Suchergebnisse

This study is based on the most recent state of the art report about Youth in Colombia; the article summarizes the process of construction of youth as a specialized field of knowledge in Colombia. It reviews the researches and studies carried out during a period of 20 years (1985–2003) in 18 Colombian cities. This state of the art is a model that aims at transcending the cataloguing and abstract-type synthesis of research studies, in order to consolidate a more profound analysis that will account for the thematic treatment and the underlying notions of young subjects. The project has been produced on the basis of the following questions: What knowledge of male and female Colombian youth has been produced? Who has produced it? How has it been produced and what kind of subject is being constructed? After 2003, there is a sustained production of bibliography concerning the main topics of the youth condition, with progressively qualified contributions. By contrast, the State since 2006 has practically abandoned the institutionality that had been created for designing and managing public policies on youth.

Introduction: Who can represent Germany? -- Languages -- Bodies -- Foods -- Mass media -- Spaces and times -- Conclusion: Currency and continual change.

From 1933 to 1945, the Reich Chamber of Culture exercised a profound influence over hundreds of thousands of German artists and entertainers. Subdivided into separate chambers for music, theater, the visual arts, literature, film, radio, and the press, this organization encompassed several hundred thousand professionals and influenced the activities of millions of amateur artists and musicians as well. Alan Steinweis focuses on the fields of music, theater, and the visual arts in this first major study of Nazi cultural administration, examining a complex pattern of interaction among leading Nazi figures, German cultural functionaries, ordinary artists, and consumers of culture. One of the most persistent generalizations to emerge from research on Nazi Germany is the notion of a German artistic and cultural establishment at the mercy of a totalitarian regime determined to mobilize the arts for its own ideological purposes. Steinweis argues that this generalization obscures a more complex reality. It overlooks continuities in the agenda of the German cultural establishment from the Weimar Republic through the Nazi period and presupposes a clearer distinction than actually existed between officialdom and the cultural elite, thereby overestimating the degree to which policy affecting artists originated outside the artistic world. Steinweis describes the political, professional, and economic environment in which German artists were compelled to function and explains the structure of decision making, showing in whose interest cultural policies were formulated. He discusses such issues as work creation, social insurance, minimum wage statutes, and certification guidelines, all of which were matters of high priority to the art professions before 1933 as well as after the Nazi seizure of power. By elucidating the economic and professional context of cultural life, Steinweis also contributes to an understanding of the response of German artists to cultural Gleichschaltung, or "coordination," and helps to explain the widespread acquiescence of German artists to artistic censorship and racial and political "purification

A copy includes letter written by Paul Clemen. ; The collection was also exhibited in New York and Boston. ; "His Majesty the German Emperor . gave his sanction to the loan of many valuable works from the Royal national gallery in Berlin . for the purposes of the exhibition. The government of various federal states, as well as the proprietors of private galleries likewise consented to place works of art at the disposal of the exhibition management": p. 71-72. ; "Contemporary German art, by Paul Clemen": p. 5-33. ; "Composition and printing by the Reichsdruckerei, Berlin; half-tones by Georg Büxenstein & comp., Berlin; binding by H. Sperling, Berlin; English translation by G. E. Maberly-Oppler, Charlottenburg": p. [2] ; Contemporary German art, by Paul Clemen (p. 5-33). ; Mode of access: Internet.

Truppenführung, the twentieth-century equivalent of Sun Tzu's Art of War, served as the basic manual for the German army from 1934 to the end of World War II. This astonishing document provided the doctrinal framework for blitzkrieg and, as a consequence, for the victories of Hitler's armies. Rather than giving German military leaders a "cookbook" on how to win battles, Truppenführung offered instead a set of intellectual tools to be applied to complex and continually changing battle conditions. The keys to understanding the psychology, philosophy, and social values of the German army that fought World War II are to be found here. This first complete English-language translation is annotated to help the contemporary reader understand its military and social context

My article considers German wartime propaganda and pedagogy from 1914 to 1916, which influenced young schoolchildren (aged 5–14) to create drawings and paintings of Germany's military in World War I. In this art, the children drew bodies of German soldiers as tough, heroic, on the move, armed with powerful weapons, and part of a superior military movement; their enemies (French, Russian, British soldiers) embodied disorder, backwardness, ineptitude, and deadly weakness. The artwork by these schoolchildren thus reveals the intense propaganda of the war years, and the children's tendency to see the German military as the most accomplished combatant in the war. During the first two years of the war, in the primary schools of the nation, many children did such art under the supervision of teachers who passionately embraced the nation and the war cause. Within the classroom, teachers directed students to imagine the war by drawing scenes of battles, including the sinking of the Lusitania. Some of these teachers had been influenced by the Kunsterziehungsbewegung (the arts' education movement) and thus encouraged children's creativity in art of the war years. In this pedagogical wartime environment the young student became actively engaged in creative learning and study about the war, expressing romantic ideas of the indomitable German soldier and sailor. My research has involved analysis of over 250 school drawings done by children aged 10–14 in a school in Wilhelmsburg, near Hamburg, in 1915. I analyze the depiction of the German forces in six of these sources and also consider the history of art instruction in German schools. Furthermore, I address the ways in which historians can analyze children's art as a historical document for understanding the child's experience.