth century beginnings and antiquity. The second chapter focuses on the "Soviet moment" of pure abstraction by looking at the Soviet contributions—primarily Konstantin Melnikov's pavilion—to the 1925 Exposition International des Arts Décoratifs et Modernes in Paris and their enthusiastic reception. The third chapter continues the examination of pure abstraction but in the context of the Parisian art world. It begins with an examination of the L'Art d'Au'jourd'hui exhibit of December 1925 and the two paintings Mondrian contributed to it. I seek to demonstrate that while Mondrian's practice cannot be assimilated to the revolutionary aesthetics of the previous chapter, it was, nevertheless fundamentally connected to a certain vision of capitalism as a problem of everyday life. I argue that it is within the historical context of a dialectic between a "Soviet moment" and a Parisian experience of daily life that the rise and fall of pure abstraction should be understood. In the final chapter, I present the work of Jean Hélion, a young, committed French painter, whose trajectory from geometric to figural abstraction provides an understanding of the aesthetic and political impasses, as well as defeats, of the period, a case that casts an unsettling light on the entire adventure of pure abstraction.

Illuminating their breadth and diversity, this book presents a comprehensive and multidisciplinary view of legal documents and their manifold forms, uses, materialities and meanings. In 1951, Suzanne Briet, a librarian at the Bibliotheque Nationale in Paris, famously said that an antelope in a zoo could be a document, thereby radically changing the way documents were analysed and understood. In the fifty years since this pronouncement, the digital age has introduced a potentially limitless range of digital and technological forms for the capture and storage of information. In their multiplicity and their ubiquity, documents pervade our everyday life. However, the material, intellectual, aesthetic and political dimensions and effects of documents remain difficult to pin down. Taking a multidisciplinary and international approach, this collection tackles the question, what is a legal document?, in order to explore the material, aesthetic and intellectual attributes of legal documentation; the political and colonial orders reflected and embedded in documents; and the legal, archival and social systems which order and utilise information. As well as scholars in law, documentary theory, history, Indigenous studies, art history and design theory and practice, this book will also appeal to those working in libraries, archives, galleries and museums, for whom the ongoing challenges of documentation in the digital age are urgent and timely questions.

Contrary to conventional academic knowledge, which considers African masked performance as a specifically rural or folkloric manifestation, masquerade has been and is still being invented in Africa's cities. Ordehlay masquerade arts were founded in the tense socioeconomic landscape of Freetown, Sierra Leone's capital city, by various marginalized migrant communities locally and later, abroad. Even though the youthful masquerade arts were seen as dangerous and subsequently banned by the governmend or shunned by the public, they eventually gained recognition and a foothold in the political, cultural, and economic cityscape. Particularly successful because of their open membership, organizational structure, willingness to adapt and adopt any cultural aesthetics, and ability to entertain, they became so successful that they were able to provide welfare and mutual aid for their members and immediate community. Originally tied to the specificity of Freetown's locality, Ordehlay was quickly and eagerly adopted by rural towns elsewhere in Sierra Leone as part of population growth and urbanization strategies that mirrored those in Freetown, and because they were seen as being successful and integral to the country's cultural milieu. Feeding off of one another to create a local yet shifting sense of identity as cosmopolitan/urban or rural, the masquerades break down the urban to rural binary. Similar masquerade societies are now cropping up in the diaspora as migrant communities and masquerades themselves expand and contract through the agency of digital and social technologies. Drawing from and connecting to imaginaries of home and diaspora, social media becomes an empowering tool for Ordehlay and related Hunting society members to manufacture steadily increasing bonds outside of family, race, religion, or age—echoing Ordehlay's founding recipe. The dissertation argues that publicly performed Ordehlay masks are designed by an ever-increasing community of migrants and youth to creatively access, harness, and control the various fabrics of a globalized cityscape, at home and in the diaspora. They then influenced new, and inherently contemporary, cultural traditions as membership and masquerade aesthetics fluidly mobilize and are mobilized by the communities that need them.This dissertation ultimately seeks to challenge disciplinary and categorical boundaries of art, history, and culture so as to contribute to a larger shift that incorporates and values multicultural intelligences, aesthetics, and worldviews beyond the confines of age, geography, space, and time. It additionally considers youth and marginalized communities as cultural and political actors that create and negotiate artforms, meriting scholarly—and public—attention. Actively engaged with their local and global environments, Ordehlay members do indeed have agency: in performing themselves, they perform—and shape—the city and the world.

In den westalliierten Offiziers- und Soldatenclubs nach 1945 in Deutschland trafen sich Frauen und Männer der Siegernationen. Aber auch Deutsche arbeiteten in den Clubs oder besuchten sie als Gäste. Zwischen Arbeitsalltag und Freizeitvergnügen wirft Lena Rudeck einen Blick auf die sozialen Interaktionen des Clubgeschehens. Dabei fügt sie der vorliegenden Forschung zur alliierten Besatzung nach 1945 sowohl eine akteurszentrierte als auch eine geschlechterspezifische Facette hinzu. Ihre Analyse der Begegnungen unterstreicht das Verständnis von Besatzung als einen Prozess, auf den sowohl die Sieger*innen als auch die Besiegten Einfluss nehmen

