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1
Girardin, Martin P., Yves Bergeron, Jacques C. Tardif, Sylvie Gauthier, Mike D. Flannigan, and Manfred Mudelsee. "A 229-year dendroclimatic-inferred record of forest fire activity for the Boreal Shield of Canada." International Journal of Wildland Fire 15, no. 3 (2006): 375. http://dx.doi.org/10.1071/wf05065.
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Six independent tree-ring reconstructions of summer drought were calibrated against instrumental fire data to develop a 229-year dendroclimatic-inferred record of fire activity (annual area burned and fire occurrence) on the Boreal Shield, Canada. As a means of validating the statistical reconstructions of the fire activity, a comparison was made with a stand age distribution derived from a regional time-since-last-fire map for an area located at the transition between the mixedwood and coniferous boreal forests of south-western Quebec. Calibration statistics indicated that 31% of the area burned variance and 45% of the fire occurrence variance could be accounted for by the six drought reconstructions. The verification statistics indicated a tendency for the statistical reconstructions of the fire activity to reproduce with confidence both high and relatively low frequency variations in fire. Episodes of succeeding years with important fire activity were estimated for 1789–1796, 1820–1823, 1837–1841, 1862–1866, 1906–1912, 1919–1922, 1933–1938, and 1974–1977. Also estimated were periods of reduced forest fire activity, particularly in the occurrence rate of extreme fire years, from c. 1850 to 1900 and again during the second half of the 20th century. Correlation analysis between the statistical reconstruction of the area burned and the stand age distribution suggested that both proxies shared similar information on the fire activity. Correlation maps, however, indicated that variability in the statistical reconstructions was not necessarily representative of fire activity in all regions of the Boreal Shield.
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Robison, William B. "Lancastrians, Tudors, and World War II: British and German Historical Films as Propaganda, 1933–1945." Arts 9, no. 3 (2020): 88. http://dx.doi.org/10.3390/arts9030088.
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In World War II the Allies and Axis deployed propaganda in myriad forms, among which cinema was especially important in arousing patriotism and boosting morale. Britain and Germany made propaganda films from Hitler’s rise to power in 1933 to the war’s end in 1945, most commonly documentaries, historical films, and after 1939, fictional films about the ongoing conflict. Curiously, the historical films included several about fifteenth and sixteenth century England. In The Private Life of Henry VIII (1933), director Alexander Korda—an admirer of Winston Churchill and opponent of appeasement—emphasizes the need for a strong navy to defend Tudor England against the ‘German’ Charles V. The same theme appears with Philip II of Spain as an analog for Hitler in Arthur B. Wood’s Drake of England (1935), William Howard’s Fire Over England (1937), parts of which reappear in the propaganda film The Lion Has Wings (1939), and the pro-British American film The Sea Hawk (1940). Meanwhile, two German films little known to present-day English language viewers turned the tables with English villains. In Gustav Ucicky’s Das Mädchen Johanna (Joan of Arc, 1935), Joan is the female embodiment of Hitler and wages heroic warfare against the English. In Carl Froelich’s Das Herz der Königin (The Heart of a Queen, 1940), Elizabeth I is an analog for an imperialistic Churchill and Mary, Queen of Scots an avatar of German virtues. Finally, to boost British morale on D-Day at Churchill’s behest, Laurence Olivier directed a masterly film version of William Shakespeare’s Henry V (1944), edited to emphasize the king’s virtues and courage, as in the St. Crispin’s Day speech with its “We few, we proud, we band of brothers”. This essay examines the aesthetic appeal, the historical accuracy, and the presentist propaganda in such films.
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Thöndl, Michael. "Richard Nikolaus Graf Coudenhove-Kalergi, die „Paneuropa-Union“ und der Faschismus 1923–1938." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 98, no. 1 (2019): 326–69. http://dx.doi.org/10.1515/qufiab-2018-0015.
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Riassunto In un primo momento Coudenhouve-Kalergi concepì la „Paneuropa“ come un’unione di stati democratici. Purtuttavia tentò già nel 1923 di coinvolgervi anche il fascismo, considerandolo una potenza legittima per combattere il bolscevismo. In quanto deciso avversario del nazionalsocialismo, sperava fin dal 1933 che Mussolini avrebbe garantito l’indipendenza dell’Austria. Tra il 1933 e il 1936 propagò una „Paneuropa fascista“, ma la nascita dell’„asse“ tra l’Italia e la Germania portò a un suo – inizialmente poco convinto – distacco dal fascismo. Fino a quel momento il dittatore italiano e la diplomazia italiana avevano cercato di utilizzare i suoi contatti politici, aprendogli in cambio la possibilità di pubblicare in Italia interventi tesi a legittimare la guerra in Etiopia, a differenziare la nazione austriaca da quella tedesca, o a rifiutare la dottrina della razza dei nazionalsocialisti. La polizia segreta fascista lo considerò però sempre un incorregibile antifascista. Verso la fine del 1937 Coudenhouve-Kalergi diede alle stampe la sua opera „Stato totale – l’uomo totale“ dalle tendenze moderatamente antifasciste la cui introduzione in Italia fu proibita. Ciononostante cercò ancora nel 1938 dall’esilio svizzero – ora però invano – la collaborazione con il fascismo.
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Voeykov, Evgeny Vladimirovich. "Fighting forest fires in the Kuibyshev Region in 1931-1940: a little-known aspect of the ecological history of the Middle Volga region." Samara Journal of Science 10, no. 2 (2021): 184–88. http://dx.doi.org/10.17816/snv2021102209.
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The paper deals with the spread of forest fires and measures to combat them in the course of implementing the policy of preserving the forests of the Volga region in the years of the pre-war five-year plans. The paper is written mainly on the basis of archival materials of the Russian State Archive of Economics, the Central State Archive of the Samara Region, and the State Archive of the Ulyanovsk Region, which were first introduced into historical circulation. In the 1930s, large-scale logging was carried out in the Kuibyshev Region in violation of the rules of forestry. One of the problems of forest exploitation was the growth of forest fires, which caused significant economic and environmental damage. The forest industry trust Sredles and the Srednevolzhsky Forestry Trust could not significantly change the situation with the fire protection of forests for the better. The most unfavorable years for the forests of the Middle Volga region and the Kuibyshev Region were 1933 and 1938. After the creation of the Srednevolzhsky (Kuibyshev) Forest Protection Department, the effectiveness of fire-fighting measures increased. Fire fighting was carried out by the most modern means at that time. As a result, the annual number of fires decreased. But it was not possible to completely solve the problem of fires in the forests of the Middle Volga during the third five-year plan.
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Mage, John, and Michael E. Tigar. "The Reichstag Fire Trial, 1933-2008: The Production of Law and History." Monthly Review 60, no. 10 (2009): 24. http://dx.doi.org/10.14452/mr-060-10-2009-03_2.
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Borowska, Marta. "Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936." Porta Aurea, no. 17 (November 27, 2018): 133–61. http://dx.doi.org/10.26881/porta.2018.17.06.
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The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz.
 The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage.
 During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934.
 The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933.
 The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz.
 Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.
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Wichert, Wojciech. "Ustawa o pełnomocnictwach Ermächtigungsgesetz z 23 marca 1933 roku jako katalizator budowy państwa wodzowskiego w Niemczech." Studia nad Autorytaryzmem i Totalitaryzmem 41, no. 4 (2020): 21–47. http://dx.doi.org/10.19195/2300-7249.41.4.2.
