Suchergebnisse

Aus polnischer Sicht

• [Minneapolis]• Dr. H.M. Guilford, City Health Commissioner took drastic action yesterday closing all places where crowds congregate. They will remain closed until all danger of an epidemic has passed• The action of the Minneapolis department of health was confirmed by the city council yesterday and it closes all schools, churches, theaters, dance halls, moving picture houses and similar places• The order is applicable to all parts of the city, except to the University of Minnesota, which is under state authority and not under the jurisdiction of the Minneapolis municipal government• University President Dr. M.L. Burton is inclined to believe that it would be safe to open the University according to a schedule Wednesday and then place around the students additional safeguards that would make them actually safer than they would be at home• Dr. H.M. Bracken, executive officer of the State Board of Health said last night that he was opposed to opening the University at this time and that we was opposed to closing any school which is already opened• Dr. Charles E. Smith, Assistant Secretary of the State Board of Health also opposed closing the schools saying "children are better off under the supervision of nurses and teachers in schools than when playing in the streets"• [St. Paul]• St. Paul city officials held a conference yesterday with representatives of the ST. Paul association and the State Board of Health and decided that conditions in this city do not justify any drastic action such as the banning of public meetings• The position taken by St. Paul city officials is that a "self-constituted quarantine established by the citizens is more likely to prevent a spread of the disease here than any official action that could be taken" ; Newspaper article ; 1, 6

