BUREAUS - TIM BAKKEN, Professor, United States Military Academy at West Point
In: Harvard international review, Band 29, Heft 2, S. 84
ISSN: 0739-1854
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In: Harvard international review, Band 29, Heft 2, S. 84
ISSN: 0739-1854
In: Holy land studies: a multidisciplinary journal, Band 3, Heft 2, S. 134-137
ISSN: 1750-0125
In: Latino studies, Band 3, Heft 2, S. 274-279
ISSN: 1476-3443
During the Academy Awards this year, many artists, as they often do, took the opportunity to advocate for various social, ethical, and political positions. Perhaps the most noteworthy instance occurred during Joaquin Pheonix's acceptance speech for best actor for his performance in the movie Joker. At its heart, Joker is a movie about marginalized and underserved groups. It uses an only nominally comic book vehicle to drive a narrative about poverty, mental illness, and political and social responsibility. It is not surprising, then, that Pheonix, a famous lifelong vegan, took a brief moment to talk about a marginalized group that has historically received far too little mention from advocates of all types—non-human animals. In his speech, Pheonix said
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In: Visnyk Nacionalʹnoi͏̈ akademii͏̈ kerivnych kadriv kulʹtury i mystectv: National Academy of Managerial Staff of Culture and Arts herald, Heft 2, S. 340-343
ISSN: 2409-0506
His life is an Academy! Professor Vasylj Chernets, rector of the National Academy of Culture and Arts Management.
Series: Papers from the Society for the Diffusion of Political Knowledge ; no. 7. Notes: Arranged by the Young Men's Democratic Association. At head of title: 4th July, 1863. "Read--discuss--diffuse." Pages also numbered 101-116 at foot, through-numbering for the Papers. Two columns to the page. "The eloquent speech of Ex-Governor Seymour, of Conn., we are obliged to omit, not being able to procure the manuscript in time. Governor Parker was called away by telegram during the first speech."--page 8. FAU copy has "Geo. P. Hambrecht" stamp on last page. Contents: The ovation at the Academy of Music to Governor Seymour, and the other orators of the day -- Address of Governor Seymour -- Hon. George H. Pendleton's address -- Address of Richard O'Gorman, Esq. ; Florida Atlantic University Libraries' Marvin and Sybil Weiner Spirit of America Collection, Pamphlets: Speeches B21F19 ; Florida Atlantic Digital Library Collections
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In: Armed forces & society: official journal of the Inter-University Seminar on Armed Forces and Society : an interdisciplinary journal, Band 4, Heft 4, S. 569-588
ISSN: 0095-327X
The first year of integration of women midshipmen was studied at the US Naval Academy. The degree of traditionalism of Ms of the Class of 1980 toward rights & roles of women in society was evaluated as a function of level of contact with F plebes, who formed a 6% statistical minority. (Contact was structurally defined as assignment to all-M or mixed-sex companies, platoons & squads.) A small effect on the Attitudes toward Women Scale was found after 5 months of integration, with men in mixed platoons or squads expressing the most equalitarian attitudes. Irrespective of company assignment, the M plebes became more equalitarian in areas that will affect them most closely as naval officers, eg, in their opinions about shipboard & other military roles for women. Upperclassmen were more resistant to the integration of Annapolis than were plebe men (19% were neutral or favorable toward coeducation vs 26% of plebe men). Fs & Ms had very different perceptions of treatment of the sexes in the 1976/77 year, with the majority of men perceiving favoritism to women, & women denying they received such treatment, except perhaps in the area of physical education. Women generally felt resented & less accepted than M peers. Greater numbers of women in more varied roles (eg, as upperclassmen) should partially alleviate several problems by reducing the overvisibility of the women & resultant performance pressures, as well as by allowing more peer contact to challenge the stereotypes held by men. Fostering a cooperative rather than competitive atmosphere between the sexes & the ensuring of equal status between groups were recommended to create the conditions necessary for positive attitude changes as a result of intergroup contact. 4 Tables. AA.
In: American journal of international law: AJIL, Band 87, Heft 3, S. 420-423
ISSN: 2161-7953
In: Journal of the Royal United Service Institution, Band 73, Heft 491, S. 588-591
ISSN: 1744-0378
In: American journal of international law: AJIL, Band 19, Heft 3, S. 583-583
ISSN: 2161-7953
In: Harvard Business School Marketing Unit Case No. 512-012
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In: Armed forces & society, Band 4, Heft 4, S. 569-588
ISSN: 1556-0848
This monograph on Joseph Ignaz Mildorfer (1719-1775) consists of forteen chapters, that after having given an overall curriculum, depict the various stations in the painter's working process. Special emphasis has been given to such criteria as the socio-economic, political and esthetic impacts, that shaped the development of this intriguing artist.
Mildorfer was born into a distinguished family of painters in Innsbruck, where he was taught the basics of his profession. However, he was also exposed to the newly imported paintings from southern Germany, which at this time sparked Tyrolian tradition with international flavor. Partly due to those early stimuli, the young painter managed to instantly gain the renowned "big prize" of the Academy, upon his arrival in Imperial Vienna. This distinction was a prerequisite to any further career. Praised by his contemporaries as the most prodigious pupil of Paul Troger, Mildorfer soon was offered remarkable employments. His first major task, the complete decoration of the pilgrimage church at Hafnerberg near Vienna, comprising works in fresco and oil was soon to be followed by a commission from the Imperial court. But Austria was plagued by a raging War of Succession, which cast its shadow upon the job market, forcing Mildorfer to venture out into alternative fields. This he found in the painting of battlescenes. In this genre the young artist produced works of such rebellious intenseness that surpassed all his colleagues' endeavors and saved him a special niche. It might well be that those particular paintings drew the attention of the last great sponsers of the monarchy to Mildorfer, resulting in his being appointed painter of the court to the Duchess of Savoy, neé Maria Theresia Princess of Liechtenstein. (By way of scholarly work in the Princely Archives of Liechtenstein we have now established answers to questions regarding character and extend of Mildorfers work for the Duchess, that up till now has been obscured). In addition this period marked the beginning of a long lasting relationship with various branches of the Esterházy family, culminating in Mildorfer's appointment to Esterháza. Here he was commissioned to paint al fresco in Duke Nikolaus Esterházy's castle, one of the last manifestations of feudal style, the elaborate adornment of which promted the Duke with the attribute "The Magnificent".