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The Enabling Act Ermächtigungsgesetz of 23 March 1933 as catalyst for building the Führer State in GermanyThe aim of the article is to analyze the origins and political repercussions of the Enabling Act formally known as the “law to remedy the distress of the people and the nation” of 23 March 1933. Combined with the previously passed Reichstag Fire Decree 28 February 1933, which abolished most constitutional civil liberties and transferred state rights to the central government, the act enabled Chancellor Adolf Hitler to assume dictatorial powers in the near future. Deputies from the Nazi Party, the German National People’s Party, and the Centre Party voted in favour of the act that allowed Hitler’s cabinet to pass laws without the consent or any involvement of the Reichstag parliament and the presidency. In effect it gave Hitler’s dictatorship an appearance of legality and a solid political base from which to carry out the first steps of his “national revolution” in order to seize unlimited power over every aspect of life in Germany. It was the dawn of the totalitarian regime of the Third Reich.
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Bishop, S. R., P. G. Holborn, and D. D. Drysdale. "Experimental comparison with a compartment fire model." International Communications in Heat and Mass Transfer 22, no. 2 (1995): 235–40. http://dx.doi.org/10.1016/0735-1933(95)00008-9.
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Yang, Jiann C., William M. Pitts, Brett D. Breuel, William L. Grosshandler, and William G. Cleveland. "Rapid discharge of a fire suppressing agent." International Communications in Heat and Mass Transfer 23, no. 6 (1996): 835–44. http://dx.doi.org/10.1016/0735-1933(96)00066-8.
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Chidumayo, E. N. "A re-assessment of effects of fire on miombo regeneration in the Zambian Copperbelt." Journal of Tropical Ecology 4, no. 4 (1988): 361–72. http://dx.doi.org/10.1017/s0266467400003011.
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ABSTRACTIn 1933/34 eight coppice plots were established in Brachystegia-Julbemardia (miombo) woodland at Ndola in the Copperbelt area of Zambia by the Forestry Department. These plots have been maintained under fire protection, annual early or late dry season burning since 1934/35. Before establishment stems over 20.3 cm girth at breast height were enumerated. Three of the eight plots (one fire protected and two annually early burnt) were enumerated in 1982, 48–49 years after establishment. In addition, a coppice plot at Chitwi, 16 km southwest of the Ndola plots, cleared in 1972 and left to regenerate naturally was enumerated in May 1982 and August 1986 to assess woody plant growth.The density of stems over 20.0 cm girth in the 13-year-old coppice at Chitwi was 2.5 times that in an adjacent shelterbelt woodland. The stem density in the fire protected plot at Ndola in 1982 was 86% of the pre-felling density while in one of the early burnt plots it was 95% of the pre-felling density. The protected plot had the lowest species diversity after 49 years, largely because of the loss of 11 understorey species that were present before felling.There were no significant differences in stem mean girth at breast height (gbh) of canopy species in the Ndola plots under fire protection and early burning regimes. Mean annual gbh increments of abundant species were estimated at 1.17–2.21 cm yr−1 and 0.59–1.42 cm yr−1 during 0–9 and 0–49 year age-periods, respectively. Estimated mean annual basal area increments for stems over 30 cm gbh were 0.35 m2 ha−1 for the 13-year-old coppice and 0.24–0.27 m2 ha−1 for the 49-year-old coppice. These results indicate a decrease in both gbh and basal area increment with increasing age of miombo coppice
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Ndour, Paul. "La réponse par le feu dans le roman portugais néo-réaliste: une manière singulière d’écrire le matérialisme dialectique." Revista Portuguesa de Humanidades 25, no. 1 (2021): 235–60. http://dx.doi.org/10.17990/rph/2021_25_1_235.
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In the neo-realist Portuguese novel against the Salazar dictatorship (1933-1974), arson is used as a reprisal for the abuses of factory and latifundios owners. Through the study of works by leading figures of this Marxist-inspired literary current, we will show that fire also assumes a narrative function as an accelerator of chronological temporality. The discourse of the igneous substance thus testifies to a singular way of writing dialectical materialism in these renowned authors.
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Hett, Benjamin Carter. "“This Story Is about Something Fundamental”: Nazi Criminals, History, Memory, and the Reichstag Fire." Central European History 48, no. 2 (2015): 199–224. http://dx.doi.org/10.1017/s0008938915000345.
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AbstractFor more than eighty years there has been controversy about who set the fire that destroyed the plenary chamber of the Reichstag fire on the evening of February 27, 1933—thereby handing the Nazis a pretext to gut the democratic Weimar constitution through the emergency “Reichstag Fire Decree.” Since the 1960s there has been a consensus among historians that the fire was set by Marinus van der Lubbe, a twenty-four-year-old Dutch journeyman stonemason supposedly acting alone—with no Nazi involvement. Few historians, however, have been inclined to investigate the motives behind the development of this single-culprit narrative, or the reasons for its generally positive reception among postwar German historians. With the aid of newly discovered sources, this article examines the legal and political interests that have underpinned this narrative. The single-culprit narrative was developed by ex-Nazis, whereas accounts of the Reichstag fire stressing Nazi complicity came almost invariably from former resistance fighters and victims of Nazism. Postwar historians responded to these accounts in much the same way they have responded to perpetrator and victim accounts of the Holocaust: with a markedly greater preference for those of the perpetrators. This tendency has shaped the debate over the Reichstag fire in the same way it has shaped other areas of research on the Third Reich.
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Aleksandrova, Ol'ga, and Vali Engalychev. "Reichstag fire case. Psychological expertise of reliability of testimony in Germany." Vestnik of the St. Petersburg University of the Ministry of Internal Affairs of Russia 2023, no. 1 (2023): 197–204. http://dx.doi.org/10.35750/2071-8284-2023-1-197-204.
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The scientific discussion that has been going on in recent decades about the possibility and admissibility of examination of the reliability of testimony demands the study of some leading foreign countries experience, where such examination has long become a fact of practical jurisprudence. 
 The goal of the study is to analyse the theoretical insights of German scientists and experts into the most resonant facts from the perspective of modern psychological expertise.
 The object of the study is the case of the Reichstag fire, 1933. Marinus van der Lubbe, a worker from the Dutch Leiden, was accused of setting the Reichstag on fire and then sentenced to death. In 2007 the law on “Abolition of unjust judgments of the national socialist regime” (1998) granted a pardon to van der Lubbe without revision au fond. To this day, there are disputes about the involvement of van der Lubbe in organizing the arson and his guilt. The German psychologist Hartmut Böhm made an attempt to evaluate van der Lubbe’s testimony from the perspective of modern psychology and forensic psychological examination of the reliability of testimony. The article briefly outlines some results of this attempt to give a general idea of the logic of the developed and recognized tools applied.
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Bunout, Estelle. "Elucidating the blurred lines of the national historical imagination. The narrative allure of Sienkiewicz’s With Fire and Sword in 1933–1934 Poland." Connexe : les espaces postcommunistes en question(s) 5 (October 23, 2020): 76–99. http://dx.doi.org/10.5077/journals/connexe.2019.e251.