Frontmatter --Inhalt --Vorwort /Scheytt, Oliver / Krüger, Thomas --Einleitung /Sievers, Norbert / Föhl, Patrick S. / Knoblich, Tobias J. --Kulturpolitik im vereinten Deutschland -- Die Verantwortung des Bundes --Kulturpolitik im vereinten Deutschland. Die Verantwortung des Bundes /Grütters, Monika --Die Berliner Mitte im Wandel und die kulturpolitische Rolle des Bundes /Lengsfeld, Philipp --Was bleibt zu tun? /Hupach, Sigrid --Europa, vor allem Europa! /Lotze, Hiltrud --Zukunft kultureller Vielfalt /Schauws, Ulle --Neubeginn oder Übernahme? Die deutsche Einheit als kulturpolitische Zäsur --Hat die kulturelle Substanz »keinen Schaden« genommen? /Thierse, Wolfgang --Was war. Was blieb. Was kam. /Meyer, Hans Joachim --Neubeginn oder Übernahme? /Schindhelm, Michael --Kommunale Kulturpolitik und deutsche Einheit /Hebborn, Klaus --Potenziale des Möglichen in Magdeburg /Koch, Rüdiger --Kulturpolitik nach der Wiedervereinigung -- Neuausrichtung und beständige Weiterentwicklung /Kunst, Sabine --Soviel Anfang war nie -- Kulturpolitik nach der »Wende« /Großmann, Ulf --Kulturpolitik nach der »Wende« -- Verständnis und Missverständnisse /Knoblich, Tobias J. --Land und Kultur erhalten? /Volke, Kristina --Bilderstreit und Wiedervereinigung /Rehberg, Karl-Siegbert --Zur Volkskunst und zum Laienschaffen in der DDR /Mohrmann, Ute --(Inter-)Nationale Aspekte der kulturpolitischen Transformation --Kulturnationen in einer globalisierten Welt /Lammert, Norbert --Kulturnation und Nationalkultur /Dieckmann, Friedrich --Schwankende Ortsbezüge: Das Bauhaus als nationaler Leuchtturm und/oder Welterbe im wiedervereinten Deutschland /Bittner, Regina --Die deutsche Wiedervereinigung, die Tschernobyl-Katastrophe und danach: kulturpolitische Transformationen in Belarus /Prents, Lena --Wandel polnischer Kulturpolitik -- unternehmerische Perspektive /Kieliszewski, Przemysław / Poprawski, Marcin --Zur Kulturpolitik in Polen nach 1989 /Wagiñska-Marzec, Maria --Transformation der kulturellen Infrastruktur und der Kulturszenen --Kulturpolitik in der Stadt Leipzig -- Brüche und Kontinuitäten nach 1989 /Braun, Eckhard / Höpel, Thomas --Theater und Orchester nach der Wende: Gratwanderung zwischen Reformerwartungen, Übergangsfinanzierung und Realitätssinn /Bolwin, Rolf --Deutsche Orchesterlandschaft -- quo vadis? /Mertens, Gerald --Museen in Brandenburg nach 1990 -- Eine Zwischenbilanz /Köstering, Susanne --Kulturarbeit in Sachsen /Pallas, Anne --Kulturtourismus -- Transformationsfaktor oder Transformationsbedarf? /Buschmann, Lara / Pröbstle, Yvonne --Totgesagte können sprechen /Anders, Kenneth --Konzeptbasierte Transformationspolitik --Neue Impulse für die Kultur in Nordrhein-Westfalen -- der erste Kulturförderplan setzt Maßstäbe /Kaluza, Hildegard --Erst für den Übergang konzipiert und nun auf Dauer in Kraft: Das sächsische Kulturraumgesetz /Winterfeld, Klaus --Zwei Wege, ein Ziel: Das Sächsische Kulturraumgesetz und das Kulturfördergesetz NRW /Zimmermann, Olaf --Zusammenwachsen, zusammenarbeiten -- Kunst und Kultur als verbindende Kräfte in der Kulturregion Rhein-Neckar /Kraus, Thomas --Konzeptbasierte Transformationspolitik der Länder /Harjes-Ecker, Elke / Jakob, Antje --Transformationspolitik und Erinnerungskultur --Transformation der Geschichte in der Erinnerungskultur /Sabrow, Martin --Neue Töne im Erinnerungskonzert /Voit, Jochen --Den Wandel gestalten. Akteure und Agenturen der kulturellen Transformation --(Prozess-)Künstler als Transformationsdesigner? /Mohr, Henning --Stadttheater als Ankerpunkte kultureller Transformationen /Carp, Peter --»Wir sind in Not« /Piekenbrock, Marietta --Die Stadt sind wir? /Fitz, Angelika --Redet miteinander! /Schlewitt, Carena --Gespräch mit Olaf Schwencke und Jürgen Marten /Dümcke, Cornelia --Regionale kulturelle Transformationen am Beispiel der Impulsregion Erfurt-Weimar-Jena /Franz, Margret --Zukunft der kulturpolitischen Transformation --Kulturpolitik der Zukunft /Bisky, Jens --Kulturpolitik braucht neue kulturelle Narrative /Krüger, Thomas --Wie wichtig wir sind, bestimmen wir selbst /Renner, Tim --Dort, wo es blitzt /Leipprand, Eva --Transformation konkret /Föhl, Patrick S. / Wolfram, Gernot --Kulturelle Vielfalt der Einwanderungsgesellschaft als Motor für Transformation des Kulturbetriebs in Deutschland /Mandel, Birgit --Wir sind auch das Volk! /Kolland, Dorothea --Kulturstatistik und Kulturwissenschaft --Die Netzwerkanalyse als neue Methode in der Kulturpolitikforschung /Peper, Robert --Entwicklungstendenzen und Struktureffekte kultureller Partizipation /Reuband, Karl-Heinz --Materialien --Kulturpolitik im Transformationsprozess --Chronik kulturpolitischer und kultureller Ereignisse im Jahre 2014 --Bibliografie kulturpolitischer Neuerscheinungen 2014 --Kulturpolitische Institutionen, Gremien, Verbände --Autorinnen und Autoren --Backmatter

