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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.

Intro -- INHALT -- 1 EINLEITUNG -- 2 KAISERIN MARIA THERESIA, DER HOF UND DIE THEATER -- 3 STAATSKANZLER WENZEL ANTON KAUNITZ' KULTURPOLITIK -- 4 HINTERGRÜNDE UND GRUNDLAGEN VON HILVERDINGS BALLETTREFORM -- 5 HILVERDINGS REFORMKONZEPT AUS ANGIOLINIS PERSPEKTIVE -- 6 HILVERDINGS BALLETTREFORM IN DER PRAXIS -- 7 HILVERDINGS REFORMBALLETTE IM RAHMEN DER ÖFFENTLICHEN INSZENIERUNGEN DES HOFES -- 8 VERSCHIEBUNG DER LEERSTELLEN? ZUSAMMENFASSUNG UND AUSBLICK -- Abbildungen -- Abkürzungen -- Quellen -- Literatur.

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. ; 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.

Friedrich von Gentz war eine der schillerndsten Persönlichkeiten in Österreich in den Zeiten der napoleonischen Kriege und der Kongressära. Der Schriftsteller und Publizist war ab 1809 persönlicher Sekretär des Außenministers Clemens von Metternich, dem "Kutscher Europas", wie er auf dem Wiener Kongress 1814/15 bezeichnet wurde. Doch sein Leben nach dem Ende der großen Monarchen Kongresse 1822 wurde bisher nicht erzählt. Dabei bestimmte vorwiegend ein Problem die europäischen Staatenlenker ab 1821 "die orientalische Frage". Diese war die durch die zunehmende Schwäche des ehemals mächtigen Osmanischen Reiches auftretende Instabilität im Südosten Europas. 1821 brach der griechische Aufstand aus und der Hofrat Gentz war mit den Agenden in dieser für Österreich bedeutenden Krise von Metternich beauftragt. Da alle damaligen Großmächte in den Konflikt involviert waren, war diese Zeit für die weitere Entwicklung Europas im 19. Jahrhundert elementar. Ich konzentriere mich vor allem auf die Jahre ab 1825, da sich der Konflikt hier zunehmend internationalisierte.Zwei Themenfelder untersuche ich einerseits die politische Einschätzung von Gentz zu den Ereignissen und zweitens eine mehr private Seite von ihm in seinen letzten Lebensjahren. Das führt mich zu der Frage, welche Muster der österreichischen Orientpolitik sich bei Gentz widerspiegeln und welche Sicht auf Politik und Zeit von 18251832 Gentz in seinen Briefwechseln vermittelt. Die These ist einerseits, dass sich anhand seiner Briefe sehr gut die Motive und Strategien der damaligen österreichischen Außenpolitik nachvollziehen lassen. Zweitens lässt uns Friedrich von Gentz einen einmaligen Einblick in sein privates Leben und seine Zeit werfen.Methodisch arbeite ich im ersten Teil vor allem die Forschungsliteratur auf. Im zweiten Teil dient mir die digitale Sammlung Herterich die an die 2800 weitgehend unveröffentlichte Gentz Briefe transkribiert hat, als Quelle. Hierzu lasse ich den Hofrat Gentz in zahlreichen Zitaten selbst zu Wort kommen.Gentz war keineswegs ab 1822 im politischen Abseits, sondern wirkte aktiv an der Außenpolitik mit. Er entwickelte dabei auch zunehmend abweichende Meinungen zum Staatskanzler Metternich. Man lernt aber auch den privaten Menschen Gentz kennen und erhält so einen reizvollen Einblick in die damaligen Lebenswelten! ; Friedrich von Gentz was one of the most colorful personalities in Austria during the Napoleonic wars and the era of the Congress. The writer and publicist was since 1809 the personal secretary of Foreign Minister Clemens von Metternich, the "coachman of Europe", as he was called at the Congress of Vienna in 1814/15. But his life after the end of the great monarchs congresses in 1822 has not yet been told. One problem dominated the European leaders from 1821 on, "the oriental question". This was the instability in southeastern Europe caused by the increasing weakness of the formerly powerful Ottoman Empire. In 1821 the Greek uprising broke out and Hofrat Gentz was entrusted by Metternich with the agendas in this important crisis for Austria. Since all the great powers of the time were involved in the conflict, this time was elementary for the further development of Europe in the 19th century. I am mainly concentrating on the years from 1825 on, as the conflict became increasingly international from here on.I am examining two subject areas, namely Gentz political assessment of the events and secondly a more private side of him in the last years of his life. This leads me to the question of which patterns of Austrian policy towards the Orient are reflected in Gentz and which view of politics and the time from 1825-1832 Gentz conveys in his correspondence. On the one hand, the thesis is that the motives and strategies of Austrian foreign policy at the time can be understood very well based on his letters. Second, Friedrich von Gentz gives us a unique insight into his private life and time.In the first part, I mainly work through the research literature methodically. In the second part I use the digital Herterich collection, which has transcribed around 2,800 largely unpublished Gentz letters, as a source. To this end, I will allow Hofrat Gentz to speak for himself in numerous quotations.Gentz was by no means politically sidelined from 1822 but was actively involved in foreign policy. He also developed increasingly dissenting opinions on State Chancellor Metternich. But we also get to know Gentz as a private person and get a delightful insight into the worlds of life back then! ; Arbeit an der Bibliothek noch nicht eingelangt - Daten nicht geprüft ; Abweichender Titel laut Übersetzung des Verfassers/der Verfasserin ; Karl-Franzens-Universität Graz, Masterarbeit, 2021 ; (VLID)6473397