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The novel With Fire and Sword by Henry Sienkiewicz (1846–1916) is an example of the interweaving of fiction, historiography, and national collective imagination. It was written at the end of the period of Polish partition (1882–1888) and deals with events that marked the history and the collective imaginations of Poles, Ukrainians, and Jews: the history of the Khmel’nyts’kyy Uprising (1648–1657). The epic nature of these historical events already carried the seeds of a powerful and emotional narrative that lends itself to mythicization. However, the reading of this book in a later situation, the Second Polish Republic (1921–1939), led the Polish Sanacja government to withdraw it from the compulsory reading in Polish schools in 1932.This aspect of the Jędrzejewicz school reform sparked a lively debate in the Polish press, whereby historians, literature scholars, and journalists discussed the function that this book should have in the patriotic education of young Polish citizens, against the backdrop of tensions between the state and the political opposition on the issue of minorities, namely the Ukrainian minority. This discussion discloses the central place that Sienkiewicz has been given in Polish culture. At the same time, it examines the position that Polish intellectuals attribute to the Ukrainian minority in the Polish state and culture.
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Khlyupin, Sergey Alekseevich, and Elena Leonidovna Vorontsova. "Orangutan Phryne, apes and humans." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 15, 2022): 125–34. http://dx.doi.org/10.32521/2074-8132.2022.3.125-134.
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Introduction. In the article the life of a female orangutan named "Phryne" is described. Phryne lived in the Moscow Zoo in 1927–1937. Now her body, preserved by taxidermy, is kept in the Museum of Anthropology of the Lomonosov Moscow State University. The experience of keeping monkeys and apes in captivity can explain the influence of nutrition, restriction of mobility, deprivation on the physical and mental health of human. Materials and methods. Materials from scientific and popular publications, as well as archival materials are used in this work. Analytical and chronological research methods were used. Results. Data on Phryne's physical development and blood counts are given in the article. Phryne had such traits of character as curiosity and attachment to the keeper, among others. The article contains information of her skills and abilities, favorite games and relationships with other apes and with people. In December 1933 a fire occurred in the monkey house. The female chimpanzee Mimosa and the male orangutan Moritz died from carbon monoxide. Phryne was the only one left. She died in 1937 of dysentery at the age of ten. Conclusion. Phryne was a true legend of the Moscow Zoo, she was often written about in newspapers, photos were published. The experience in keeping her made an invaluable contribution to the development of Russian primatology. Phryne was stuffed by the famous taxidermist N.K. Nazimov.
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Beard, A. N., D. D. Drysdale, and S. R. Bishop. "Predicting the effects of design parameter variations on major fire spread in a tunnel." International Communications in Heat and Mass Transfer 23, no. 4 (1996): 495–504. http://dx.doi.org/10.1016/0735-1933(96)00034-6.
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Bernier, Stéphanie, and Pierre Hébert. "« Je cours mettre ceci dans la prochaine boîte, par une pluie battante qu’il fait… » : d’une lettre à la poste au mouvement des Écrivains de l’Est (1927-1934)." Mens 17, no. 1-2 (2018): 107–34. http://dx.doi.org/10.7202/1050785ar.
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Entre 1927 et 1934, le mouvement des Écrivains de l’Est fait passer la ville de Sherbrooke et ses environs de « campagne » à pôle d’activité littéraire incontournable, grâce, notamment, au journal La Tribune qui publie d’importants suppléments littéraires en 1930, 1931 et 1932. Mais l’apport du journal, dont l’équipe de rédaction est majoritairement composée d’écrivains, ne suffit pas à expliquer comment ce mouvement régional s’est constitué. Il faut plutôt se tourner du côté de l’épistolaire pour trouver le principal facteur de cohésion du regroupement. À partir de la vaste correspondance d’Alfred DesRochers, animateur et chef de file de ce groupe d’écrivains, nous étudierons le rôle de la correspondance dans l’émergence et l’affirmation du groupe des Écrivains de l’Est dans la perspective de l’« action épistolaire », notion empruntée à Marie-Andrée Beaudet.
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Holborn, P. G., S. R. Bishop, A. N. Beard, and D. D. Drysdale. "The effect of variation of ventilation and other control parameters in a compartment fire model." International Communications in Heat and Mass Transfer 19, no. 5 (1992): 711–19. http://dx.doi.org/10.1016/0735-1933(92)90053-k.
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Borysenko, Valentyna. "MATERIALS OF THE ETHNOGRAPHIC COMMISSION OF THE UKRAINIAN ACADEMY OF SCIENCES AS AN IMPORTANT SOURCE FOR THE STUDY OF TRADITIONAL CULTURE OF THE 1920S AND 1930S (ON THE EXAMPLE OF DNIPROPETROVSK REGION)." Ethnic History of European Nations, no. 62 (2020): 7–14. http://dx.doi.org/10.17721/2518-1270.2020.62.01.
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he archival sources of the Ethnographic commission of the All-Ukrainian Academy (1921–1933) are studied and described in the article. The records of the people’s collectors of folklore-ethnographic materials from various fields of Ukrainian traditional culture are submitted. These are mainly the samples of the 1927–1929, when the population have recovered a little from a terrible famine of the 1921–1923 and try to keep life giving strength for the development of farm and family. Folk customs, rituals and folk calendar holidays, kolyadkas, schedrivkas are preserved completely enough among the inhabitants of Steppe Ukraine. Interesting observations in the field of material culture concerning the land surveying, ploughing technique, dwelling building, are fixed. Folk beliefs, connected with the concepts on earth, fire, animals are of peculiar interest. We have the preservation of archaic elements of culture, when the faith in the forces of demonology exist actively and are typical for all districts of Dnipropetrovsk region. Belief in the witches existence and the means of protection from them are very widespread. The reminiscences on Cossack liberty, their courage are the most frequent in the song folklore. In general, the theme of Cossack times is highly significant in all song and prose genres. The level of existence of folklore-ethnographic phenomena in the first half of the 20th century is presented in these records of correspondents from Dnipropetrovsk region.
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Kuhli, Milan. "Die Weimarer Reichsverfassung und das Verbot rückwirkender Strafverschärfung." Miscellanea Historico-Iuridica 20, no. 2 (2021): 45–56. http://dx.doi.org/10.15290/mhi.2021.20.02.04.
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The principle “nullum crimen, nulla poena sine lege” is one of the core principles of German criminal law and constitutional law. However, the history of this principle is quite varied. This article will focus on an essential part of this history, namely on the version of this principle in the Weimar Constitution of 1919. It will be shown that the principle of legality of criminal law was indeed expressed in that constitution, but that the exact scope of application of this constitutional principle was quite unclear. In this regard, it was uncertain whether the Weimar Constitution also prohibited the retroactive application of criminal laws to those cases for which a more lenient penalty was provided at the time of the offense. This ambiguity of the Weimar Constitution finally became apparent in 1933 in the so-called Reichstagsbrandprozess (Reichstag fire trial). The issue in these criminal proceedings was whether the burning of the parliament building in Berlin (February 27, 1933) was punishable by death, although this sanction was not provided at the time the crime was committed. In this essay, it will be shown that the National Socialists had to go to considerable effort to be able to ignore prohibitions on retroactivity. This undermining of the principle “nullum crimen, nulla poena sine lege” forms an important example of the willingness of the legislature to negate essential protective principles of law in the Third Reich.
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Tobriner, Stephen. "An EERI Reconnaissance Report: Damage to San Francisco in the 1906 Earthquake—A Centennial Perspective." Earthquake Spectra 22, no. 2_suppl (2006): 11–41. http://dx.doi.org/10.1193/1.2186693.