"Nothing Is True and Everything is Possible is a journey into the glittering, surreal heart of 21st century Russia: into the lives of oligarchs convinced they are messiahs, professional killers with the souls of artists, Bohemian theater directors turned Kremlin puppet-masters, supermodel sects, post-modern dictators, and playboy revolutionaries. This is a world erupting with new money and new power, changing so fast it breaks all sense of reality, where life is seen as a whirling, glamorous masquerade where identities can be switched and all values are changeable. It is a completely new type of society where nothing is true and everything is possible--yet it is also home to a new form of authoritarianism, built not on oppression but avarice and temptation. Peter Pomerantsev, ethnically Russian but raised in England, came to Moscow work in the fast-growing television and film industry. The job took him into every nook and corrupt cranny of the country: from meetings in smoky rooms with propaganda gurus through to distant mafia-towns in Siberia. As he becomes more successful in his career, he gets invited to the best parties, becomes friend to oligarchs and strippers alike, and grows increasingly uneasy as he is drawn into the mechanics of Putin's post-modern dictatorship. In Nothing is True and Everything is Possible, we meet Vitaliy, a Mafia boss proudly starring in a film about his own crimes; Zinaida, a Chechen prostitute who parties in Moscow while her sister is drawn towards becoming a Jihadi; and many more. These 21st century Russians grew up among Soviet propaganda they never believed in, became disillusioned with democracy after the fall of communism, and are now filled with a sense of cynicism and enlightenment. Pomerantsev captures the bling effervescence of oil-boom Russia, as well as the steadily deleterious effects of all this flash and cynicism on the country's social fabric. A long-nascent conflict is flaring up in Russia as a new generation of dissidents takes to the streets, determined to defy the Kremlin and fight for a society where beliefs and values actually count for something. The stories recounted in Nothing is True and Everything is Possible are wild and bizarre and lavishly entertaining, but they also reveal the strange and sober truth of a society's return from post-Soviet freedom to a new and more complex form of tyranny"--

The purpose of the article is to analyze the image of the Fried Swan from the stage cantata of Carl Orff "Carmina Burana" through the category of grotesque - the worldview principle in the culture of the Middle Ages and one of the leading types of artistic imagery in art nouveau. The paper reviews literary and musicological research on the grotesque as an aesthetic category and its application as a method of revealing the artistic image. What is being analyzed: the aesthetics of vagrant poetry, which is the basis of the libretto of Karl Orff's stage cantata; traditions of interpretation of the image of a swan in mythology, folk culture, folklore of different peoples of Europe, Christianity, literature of the Middle Ages, the Renaissance and the New Age, in particular in Romanticism, as well as in the fine arts; features of Latin poetry in general and "Swan Song" from the poetry of vagrants in particular; application of alliteration; a variant of translation into Ukrainian is provided, which is intended for a more accurate understanding of the essence of the image, reveals its new facets and is addressed to the performers of the Fried Swan part in the preparatory period of work on the image, as well as listeners. The image of the Fried Swan is the embodiment of "grotesque realism" (A. Gurevich) of the Middle Ages. The methodology is based on the application of a holistic musicological analysis, which includes philosophical-aesthetic, literary-linguistic and musical-theoretical levels. The scientific novelty of the work lies in the application of the grotesque as a philosophical and aesthetic category for studying, in particular, one of the most original images of K. Orff's work and the concept of modern musical theater in general. Therefore, the artistic and aesthetic interpretation of the figurative sphere of the cantata is considered relevant, and this work is the first such attempt in Ukrainian musicology. Conclusions. The image of the Fried Swan embodies the grotesque, in which the high and the low, the believable and the unreal, the tragic and the comic, coexist. It reflects the mentality of the Middle Ages as a unity of antinomies and at the same time possesses the characteristic features of the culture of art nouveau, where the grotesque is a typical tool for perceiving reality. The image of the Fried Swan can be considered as a kind of "key" for understanding two "artistic mentality" at once - of the Middle Ages and of the Art Nouveau.