(1803-1871), lawyer and politician ; (1803 - 1871), Jurist und Politiker

The present text reconstructs the biographical profile of a Galician teacher and political leader, Antón Alonso Rios, focusing on five aspects which mark consecutive stages in his vital trajectory: the first, as an emigrant in Argentina, marked by his leadership among an important part of the Galician diaspora; the second, during the Spanish Republic (1931-1936), a stage defined by his political activity in Galicia with connections to the nationalist cause and the agrarian reform; the third, his experience as a «fugitive» as a consequence of the fascist repression to which he was subjected during the Civil War, and lastly, his banishment in Buenos Aires - until his death - where he provided presence and continuity to the Galician government in exile with the Consello de Galiza (Council of Galicia). We have consulted the myriad, diverse bibliography involving Galician emigration to America and the Francoist repression, including Galician and American press from the time;; the collection of the provincial Archive of the Diputación de Pontevedra (Council of Pontevedra); the Arquivo da Emigración (Emigration Archive) from the Consello da Cultura Gallega (Galician Culture Council) (Santiago de Compostela) and diverse corporate documentation from personal documents. ; El presente texto reconstruye el perfil biográfico de un profesor gallego y líder político, Antón Alonso Ríos, teniendo en cuenta cinco aspectos que señalan, a su vez, sucesivas etapas en su trayectoria vital: la primera, como emigrante en la Argentina, marcada por su liderazgo entre una parte importante de la diáspora gallega; la segunda, durante la República Española (1931-1936), etapa definida por su actividad política en Galicia con vinculaciones a la causa nacionalista y al movimiento agrarista; la tercera, su experiencia como «huido», consecuencia de la represión fascista a la que fue sometido durante la guerra civil; por último, el destierro en Buenos Aires hasta su muerte, dando presencia y continuidad al gobierno gallego en el exilio con el Consello de Galiza. Para ello se ha revisado diversa bibliografía relacionada con la emigración gallega a América y con la represión franquista en Galicia; se ha consultado prensa periódica gallega y americana de la época; se han revisado los fondos del Archivo provincial de la Diputación de Pontevedra, del Arquivo da Emigración del Consello da Cultura Galega (Santiago de Compostela) y se ha consultado diversa documentación societaria ubicada en archivos personales.