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This paper presents an EERI reconnaissance report for building damage in the 1906 earthquake in San Francisco before the fire began. It is therefore synthetic and “virtual.” Using the evidence that has survived in the form of engineering reports and photographs, the paper presents a modern interpretation of the past in the format of a contemporary report. The paper is a synthesis of past observations and judgments leavened with the hindsight of a hundred years. For the first time in decades earthquake damage is surveyed and discussed through the lens of a professional report rather than being seen as a spectacular disaster. The report presented here is a condensed version of a chapter in a larger textural and photographic study entitled Bracing for Disaster; Earthquake-Resistant Architecture and Engineering in San Francisco, 1838-1933 (Berkeley: The Bancroft Library and Heyday Books, March 2006).
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Vasylchuk, T. V., I. M. Spudka, V. M. Chop, and G. A. Sygyda. "Representation of the tragedy of the Golodomor of 1932–1933 in music and fine arts." Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no. 29 (April 26, 2024): 7–21. http://dx.doi.org/10.32589/2412-9321.29.2024.301692.
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The purpose of this article is to analyze the conceptual compositions of music and fine art, created during the genocide of the Ukrainian people as well as in the following years, which reflect the tragedy of the Holodomor of 1932-1933. Methodology. The authors used an interdisciplinary methodology, which made it possible to analyze the source material comprehensively, taking into account both the historical, cultural and art history context. During the preparation and writing of the article, methods of theoretical analysis and synthesis, induction and deduction, logical and systemic-structural methods, comparative-historical, historical-genetic and chronological methods of research, as well as methods of systematization and scientific generalization were also used, which allowed maximum detail to reveal the chosen problem of the research, to solve all the set research tasks. The scientific novelty of the obtained results. Thanks to the results of this research, it is possible to determine the traces the Holodomor of 1932–1933 left in art, how the witnesses of the tragedy depicted it in various genres, and how it is depicted at the modern stage.Research results. Having analyzed the representation of the topic of the Holodomor of 1932–1933 in musical and visual arts, it can be argued that the disclosure of the topic of the Holodomor of 1932–1933 via artistic means has its result. Thanks to musical and artistic works, and to their authors, artists, we can immerse ourselves in those terrible events, and learn the scale and essence of the Ukrainian genocide. They give us a vision of the Holodomor of 1932–1933 through the eyes of dying people. The problem of the Holodomor of 1932–1933 in art offers an artistic vision of the events. It tells about the fact that the people who experienced the famine themselves did not lose heart, but despite everything tried to oppose the then government, composing poems, and inventing various songs that contained sarcasm. We see that over time, people did not stay away from this topic, they research it and try to preserve the memory of the Holodomor of 1932–1933 in modern society, relaying it in various ways, which are designed to convey the truth about the genocide to all generations of the world.
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Castelli, Federico. "Reti relazionali nella parabola dirigenziale di Carlo Lovioz alla filiale Comit di Londra (1935-1940)." STORIA IN LOMBARDIA 43, no. 1 (2023): 44–69. http://dx.doi.org/10.3280/sil2023-001003.
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L'attenzione posta verso gli aspetti sociali del mondo di banca ha individuato in Carlo Lo- vioz, direttore presso la filiale della Banca commerciale italiana (Comit) di Londra tra il 1935 e il 1940, una figura in grado di mostrare l'importanza assunta dai network di conoscenze personali nel panorama finanziario. Sono stati selezionati una serie di incontri che offrono un primo sguardo sulla rete relazionale di Lovioz, mostrandone la composizione e i meccanismi. Il supporto fornito dalla teoria del capitale sociale ha consentito di mettere in luce alcuni tratti peculiari del gruppo sociale delle élite di banca, tra cui spirito di cooperazione (e di solidarie- tà), fiducia e stima. Essenziale ai fini della ricerca è stato il preliminare inquadramento storico avente come estremi la fondazione della Comit, nel 1894, e la legge bancaria – che sancì la fine della banca universale – emanata dal governo fascista nel 1936, affinché si potesse forni- re una dovuta contestualizzazione del periodo antecedente l'esperienza dirigenziale del banchiere preso in esame. Ripercorrendo i passaggi di un istituto che contribuì allo sviluppo eco- nomico dell'Italia di inizio Novecento, sono state descritte le cause che portarono all'intervento statale per il suo salvataggio, tra il 1931 e il 1933, e al suo nuovo assetto organizzativo.
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Gradinskaitė, Vilma. "In Search of Missing Collection: The Case of Artist Albert Rappaport." Art History & Criticism 17, no. 1 (2021): 31–42. http://dx.doi.org/10.2478/mik-2021-0003.
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Summary The artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.
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Dymond, Caren C., Sarah Beukema, Craig R. Nitschke, K. David Coates, and Robert M. Scheller. "Carbon sequestration in managed temperate coniferous forests under climate change." Biogeosciences 13, no. 6 (2016): 1933–47. http://dx.doi.org/10.5194/bg-13-1933-2016.
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Abstract. Management of temperate forests has the potential to increase carbon sinks and mitigate climate change. However, those opportunities may be confounded by negative climate change impacts. We therefore need a better understanding of climate change alterations to temperate forest carbon dynamics before developing mitigation strategies. The purpose of this project was to investigate the interactions of species composition, fire, management, and climate change in the Copper–Pine Creek valley, a temperate coniferous forest with a wide range of growing conditions. To do so, we used the LANDIS-II modelling framework including the new Forest Carbon Succession extension to simulate forest ecosystems under four different productivity scenarios, with and without climate change effects, until 2050. Significantly, the new extension allowed us to calculate the net sector productivity, a carbon accounting metric that integrates aboveground and belowground carbon dynamics, disturbances, and the eventual fate of forest products. The model output was validated against literature values. The results implied that the species optimum growing conditions relative to current and future conditions strongly influenced future carbon dynamics. Warmer growing conditions led to increased carbon sinks and storage in the colder and wetter ecoregions but not necessarily in the others. Climate change impacts varied among species and site conditions, and this indicates that both of these components need to be taken into account when considering climate change mitigation activities and adaptive management. The introduction of a new carbon indicator, net sector productivity, promises to be useful in assessing management effectiveness and mitigation activities.
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Hollo, Maarja. "“I Am Like Green Firewood – Not Going Out, Not Catching Fire!” A Prisoner’s Self-Portrait in Letters." Folklore: Electronic Journal of Folklore 90 (December 2023): 63–80. http://dx.doi.org/10.7592/fejf2023.90.hollo.
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This article provides an overview of letters written by Fromhold Veidenberg (1906), a communist who entered the Republic of Estonia from the Soviet Union in secret in December 1932, to his relative from Võru, Johanna Eisen (1910–2002). Veidenberg’s intelligence mission failed: he was caught at the border and detained. The suspect’s interview revealed he was a student at The Communist University of the National Minorities of the West in Leningrad, and was sent across the border for a secret mission. After capturing, he was sentenced to six years at the Central Prison in Tallinn. Over four years in prison, in the period 1934–1938, he exchanged letters with several people, including Eisen, who initiated the correspondence. This article is based on 22 letters sent by Veidenberg from prison – he destroyed most of Eisen’s letters before being released in 1938. I will regard Veidenberg’s letters as biographical material, shedding light on the person writing them, to find out how Veidenberg depicts himself in his letters and which strategies he uses to create emotional intimacy with the addressee.
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Prameswari, Dewi Retno. "Heritage Building Inventory: C. P. Wolff Schoemaker’s Design of Cipaganti Great Mosque." Jurnal Lingkungan Binaan Indonesia 10, no. 01 (2021): 9–16. http://dx.doi.org/10.32315/jlbi.v10i01.16.
