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Dissertations / Theses on the topic 'Art and state Germany History 20th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Zabecki, D. T. "Operational Art and the German 1918 Offensives." Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.

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At the tactical level of war the Germans are widely regarded as having had the most innovative and proficient army of World War I. Likewise, many historians would agree that the Germans suffered from serious, if not fatal, shortcomings at the strategic level of war. It is at the middle level of warfare, the operational level, that the Germans seem to be the most difficult to evaluate. Although the operational was only fully accepted in the 1980s by many Western militaries as a distinct level of warfare, German military thinking well before the start of World War I clearly recognized the Operat

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2

Hojdyssek, Gunter Art College of Fine Arts UNSW. "From laughing at the world to living in the world." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.

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Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin

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3

Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.

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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressioni

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4

Heath, Karen Patricia. "Conservatives and the politics of art, 1950-88." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:d62a078b-4009-40a8-8765-1a4f5e0fbcbc.

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This thesis offers a new policy history of the National Endowment for the Arts, the federal agency responsible for providing grants to artists and arts organisations in the United States. It focuses in particular on the development of conservative perspectives on federal arts funding from the 1950s to the 1980s, and hence, illuminates the broader evolution of conservative political power, especially its limits. The most familiar narrative holds that the Endowment found itself caught up in the Culture Wars of the late 1980s when Christian right groups objected to certain federal grants, particu

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5

Miller, Jennifer Anne. "The Politics of Nazi Art: The Portrayal of Women in Nazi Painting." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world init

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6

Ryder, Marianne. "Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.

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The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle's urban elites int

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7

Martin, William R. "Corporatism in American foreign policy toward Germany between the wars, 1921-1936." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4380.

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This thesis is an investigation of how United States foreign policy was made in the context of German-American relations in the period between the two world wars. The problem under investigation is whether the United States was using a corporatist approach in dealing with the problems of Germany and ultimately Europe and whether the corporatist model is a good one for analyzing foreign policy development during this period. Corporatism, as it is used in this thesis, is defined as an organizational form which recognizes privately organized functional groups outside the United States government,

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8

Deupree, William Erik. "Innovation on a budget the development of military technology during the interwar period, 1919-1939." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4934.

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This thesis investigates the progress of technological development during the interwar period of 1919 to 1939. The interwar period was a time of slashed military budgets and isolationist policies. However, despite political, financial, and organizational handicaps, each branch of the military made significant progress in the development of military technology, and the air corps and navy achieved significantly better results. The reason these two branches were able succeed was through a combination of organizational policy and the development of an overarching goal for their respective branch.

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9

Devillez, Virginie. "L'Etat et les artistes: entre révolution et réaction, les politiques culturelles de la Belgique (1918-1944)." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211733.

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10

Mihail, Benoît. "Le "Néo-Flamand" en France: un passé régional retrouvé et réinventé sous la Troisième République." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211363.

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11

Khut, Chiew-Lee 1971. "Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich." 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

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Bibliography: leaves 156-167. The aim of this thesis is to show how in practice the National Socialists sacrificed ideological considerations to the material advantages that could be gained from the sale of "degenerate art". In practice the term "degenerate" was extended beyond modern art to include French Impressionist and Post-Impressionist art, specifically because they were highly saleable. This is evinced by the sales of "degenerate art" which were conducted by the Reichministerium für Volksklärung und Propaganda (RMVP). The record of the sales compiled by the propaganda ministry in the s

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12

Mathews, Heather Elizabeth. "Making histories: the exhibition of postwar art and the interpretation of the past in divided Germany, 1950-1959." Thesis, 2006. http://hdl.handle.net/2152/3457.

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13

""Sending the women back home": wartime nationalism, the state, and nationalist discourses on women in Nazi Germany and nationalist China, 1930s-1940s." 2005. http://library.cuhk.edu.hk/record=b5896427.

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Yeung Shuk Man.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references (leaves 150-162).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>論文摘要 --- p.ii<br>Acknowledgements --- p.iii<br>Transliteration --- p.iv<br>Table of Contents --- p.v<br>Chapter Chapter 1 --- Introduction: Sending the women back home --- p.1<br>Chapter Chapter 2 --- Connections between Germany and China --- p.20<br>Post-First World War experience --- p.22<br>Sino-German relationship --- p.28<br>Similar characteristics in nationalistic leadership and political

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14

Relyea, Lane. "Model citizens and perfect strangers: American painting and its different modes of address, 1958-1965." Thesis, 2004. http://hdl.handle.net/2152/1250.

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15

"未完成的文化霸權: 國家理論視野下的上海大世界, 1949-1966". Thesis, 2011. http://library.cuhk.edu.hk/record=b6075175.

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This extended case analysis thus demonstrates the intricate relationship between complex state capacities and cultural hegemony. It aims to deepen our understanding of the cultural history and state nature of Mao's China; theoretically, it aims to bring the state back into the cultural analysis based on a more solid foundation of state theory and provide a reference case for applying state theory to analyze cultural and other issues.<br>This research is an empirical analysis of the cultural hegemony pursued by Mao's China (1949-1966) in the field of mass culture. Based on the empirical researc

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16

Martini, Allesandro. "Norms for the evaluation of literature focusing primarily on the Frankfurt School." Diss., 2000. http://hdl.handle.net/10500/18637.

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Critical Theory, as posited by members of The Frankfurt School, was evaluated with the objective of attaching an implied ethical dimension. This was discovered in their privileging of a particular type of aesthetic, as evinced in their analysis of certain works of autonomous High Modernism. This implied ethic, which is one based around the concept of enlightenment as potential for emancipation, was then applied as a norm for the evaluation of art. This ethic, however, does not seek to impose a particular reading on (specifically) literary production: Rather, it seeks to impart the import

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17

"現代中國繪畫中的毛澤東圖像". 1998. http://library.cuhk.edu.hk/record=b5896285.

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羅欣欣.<br>論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998.<br>附參考文獻.<br>中英文摘要.<br>Luo Xinxin.<br>序言 --- p.1<br>論文摘要 --- p.2<br>插圖目錄 --- p.5<br>緒論 --- p.14<br>Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949)<br>Chapter I. --- 毛澤東政治地位的確立 --- p.28<br>Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30<br>Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31<br>Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32<br>Chapter 2. --- 晉西北木刻工廠1941 --- p.33<br>Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34<br>Chapter 4. --- 赤色郵政 1944 --- p.40<br>Chapter 5. --- 中共黨報 1945 --- p.41<br>Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展

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