Studies on missile defense, both in Russia and abroad, have been tradition- ally focused either on capabilities of the US national missile defense system to parry Russian or Chinese strategic nuclear forces, or on regional deter- rence of North Korea and Iran by means of regional missile defense (theater missile defense, TMD). However, the 2019 Missile Defense Review (MDR) emphasized the role of the TMD systems in the regional deterrence of the Russian Federation and China. So far this issue has received little attention and this paper aims to fill that gap. The first section identifies the key points of the MDR concerning the capabilities of regional missile defense for regional deterrence of the major nuclear powers. The author also examines the views of different represen- tatives of the US Department of Defense on this issue, and concludes that the US military-political leadership has a generally positive assessment of the capabilities of the TMD systems to contain Russia and China in case of a regional crisis. In particular, planners emphasize the role of the regional missile defense in countering the 'anti-access/access-denial' capabilities and the concept of 'escalate to de-escalate' ascribed to Russia. At the same time, US policymakers express in that regard serious concerns about Russia's and China's progress in the development of hypersonic missile systems. The second section examines the ongoing debates in Western expert so- ciety on the role of the regional missile defense in terms of deterring Russia and China. The author concludes that in this respect experts can provisionally be divided into two groups. The first group generally supports the arguments of the US military-political leadership and is optimistic about TMD capabili- ties for regional deterrence of Russia and China. The second group is more critical of these capabilities. They point out the lack of accurate data on the combat capabilities of such systems in active warfare and criticize question- able theoretical assumptions of their opponents. The third section provides a critical analysis of the arguments presented in this debate. The author concludes that the current concepts of deterrence based on the use of regional missile defense systems do not fully address possible implications for regional security and strategic stability. The Russian Federation and China possess significant nuclear arsenals, which already make nuclear escalation involving these countries and the United States possible. Adding yet another variable (TMD) into this equation only aggravates the situation.

El juego es hoy la forma que explica y hace concebible, entre otros fenómenos, la subjetividad, la economía, la política, el amor, la guerra y el trabajo, reemplazando mediaciones previas como la poesía, el teatro, la fotografía, la novela y el cine. Sin embargo, carecemos de una genealogía. Así como existen historias de juegos particulares y de otras formas artísticas, la historia del juego suele quedar reducida al sumario del libro de Johan Huizinga, Homo Ludens, y de sus epígonos. A ello se añade que bajo el marbete game studies se ha desarrollado una disciplina que metonimiza juego y videojuego, obliterando el potencial hermenéutico historicista de lo lúdico. Así, en este texto pretendo dos cosas: argumentar a favor de la necesidad de ampliar el espectro formalista de los game studies y ofrecer una distinción entre las dimensiones designativas de la noción de juego para entender sus concepciones premodernas, modernas y posmodernas. Además, propongo retrotraer a la noción de "juego libre" de Immanuel Kant la noción apodíctica de juego de Huizinga y al período pre-capitalista la aparición de una "cultura del ocio" relevante para entender la superación ludocapitalista de la dicotomía ocio-trabajo. ; The form that explains and makes conceivable today, among other phenomena, subjectivity, economics, politics, love, war and work, is the game. In this regard, it has replaced previous mediations such as poetry, theater, photography, the novel and cinema. However, we lack a genealogy. Just as there are stories of particular games and other artistic forms, the history of the game-form or the history of play is usually reduced to the summary of Johan Huizinga's book, Homo Ludens, and its epigones. To this is added that under the name Game Studies a discipline that metonymizes game and videogame has developed, obliterating the historicist hermeneutical potential of the ludic register. Thus, in this text I intend two things: to argue in favor of the need to broaden the formalistic spectrum of Game Studies and to offer a distinction among the denotative dimensions of the play notion to understand its premodern, modern and postmodern conceptions. In addition, I propose Immanuel Kant's "free play" as a precursor to Huizinga's apodictic notion of play and the consideration of the pre-capitalist period in relation to the discussion around the emergence of a "Leisure culture" to understand the ludocapitalist overcoming of the leisure-work dichotomy.