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Cipaganti Great Mosque by C. P. Wolff Schoemaker was built in 1933. Data related to this mosque was lost along with a fire that occurred in C. P. Wolff Schoemaker's house in 1948, while the mosque building has changed considerably compared to the original building. Responding to this problem, this study is conducted to reveal the origin form of Cipaganti Great Mosque, so that the results of this study are expected to help the process of inventory of cultural heritage buildings in Bandung City and to be a reference in conservation activities, especially related to the Cipaganti Great Mosque in the future. This qualitative research was carried out through two stages, starting from the data collection followed by the data verification to obtain building data from the Cipaganti Great Mosque. This study revealed that in designing the mass of the building, C. P. Wolff Schoemaker used modules of 2.5 m and 3 m in the floor plan design, while the dominance of the 1.5 m module was also seen in the height of the building mass. The mosque building was also designed symmetry as the work of C. P. Wolff Schoemaker in general.
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Chaer, Moh Toriqul. "Islam dan Pendidikan Cinta Damai." Istawa: Jurnal Pendidikan Islam 2, no. 1 (2017): 73. http://dx.doi.org/10.24269/ijpi.v2i1.363.
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The nation of Indonesia is the pluralist nation. The plurality suggests the existence of a difference. The understanding and management of plurality would generate a positive force for the development of the nation. On the contrary, when it is not understood and managed properly, the plurality of faiths and cultures can be a destructive factor and trigger a disaster. Conflict and social violence that often occurs between community groups are part of the plurality of religions and cultures that are not managed properly. Religious conflict as happened in Maumere (1995), Surabaya, Situbondo and Tasikmalaya Rengasdengklok (1996), (1997), Solo, Jakarta and Kupang (1998), Poso, Ambon (1999-2002), not only claimed the casualties is not a little, but it has also destroyed hundreds of places of worship (whether a church or Mosque) caught fire and was destroyed. Similarly, notes smelling of ethnic violence, such as certain ethnic violence in West Kalimantan (1933), Central Kalimantan (2000). Necessary preventive measures as early prevention efforts, so that such events do not reoccur in the future. Peace education is an effort bring education more tolerant, understanding the diversity of religions, ethnicities, and cultures.
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Chapman, Herrick. "The Political Life of the Rank and File: French Aircraft Workers During the Popular Front, 1934–38." International Labor and Working-Class History 30 (1986): 13–31. http://dx.doi.org/10.1017/s0147547900016811.
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Between 1934 and 1938, several million workers took part in the elections, strikes, and protests that made the popular front a pivotal moment in the recent history of France. Giant street demonstrations, the General Strike of November 1938, and above all the massive sit-down strikes of June 1936 made most workers at least momentary actors in the drama of national political life. Yet, for all that has been written about these events, little is known about how labor conflict during the popular front actually affected workers' views. The problem has been in large part one of sources: the speeches, newspapers, leaflets, and memoirs of the period reveal more about trade union leaders and local militants than about the ordinary men and women who made popular protest possible but whose opinions rarely found their way into print. As a result, a number of questions remain largely unanswered: How much of the ethos of the popular front, and how much of the ideology of the Socialist and Communist parties, did rank-and-file workers come to embrace? Which slogans spoke most poignantly to lathe operators at Renault, textile workers in Lille, or sales clerks at the Galeries Lafayette? Were the euphoria of June 1936 and the crushing defeat of the General Strike in November 1938 as important in the lives of these people as they were for labor leaders? How popular, in short, was the political experience of the popular front?
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Chapman, Herrick. "The Political Life of the Rank and File: French Aircraft Workers During the Popular Front, 1934–38." International Labor and Working-Class History 30 (1986): 13–31. http://dx.doi.org/10.1017/s0147547900003835.
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Between 1934 and 1938, several million workers took part in the elections, strikes, and protests that made the popular front a pivotal moment in the recent history of France. Giant street demonstrations, the General Strike of November 1938, and above all the massive sit-down strikes of June 1936 made most workers at least momentary actors in the drama of national political life. Yet, for all that has been written about these events, little is known about how labor conflict during the popular front actually affected workers' views. The problem has been in large part one of sources: the speeches, newspapers, leaflets, and memoirs of the period reveal more about trade union leaders and local militants than about the ordinary men and women who made popular protest possible but whose opinions rarely found their way into print. As a result, a number of questions remain largely unanswered: How much of the ethos of the popular front, and how much of the ideology of the Socialist and Communist parties, did rank-and-file workers come to embrace? Which slogans spoke most poignantly to lathe operators at Renault, textile workers in Lille, or sales clerks at the Galeries Lafayette? Were the euphoria of June 1936 and the crushing defeat of the General Strike in November 1938 as important in the lives of these people as they were for labor leaders? How popular, in short, was the political experience of the popular front?
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Matkovska, Ivanna. "Oleksa Novakivskyi: Unknown pages of study and life from Archival Materials of the Krakow Academy of Arts." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 153–67. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283145.
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The paper aims to study and publicize educational activities and exhibitions in Krakow by Oleksa Novakivskyi (1872– 1935), an outstanding Ukrainian artist — symbolist, expressionist, graphic artist, and educator, who over 20 years lived in Krakow (1892–1913) and Lviv (1913–1935) and founded his own art school in Lviv (1923–1935) for 100 students. The archival documents of the 1890s–1900s from the Archives of the Krakow Academy of Arts about Oleksa Novakivskyi’s studies in 1892–1904 were investigated. Oleksa Novakivskyi’sreport cards of 1892–1904 from the Krakow School and the Academy of Fine Arts were first introduced into scientific circulation. It was discovered that in 1892–1898 Oleksa Novakivskyi studied at the Department of Drawing of the Krakow School of Fine Arts (with a pause in 1893–1895) and received an “award in the competition” (1896), silver medals on July 15, 1897 and July 23, 1898 at the course of prof. Unierzyski, Stanislawski. In 1898–1901 Oleksa Novakivskyi studied at the Department of Fine Art, where he received a silver medal (1899) and a gold medal on July 15, 1900, on the course of Prof. Wyczółkowski, Stanislawski. In 1901–1904 Novakivskyi continued his studies at the Department of Fine Art at the School of Prof. Wyczółkowski at the Krakow Academy of Arts. It was established that Novakivski’s teachers in Krakow were the professors Florian Cynk, Jozef Unierzyski, Leon Wyczółkowski, Jan Stanislawski. In addition, personal documents of the painter’sspouse (whom the researchers previously listed as Anna-Maria) from the archives of Lviv and Krakow were introduced into scientific circulation (the identity card of Maryanna Rozalia Nowakowska, 1916; Birth Certificate of Maryanna Rosalia Palmowska, 1888), as well as the Polish specialized and popular periodicals of the 1890s–1930s that mentioned Oleksa Novakivskyi’s exhibitions participation in Krakow and Warsaw.
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Střeštík, J. "Spectrum of geomagnetic activity in the period range 5−60 days: possible lunar influences." Annales Geophysicae 16, no. 7 (1998): 804–11. http://dx.doi.org/10.1007/s00585-998-0804-4.