When Mildorfer was elected Professor at the Academy (kaiserlich-königliche Hofakademie der Mahler, Bildhauer und Baukunst) this not only marked the zenith of his career but also had major impact on one of the most thrilling phenomena within eighteenth century Viennese art. It was under his leadership that a movement took center stage, that was aprostophized the "Einheitsstil der Wiener Akademie". Carried out by an array of his scholars, notably Franz Anton Maubertsch this faszinating manifestation had Mildorfer's ideas at its core. With his contributions in the Crown Lands of the Habsburg monarchy in mind, his work makes him a typical Central-European artist of the eighteenth century. However some of his lesser graspable traits can only be understood out of the "Zeitgeist" and must be explained under the term of "painter of the sensibility".
Since Mildorfer is the link between Paul Troger, his teacher and Franz Anton Maulbertsch, his student, a comprehensive biography of this artist is an absolute must. Only that makes a profound understanding of the third generation of Austrian barock-painting possible. - Die vorliegende Monographie über den Maler Joseph Ignaz Mildorfer (1719-1775) umfasst vierzehn Kapitel, die mit dem Lebenslauf beginnend die verschiedenen Etappen im Werk des Malers veranschaulichen. Dabei wurde grosser Wert auf die soziologischen, politischen und ästhetischen Kriterien gelegt, welche die Entwicklung dieses eigenwilligen Künstlers bestimmten.
In eine angesehene Malerfamilie in Innsbruck geboren, erlebte Mildorfer neben seiner konventionellen Ausbildung in der väterlichen Werkstatt hier auch den Beginn einer internationalen Monumentalmalerei, die erst durch den Import süddeutscher Maler auf tiroler Boden um sich griff. Mit diesen frühen Anregungen versehen, gelang es dem jungen Maler bei seiner Ankunft in der Kaiserstadt denn auch mit erstaunlicher Sicherheit den, für eine erfolgreiche Karriere imperativen, grossen Preis der Wiener Akademie zu gewinnen. Im Fahrwasser Paul Trogers, als dessen begabtester Schüler er von den Zeitgenossen gerühmt wurde, stellten sich in rascher Folge prestigereiche Angebote ein. Dem erstaunlich grossen Erstlingswerk, der malerischen Gesamtausstattung der Wallfahrtskirche am Hafnerberg, schloss sich bald der erste kaiserliche Auftrag an. Doch Österreich befand sich im Erbfolgekrieg, der die künstlerische Auftragssituation ernstlich bedrohte und auch Mildorfer zwang, nach Alternativen zu suchen. Und solche fand er in der Schlachtenmalerei. In diesem Genre schuf der junge Künstler Werke von einer aufrührenden Intensität, die ihn weit über seine Kollegen an der Akademie herausragen liessen, und ihm eine eigene Nische boten. Sicherlich machten gerade diese Bilder die letzten grossen Mäzene der Monarchie auf Mildorfer aufmerksam, was zu seiner Berufung als Hofmaler der Herzogin Maria Theresia von Savoyen, geborener Prinzessin von Liechtenstein führte, und eine lang anhaltende Zusammenarbeit mit den verschiedenen Zweigen der Familie Esterházy nach sich zog. Als Krönung rief Nikolaus Fürst Esterházy Mildorfer schliesslich nach Esterháza, um jenes Schloss zu freskieren, dessen aufwendige Gestaltung seinem Besitzer den Beinamen "der Prachtliebende" bescherte. (Die gründliche Aufarbeitung des Fürstlich Liechtensteinischen Archivs in Vaduz beantwortet nun endlich die Frage nach Art und Ausmass des tradierten, aber nie geklärten Arbeitsverhältnisses unseres Malers mit dem Hause Liechtenstein).
Mildorfers Wahl zum wiener Akademieprofessor markierte nicht nur den Höhepunkt dieses Künstlerlebens, sondern spielte auch ganz wesentlich in eines der spannendsten Kapitel der wiener Kunst des 18. Jahrhunderts hinein. Unter seiner Ägide nämlich entstand hier der vielzitierte "Einheitsstil der Wiener Akademie", der von der Fülle seiner Schüler, allen voran Franz Anton Maulbetsch getragen wurde und Mildorfer zum Urheber dieses faszinierenden Phänomens macht. Die Arbeiten in den ehemaligen Kronländern kompletieren sein Werk als das eines typischen Mitteleuropäers des 18. Jahrhunderts. Manche, der oft schwer nachvollziehbaren Eigenschaften dieses kontroversen Malers müssen allerdings aus dem Zeitgeist gedeutet, und unter dem Begriff "Maler der Empfindsamkeit" verständlich gemacht werden.
Mildorfer umfassend zu bearbeiten ist ein Desideratum, denn ohne ihn als Verbindungsglied zwischen Paul Troger, seinem Lehrer und Franz Anton Maulbertsch, seinem Schüler voll zu erfassen, wird immer ein Baustein im Gefüge der österreichischen Barockmalerei fehlen.
In: American journal of international law: AJIL, Band 19, Heft 1, S. 172-173
ISSN: 2161-7953