Networks of Refugees from Nazi Germany: Continuities, Reorientations, and Collaborations in Exile -- Copyright -- Contents -- Notes on Contributors -- Introduction -- Part 1: International und Local Networks: Cooperation, Intersection and Competition -- 1: Konkurrierende Netzwerke im kenianischen Exil: Zwischenpositionen der Familie Stefanie Zweigs -- 2: Netzwerke der Zwischenkriegszeit als Fluchthilfen aus Zentraleuropa nach Britisch-Indien 1933 bis 1945 -- Part 2: Political Networks: New Formations and Continuity -- 3: 'Fight for Freedom': A Vansittartist Network of Rightwing German Socialists in Great Britain (1941-1945) -- 4: How to Become Isolated in Isolation? Networks in the German Political and Trade Union Exile after 1933 -- 5: "Eine kleine Gruppe Entschlossener … ": The Federación de Austríacos Libres in Bolivia -- Part 3: Intermediating Networks -- 6: Bridges and Islands: Community and Karin Michaëlis in and out of Exile, 1907-1942 -- 7: Central Europe in Vermont: German Exile Writers and the American Journalist Dorothy Thompson -- 8: Salka Viertel's Transnational Hollywood Network -- Part 4: Professional Networks: Old and New -- 9: Thomas Manns Beziehung zu seinen amerikanischen Verlegern, Förderern und Agenturen -- 10: "Dem verbotenen Geist ein Zentrum schaffen": Anna Seghers and Her Networks in Exile -- 11: Networking Exile: Going Dutch Émigré Writers in the Netherlands, 1933-1940, and One Dutchman's Assessment (Menno Ter Braak) -- 12: Networking the Arts: Erich Maria Remarque and Art -- Part 5: Epistolary Networks -- 13: Cohesive Epistolary Networks in Exile -- 14: "Ein Schriftsteller abgeschnittener deutscher Zunge": Zur späten Vernetzung des Exilautors Arthur Feldmann -- Index.

Inhaltsverzeichnis: Introduction / Paul C. van Royen -- Reflections on the recent past of maritime history in the Netherlands and abroad / Jaap R. Bruijn -- Navigation changes direction from art to science / Conrad Dixon -- The prestige of pure research: naval support of science in the Dutch East Indies, 1840-1940 / Lewis R. Pyenson -- The fading tradition: the declining use of magnetic declination in Dutch pelagic navigation / Art R.T. Jonkers -- Climatic reconstructions in the North Sea area: the case study of the Battle of Camperdown, 11 October 1797 / Dennis A. Wheeler -- Private enterprise as public utility: the management of capital in two centuries of shipping business / Edward W. Sloan -- Embarking on a new course: personnel, ships and administrative reforms in the Royal Netherlands Navy, 1814-1914 / Anita M.C. van Dissel -- Concepts for the study of innovation: evaluation of the Dutch shipbuilding industry in historical perspective / Harry W. Lintsen -- Evolution and revolution in the development of shipbuilding materials / Henk J. Wimmers -- Old attitudes and new technology: British shipbuilding 1945-1965 / Lewis Johnman -- The maritime labour market: skill and experience as factors of demand and supply / Yrjö Kaukiainen -- Ports, ships. and government in the nineteenth and twentieth centuries / Gordon Jackson -- Attempts at reducing the expenditure of the port of Liverpool, 1836-1913 / Adrian Jarvis -- Riding the wave: the state of maritime history, opportunities and challenges / Frank J.A. Broeze.

The central problem of this research was to study how the abstract concept of freedom was collectively and concretely perceived throughout the 19th century through images at various artistic levels. The central axis was the study of Eugène Delacroix's work "Freedom guiding the people". Iconographic sources, impact of the work and its temporal trajectory were studied. The result was a thorough understanding of both the formal and iconographic point of view of this work. This means an expansion in the investigative processes about theoretical notions that are transformed by inserting themselves in collective lived practices. ; El problema central de esta investigación fue estudiar cómo el concepto abstracto de Libertad se percibió colectiva y concretamente a lo largo del siglo XIX a través de imágenes en varios niveles artísticos. El eje central fue el estudio de la obra de Eugène Delacroix La Libertad guiando al pueblo. Se estudiaron fuentes iconográficas, impacto del trabajo y su trayectoria temporal. El resultado fue una comprensión profunda del punto de vista formal e iconográfico de este trabajo. Esto significa una expansión en los procesos de investigación sobre nociones teóricas que se transforman al insertarse en prácticas colectivas vividas. ; O problema central desta pesquisa foi estudar como o conceito abstrato de liberdade foi percebido coletiva e concretamente ao longo do século 19 por meio de imagens em vários níveis artísticos. O eixo central foi o estudo da obra de Eugène Delacroix La Libertad orientando o povo. Foram estudadas fontes iconográficas, impacto da obra e sua trajetória temporal. O resultado foi uma compreensão profunda do ponto de vista formal e iconográfico desta obra. Isso significa uma ampliação dos processos de pesquisa sobre noções teóricas que se transformam ao se inserirem nas práticas coletivas vividas.

Les exploits d'Hercule, l'un des thèmes littéraires et artistiques les plus appréciés à la Renaissance, connut une faveur toute particulière dans le domaine de la tapisserie, genre artistique majeur à l'époque. Des tapisseries de grande qualité ont été réalisées sur ce thème dans les meilleurs ateliers de tissage des anciens Pays-Bas (Bruxelles, Audenarde, Enghien, Anvers, Bruges, Tournai), en France, et dans la péninsule Italienne. Cette fortune du thème en tapisserie invite à s'interroger sur le sens particulier que lui donnaient les princes, destinataires privilégiés de ces tentures. Il ne fait pas de doute que, plus que tout autre héros, Hercule leur servait de modèle en ce qu'il incarnait la Virtus heroica, à savoir la « vertu active » constituée de courage, d'actes intrépides et d'érudition. Nous avons approfondi la question dans notre recherche doctorale en nous focalisant sur la période comprise entre le milieu du XVe siècle et les années 1560. Outre la quantité exceptionnelle des pièces conservées (une centaine), la multitude des mentions dans les inventaires et descriptions anciennes confirment l'importance de la thématique herculéenne à l'époque et laissent entrevoir la complexité de son iconographie.