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Abstract. The series of daily Ap-indices has been subdivided into pentades (1932–1936 etc.) and spectra with fine-frequency resolution have been calculated for the indices in each of these intervals. Daily sunspot numbers have been processed in the same way. The average spectrum from all spectra in the pentades, as well as the spectrum from the whole interval have been calculated, and significant peaks have been determined. There is a significant difference between the spectra in the pentades containing the solar activity minimum (1932–1936, 1942–1946 etc.) and those containing the solar activity maximum (1937–1941, 1947–1951 etc.). Most peaks can be interpreted as a response to solar rotation and to the structure of solar wind speed (two high-speed streams per solar rotation), both modulated by the 11-year, annual and semi-annual waves. No significant peak corresponding to the period of the synodic month, or its half has been found. This result suggests that the influence of lunar cycles on some natural phenomena (if any) is not mediated by geomagnetic activity.Key words. Geomagnetism and paleomagnetism · Time variations · Diurnal to secular · Magnetospheric physics · Solar wind-magnetosphere interactions
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Cochran, Sherman. "Oil For the Lamps of China: Alice Tisdale Hobart’s Dark Novel of American Capitalism and Chinese Revolution." Journal of American-East Asian Relations 20, no. 1 (2013): 69–78. http://dx.doi.org/10.1163/18765610-02001010.
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Among American works of fiction about China before World War II, Alice Tisdale Hobart’s Oil for the Lamps of China (1933) was second only to Pearl S. Buck’s The Good Earth (1931) in influence and sales. Hobart’s novel, evidently set during the Northern Expedition of 1926-28, also inspired a Warner Brothers film by the same name in 1935. Unlike the film, Hobart’s novel did not give a boosterish picture of American capitalism. In portraying the leading character, Steven Chase, a field agent for an American oil firm in China, Hobart drew on the experience of her husband, a field agent for Standard Oil Company. Her husband, like Chase, was callously fired after loyally serving the company and adapting to Chinese culture and protecting company property from anti-imperialist mobs. The novel is memorable for its vivid characterizations of Americans and Chinese working for an American corporation in China and for its dark view of American capitalism and Chinese revolution.
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Fisher, Jacob. "The Rank and File Movement 1930-1936." Journal of Progressive Human Services 1, no. 1 (1990): 95–99. http://dx.doi.org/10.1300/j059v01n01_09.
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Golub, V. B., and N. F. Pastushenko. "Secrets of personal data file for professor Larin." Vegetation of Russia, no. 26 (2015): 154–61. http://dx.doi.org/10.31111/vegrus/2015.26.154.
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Sabău, Nicolae. "„Sok szíves üdvözlettel régi barátos…”. Colegamenti di amicizia di Coriolan Petranu con storici magiari." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 107–26. http://dx.doi.org/10.24193/subbhistart.2020.06.
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"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "
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Delić, Lidija. "“St. George’s Day Lamb” Victim and Empathy." Narodna umjetnost 59, no. 1 (2022): 39–53. http://dx.doi.org/10.15176/vol59no103.
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In Serbian and Croatian, the word žrtva “sacrifice, victim” has two basic meanings: 1. a ritually executed person or animal as offering to a deity, and 2. a person who was killed by accident, through no fault of their own (in a car accident, a fire, by lightning, etc.), or someone who has suffered as a result of someone else’s actions (a victim of violence, cheating, conspiracy, etc.). On the basic level, the two meanings overlap and cover the same archaic notion of victim, which 1. links community to transcendental spheres (communication with god/s, based on a connection between giving and receiving in return, which is unquestionable in traditional cultures), or 2. acts as a (fundamental) way in which gods appear in the human world (punishment as proof of gods’ existence). In both cases, folk narratives abolish empathy with the victims (even if death comes for ritual reasons or as an exemplum) and often conceptualize the victim in animalistic terms (e.g., jagnje đurđevsko “St. George’s Day lamb”– a lamb slaughtered on the main spring holiday, St. George’s Day; kurban). The concept of communicating with god through the victim is radically criticized in modern literature, also in terms of the lamb (Thomas Mann, The Tables of the Law [Das Gesetz], 1944; Joseph and his brothers [Joseph und seine Brüder], 1933–1943; Jose Saramago, The Gospel According to Jesus Christ [O Evangelho Segundo Jesus Cristo], 1991; Cain [Caim], 2009).
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Ladd, Marco. "Synchronization as Musical Labor in Italian Silent Cinemas." Journal of the American Musicological Society 75, no. 2 (2022): 273–317. http://dx.doi.org/10.1525/jams.2022.75.2.273.
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Abstract This article examines a series of lawsuits that consumed Italy’s legal establishment between approximately 1924 and 1933. Resulting from a protracted labor dispute between instrumental musicians who worked in cinemas and the exhibitors who employed them, the lawsuits turned on a question of employment law: whether musicians ought to be considered full-time employees—entitled to various benefits and protections against unfair termination—or more precariously situated freelancers whom exhibitors could hire and fire at will. As a consequence of the vagaries of existing Italian labor law and new Fascist legislation governing labor relations, musicians were already at a disadvantage in this dispute. Unexpectedly, their situation was further undermined by the judiciary, as Italy’s highest court made their employee status conditional on the perceived aesthetic value of cinema and its associated music making. That is, musicians had to prove that their musical abilities were integral to the artistic outcome of any given film screening—a tall order in the context of silent cinematic exhibition, where musical accompaniment was materially distinct from the projected film. Precisely because the courts valorized the fusion of music and image, however, the Italian musicians’ lawsuits illuminate a fundamental parameter of cinematic aesthetics—synchronization—and reveal something significant about the nature of film music. Public recognition for effecting music-image synchronization in film conferred symbolic, but also literal, capital; thus I contend that synchronization ought to be understood as a form of musical labor, both in the silent era and beyond.
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Guiralt Gomar, Carmen. "Hollywood y la Guerra Civil española: análisis de sus tres únicas cintas de ficción coetáneas (1937-1938) = Hollywood and the Spanish Civil War: analysis of its only three fiction films made simultaneously (1937-1938)." Estudios Humanísticos. Filología, no. 39 (December 15, 2017): 75. http://dx.doi.org/10.18002/ehf.v0i39.5092.
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<p>El presente artículo propone un análisis comparativo de las tres únicas películas realizadas por Hollywood sobre la Guerra Civil española mientras esta se desarrollaba: <em>The Last Train From Madrid</em> (James Hogan, 1937), <em>Love Under Fire</em> (George Marshall, 1937) y <em>Blockade</em> (William Dieterle, 1938). A la postre, se demostrará que, en contra de lo afirmado por buena parte de la historiografía, las tres –y no únicamente <em>Blockade</em>– efectúan una denuncia de la intervención de las potencias del Eje en la Guerra Civil española.</p><p>The purpose of this article is to provide a comparative analysis of the only three films that were made in Hollywood relating to the Spanish Civil War during the period in which it was being waged: <em>The </em><em>Last Train From Madrid</em> (James Hogan, 1937), <em>Love Under Fire</em> (George Marshall, 1937) and <em>Blockade </em>(William Dieterle, 1938). Lastly, it will be demonstrated that, contrary to what has been asserted by a large num- ber of historians, all three – not only Blockade – express criticism against the Axis powers’ intervention in the Spanish Civil War.<br /><br /></p>
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Edward González-Tennant. "Intersectional Violence, New Media, and the 1923 Rosewood Pogrom." Fire!!! 1, no. 2 (2012): 64. http://dx.doi.org/10.5323/fire.1.2.0064.
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Makowska, Urszula. "„Dziwna awersja”. O wystawach Schulza." Schulz/Forum, no. 13 (October 28, 2019): 5–34. http://dx.doi.org/10.26881/sf.2019.13.02.