(1801-1875), politicians and officials ; (1801 - 1875), Politiker und Beamter

Demands to changes of instruction for mathematics classrooms are presented in standards promoted by the National Council of Teachers of Mathematics, Illinois State Board of Education and other government reports creates a demand for teacher professional development to support teachers to adapt to these changes of instruction. The overall purpose of this study investigated characteristics of effective professional development and how those characteristics are associated with teacher job satisfaction and teacher working conditions. With the completion of this dissertation, this study adds to the literature relevant to teacher professional development by demonstrating an association between teacher professional development and teacher working conditions. This non-experimental quantitative study examined 23 lists of characteristics of professional development to provide designers of professional development programs the frequency that specific characteristics were mentioned on the 23 lists. Also, this study administered a Likert scale questionnaire to secondary mathematics teachers to measure the teachers' perception of the three variables: teacher professional development, teacher job satisfaction, and teacher working conditions. The completed questionnaires were used to calculate measures of the three variables and these measures were used to calculate Pearson correlation coefficients. Ultimately, tests of correlations were conducted with the Pearson correlation coefficients to measure the associations between the three variables. Four research questions relating to these associations were created that guided the details of this quantitative study. The results of the data analysis revealed a statistically significant association between teacher professional development and teacher working conditions. Also, the results of a second test of correlation revealed that the association between teacher professional development and teacher job satisfaction was not significant.

Salman Rushdie's 2012 memoir, Joseph Anton, marks a turning point in his career. While his earlier work celebrated "cultural translation" and the emergence of "newness" into the world, this book expresses reservations. "The arrival of the new was not always linked to progress", Rushdie writes, "Men found new ways of oppressing one another, too, new ways of unmaking their best achievements and sliding back towards that primal ooze; and men's darkest innovations, as much as their brightest ones, confused their fellow men". These "dark newnesses", as he calls them, "were innovations that came into being in the name of a totalizing ideology, an absolute ruler, an unarguable dogma, or a god". However, despite this turn towards a more binary worldview, the complexity of Rushdie's earlier writing refuses to be completely stifled, and this article argues that Joseph Anton is ultimately unable to persuasively follow through on its rhetoric of a world simplistically torn between newnesses "bright" and "dark". Although frequently relying on binary language, it is precisely the memoir's patent failure to convincingly represent the world in such starkly simplistic terms that, inadvertently, renders it valuable in foregrounding the nuances of post-9/11 identity politics that its author ostensibly seeks to deny.

Teacher is the key component by which education taken its place properly. To get good individual into this noble profession the Central and State government setup some Teacher Eligibility Tests throughout the country. The present study focused on both the positive and negative attitude of student teachers towards teacher eligibility test. On the basis of this purpose the study was conducted with 120 students of North Orissa University. Questionnaire was used as a tool for gathering data consists of 36 items. The findings of the study suggest that there is no significant difference between male and female student teachers attitude towards Teacher Eligibility Test further it also found that there is no significant difference between SFC and Regular background student teachers attitude towards Teacher Eligibility Test.

Albania is a state where political violence has been present for 45 years, 1945-1990. In our literature after the crash of communism many books were written. They are based on topic of memory of political violence. The Albanian literature includes author and works from Kosovo, Macedonia, Montenegro, which use Albanian language. One of the most important writer of Albanian short stories is Anton Pashku (1937-1995). His short stories aims to discover the relationship between human, war, violence and life. He chose symbolic objects and situations, which describe confrontation of mind with memories. These memories are from real World War II, from occupation of Kosovo by Serbian state, from Albanian dictatorship, but are never named in the short story. The memory of war and violence influence everyday life of character. They live with fear, they are isolated from other people such as real world. They identify themselves with memory, they can not escape from memories. Element such as: smoke, machinery, fire, sound, noise, reveal memories. The short stories of Anton Pashku represent an universal relation of human and memories of violence that are present nowadays. Human and machinery, man and war, man and ethnic identity, human and freedom. The purpose of this presentation is to give aspect of artistic narration of memories. DOI:10.5901/jesr.2014.v4n4p17

Anton Pannekoek (1873-1960), prominent astronomer and world-renowned socialist theorist, stood at the nexus of the revolutions in politics, science and the arts of the early twentieth century. His astronomy was uniquely visual and highly innovative, while his politics were radical. Anton Pannekoek: Ways of Viewing Science and Society collects essays on Pannekoek and his contemporaries at the crossroads of political history, the history of science and art history.