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The paper sums up and corrects information on the exhibitions in which Schulz took part as well as reconstructs the circumstances under which they were organized. Today we know about ten such exhibitions ordered in series separated by several year-long breaks: 1920-1923, 1930, 1935. His participation in the last show, organized in 1940 by a Soviet institution, cannot be considered fully voluntary. Of the prewar exhibitions only those in Lvov – in 1922 and 1930 at the Society of the Friends of Fine Arts [Towarzystwo Przyjaciół Sztuk Pięknych] and in 1935 on the premises of Union of Polish Artists [Związek Zawodowy Polskich Artystów Plastyków] were noticed by the press, mainly local newspapers. Apparently Schulz, who understood the significance of exhibitions in building one’s artistic biography, did not care much about them. He needed constant support in the selection and evaluation of his works since he was not sure of their value. Probably in the beginning he could count in that respect on his close friends from Drogobych and then those from Lvov. In fact, however, he lived outside the artistic circles and sporadic contacts with other artists did not provide him with necessary inspiration or encouragement to present his works in public. The available records imply that only in 1938, perhaps reinforced by his position in the world of literature, Schulz was ready to plan exhibitions, but not in Lvov and not even in Poland. Exhibitions allowed him also to reach out to other people. They gave him a chance to find an understanding spectator, but also required disclosing oneself. Regardless of their subject matter, drawings are records of the artist’s gestures, i.e. his corporeality. Presenting them in public must have been for Schulz a temptation to tear off his disguise, but it also provoked fear to do so. It was only the graphic art that guaranteed a safe distance between the artist and spectator thanks to the technological processes that separated a single print from the artist’s body. One must remember that most Schulz’s exhibits were the cliché-verres, while practicing other kinds of graphic techniques was his unfulfilled dream. Thus, the sequences of Schulz’s presentations at exhibitions, separated by years of absence, are related to the episodes of his biography, reflecting his attitude toward self-presentation that oscillated between desire and aversion.
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Radaeva, E. A. "EXPRESSIONIST DISCOURSE OF WAX FIGURES IN THE HISTORY OF CINEMA." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 83 (2022): 84–92. http://dx.doi.org/10.37313/2413-9645-2022-24-83-84-92.
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In this article, the author examines the influence of expressionism on the film industry in the period 1933-2005. Through the prism of the "donated" expressionist cinema art of the 1920s. stories about wax figures, one can detect the development of the cultural demands of society in the above period. The most significant conclusions of the study: a) after the masterpiece of Paul Leni in 1924, cinema art returns to what it tried to get away from - to “the stories of a mentally ill person, left alone with a hostile world trying to break him”; b) if earlier plots were built around "dolls", the mystery of which is in their visual identity to people, then over time the fantasy of scriptwriters and directors began to demand their more complete identification - this is reflected in the tendency to deepen the demonization of the plot in the "man-doll" paradigm. And if at first a doll was made from a dead person, then in the 2000s it was made from a living person, thereby increasing the tendency towards sadism and cruelty on the screen; c) in almost every film there are codes of expressionism: the antinomy of "us-them", "light-darkness", "chronotope of the loop", a farce (fair, brothel), the motive of all-consuming fire; d) in every decade, the aesthetics, the philosophy of expressionism and the realities contemporary to directors are mutually enriched. The trend towards mutual enrichment also occurs at the level of genres (the sum of expressionist techniques in cinema - and slasher).
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Juszczyk, Aleksandra. "Wczesny okres twórczości Hanny Żuławskiej. Warszawa–Paryż–Gdynia." Porta Aurea, no. 20 (December 21, 2021): 148–73. http://dx.doi.org/10.26881/porta.2021.20.07.
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Hanna Żuławska (1908–1988) was one of the most prominent artists associated with the Tri -City, and dealing with many fields of art: easel and polychrome painting, architectural mosaic, sgraffito, ceramics and small architecture. Her husband was a painter known on the coast: Jacek Żuławski. She is known primarily for her mature work in the 1950s and 60s; it was then that she showed true individuality. From post - -war times, Żuławska was also teacher and professor at the State Higher School of Fine Arts in Gdańsk and the manager of the Kadyny Ceramics Works. Little, if anything, is known of Hanna Żuławska’s work in the interwar period.
 In 1930–1934, Żuławska studied at the Warsaw School of Fine Arts, among others in the studios of Professors Felicjan Szczęsny Kowarski, Leonard Pękalski and Tadeusz Pruszkowski. It seems that Kowarski’s work in the fields of painting and monumental mosaics had a great influence on Żuławska›s later artistic activity. In the 1930s, Żuławska took part in exhibitions at IPS (Art Propaganda Institute).
 At that time, the artist experienced a period of fascination with the works of the members of the Paris Committee and Pierre Bonnard and Paul Cèzanne, which resulted in the pair of the artists, Hanna and Jacek, leaving for Paris on a scholarship in 1935. In Paris, the artist studied in the painting studio of Józef Pankiewicz, painted still lifes, city views and quite standard landscapes; she also visited museums and led a lively social life. In May 1938, the works of Hanna and five other Polish painters were presented at the prestigious Bernheim Jeune gallery in Paris. The exhibition was well received by critics in Poland.
 Hanna and her husband returned to Poland and settled in Gdynia in the autumn of 1938, where Żuławska established contacts with the artistic community of the city. In 1938, the artists joined the Gdynia branch of the Trade Union of Polish Artists and Designers, and actively participated in its exhibitions until the outbreak of World War II. In recognition of their contribution to the development of art in Gdynia, the Żuławskis also received state orders for a monumental painting decoration of the barracks’ common room at Redłowo, for the creation of paintings for the Chapel of the Hospital of the Sisters of Mercy at Kaszubski Square, and for the polychrome entitled ‘Apotheosis of Gdynia’ in the building of the Government Commissariat (designs not preserved).
 During the Nazi occupation, the Żuławskis were in Warsaw; in November 1944, the artist came to Łańcut near Lublin, where she stayed at an artistic house. In the autumn of 1945, Hanna and Jacek Żuławski together with other residents of the manor house, e.g.: Juliusz Studnicki, Krystyna Łada -Studnicka, Janusz Strzałecki, Józefa and Marian Wnuk, established the State Institute of Fine Arts in Sopot, transformed into the State Higher School of Fine Arts in Gdańsk.
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Bemrose, Anna. "Alf Howard." Polar Record 47, no. 2 (2011): 191–92. http://dx.doi.org/10.1017/s0032247410000422.
Full textAbstract:
Alf Howard, (Fig. 1) died on 4 July 2010. He was the last surviving member of Sir Douglas Mawson's 1929–1931 British, Australian and New Zealand Antarctic Research Expedition (BANZARE) that made further extensive claims to sovereignty defining the limits of what was to become Australian Antarctic Territory (AAT) in 1933. He was also the last survivor to have served aboard the coal-fired three-masted wooden ship Discovery built in Dundee for Captain Robert Falcon Scott's 1901–1904 National Antarctic Expedition.
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Broderick, Eugene. "The corporate labour policy of Fine Gael, 1934." Irish Historical Studies 29, no. 113 (1994): 88–99. http://dx.doi.org/10.1017/s0021121400018782.
Full textAbstract:
Corporatism or vocationalism had many advocates throughout Europe in the 1930s. Corporatists rejected the extremes of laissez-faire capitalism, with its attendant exploitation of workers, and totalitarian communism, with its emphasis on the doctrine of class struggle. They recommended a middle way between two hostile systems and sought to achieve social harmony by means of the establishment of corporations, representative of workers and employers, to regulate the various areas of national economic activity. These corporations were to secure co-operation between capital and labour, thus eliminating social conflict. In Ireland vocationalism had been popularised by the papal encyclical Quadragesimo anno, and it had strong proponents among certain elements in Fine Gael and the Blueshirts while both were under the leadership of General Eoin O’Duffy in 1933 and 1934. The spectacular failure of the Blueshirts and O’Duffy’s incompetence as Fine Gael leader resulted in the corporate-inspired Labour policy of Fine Gael, published in 1934, being ignored by historians. Yet it is worthy of attention, not least because it was the only significant policy formulation by vocationalists within Fine Gael. Furthermore, an examination of the proposals serves to illuminate reasons why corporatism and the Blueshirts were doomed to political failure.
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Andersson, Lars Fredrik, Magnus Lindmark, Mike Adams, and Vineet Upreti. "The determinants of investment returns in the fire insurance industry: the case of Sweden, 1903–1939." Financial History Review 20, no. 1 (2013): 73–89. http://dx.doi.org/10.1017/s0968565012000273.
Full textAbstract:
We employ a panel data research design to examine the determinants of investment returns in the Swedish property fire insurance industry from 1903 to 1939 – a period of great economic and political uncertainty. Contrary to expectations, we find that mutual fire insurers generated systematically higher investment returns than stock fire insurers. Investment returns are inversely related to leverage but positively related to liquidity, showing that firms adopting a more precautionary investment strategy attain higher returns.
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Kvietkauskas, Mindaugas. "From Shulhoyf to Montparnasse: Cultural Collage in Moshé Vorobeichic's Photography Book The Ghetto Lane in Wilna (1931)." Colloquia 48 (December 30, 2021): 170–93. http://dx.doi.org/10.51554/coll.21.48.11.
Full textAbstract:
This article discusses the artistic genesis of the first avantgarde photography book in Lithuanian art history, The Ghetto Lane in Wilna (1931) by Moshé Vorobeichic-Moï Ver (Moshe Raviv, 1904–1995), and aims to conduct the first in-depth reconstruction of Vorobeichic’s early biographical and creative period in Vilnius in the 1920s in the local Jewish and multicultural milieu. The research is based on archival materials from Lithuanian state archives and the Raviv family archives in Israel. Vorobeichic, who was born in 1904 in Zaskavichy (currently in Belarus), made his artistic debut in Vilnius in 1923, and studied at the Faculty of Fine Art at Stephen Bathory University from 1923 to 1925. He continued his art studies at the Bauhaus school in Dessau (1927 to 1929) and, from 1929 in Paris at the École Technique de Photographie et de Cinématographie. From 1930 onwards, the photographer used the artistic pseudonym Moï Ver, under which his avant-garde photography book Paris, hailed as a masterpiece of the genre, was published by Editions Jeanne Walter in 1931. During the same period, Vorobeichic participated in Jewish cultural life in Vilnius, and was involved in the early stages of the formation of Yung Vilne, the acclaimed literary and artistic group of interwar Yiddish Modernism. The article aims to identify the cultural contexts in which Moï Ver’s artistic world-view and avant-garde style started to develop. The reconstruction of these contexts makes it possible to identify new semantic aspects in his avant-garde photography book The Ghetto Lane in Wilna, and to rethink its artistic concept. In this way, the cross-cultural semantics of Moï Ver’s photographic collages of Jewish Vilnius will emerge.
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Morrison, Malcolm J. "Sir Charles Edward Saunders, Dominion Cerealist." Genome 51, no. 6 (2008): 465–69. http://dx.doi.org/10.1139/g08-028.
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Charles Edward Saunders was born in London, Ontario, in 1867. His father, Sir William Saunders, was the first director of the Dominion Experimental Farms (1886–1911). Charles received his B.A. with honours in science from the University of Toronto in 1888 and his Ph.D. in chemistry from Johns Hopkins University in Baltimore, Maryland, in 1891. He attempted a career in music, his first love, from 1893 to 1902. With his father, Charles attended the 1902 International Conference on Plant Breeding and Hybridization in New York, where he learned of Mendel’s theories of inheritance and their applicability to plant breeding. When he began work in 1903 in the Division of Cereal Breeding and Experimentation at the Central Experimental Farm in Ottawa, he used the knowledge he had gained at that conference. It was Charles’s goal to achieve “fixity” in the varieties that had been bred and released using phenotypic mass selection, prior to his tenure as Cerealist. He selected four heads from the wheat variety Markham and in the winter of 1904 he performed a “chewing test” to select for gluten elasticity and colour. Seeds from two heads were chosen, and seeds from one went on to produce the variety Marquis after extensive yield trials on the Prairies. Marquis was 7 to 10 days earlier than Red Fife, the standard bread wheat of the Prairies. The earliness and tremendous yield of Marquis wheat resulted in the rapid and successful settlement of the Great Plains and countless billions of dollars in revenue to Canada. By 1923, 90% of the spring wheat in Canada and 70% in the USA was Marquis. Charles continued as Dominion Cerealist until his retirement in 1922. He was knighted in 1934, and died in 1937.
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Lilljegren, Josef, and Lars Fredrik Andersson. "Variation in organizational form across lines of property insurance: Sweden, 1913–1939." Financial History Review 21, no. 1 (2014): 77–101. http://dx.doi.org/10.1017/s0968565014000031.
Full textAbstract:
This article examines the impact of organizational structure on risk taking across different lines of property insurance (fire, marine, vehicle and specialized property insurance) in Sweden from 1913 to 1939. Based on the theoretical arguments whereby the mutual organizational form has a competitive advantage in underwriting homogeneous but unknown risk distribution, while the stock organizational form is more likely to underwrite more volatile and heterogeneous risk categories, we conclude that organizational form has a significant impact on risk taking. Our empirical analysis shows that the risk taking, measured as incurred claims to anticipated losses, was on average lower among mutual insurers. When comparing across lines of insurance, the analysis shows that the mutual form was more successful in keeping down risks in fire and marine, while less so in vehicle and specialized property insurance. Stock companies mitigated the higher risk by ceding more premiums to reinsurers and by diversifying more across different lines of insurance.
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Rollins, Matthew G., Thomas W. Swetnam, and Penelope Morgan. "Evaluating a century of fire patterns in two Rocky Mountain wilderness areas using digital fire atlases." Canadian Journal of Forest Research 31, no. 12 (2001): 2107–23. http://dx.doi.org/10.1139/x01-141.
Full textAbstract:
Changes in fire size, shape, and frequency under different fire-management strategies were evaluated using time series of fire perimeter data (fire atlases) and mapped potential vegetation types (PVTs) in the Gila Aldo Leopold Wilderness Complex (GALWC) in New Mexico and the SelwayBitterroot Wilderness Complex (SBWC) in Idaho and Montana. Relative to pre-Euro-American estimates, fire rotations in the GALWC were short during the recent wildfire-use period (19751993) and long during the pre-modern suppression period (19091946). In contrast, fire rotations in the SBWC were short during the pre-modern suppression period (18801934) and long during the modern suppression period (19351975). In general, fire-rotation periods were shorter in mid-elevation, shade-intolerant PVTs. Fire intervals in the GALWC and SBWC are currently longer than fire intervals prior to Euro-American settlement. Proactive fire and fuels management are needed to restore fire regimes in each wilderness complex to within natural ranges of variability and to reduce the risk of catastrophic wildfire in upper elevations of the GALWC and nearly the entire SBWC. Analyses of fire atlases provide baseline information for evaluating landscape patterns across broad landscapes.