Relevant bibliographies by topics / Jüdisches Museum Berlin (1999- )

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Jüdisches Museum Berlin (1999- )'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Jüdisches Museum Berlin (1999- )"

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Guesnet, François. "Jüdisches Museum Berlin – die neue Dauerausstellung." WerkstattGeschichte 85, no. 1 (March 1, 2022): 111–18. http://dx.doi.org/10.14361/zwg-2022-850109.

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Koshar, Rudy. "On the History of the Automobile in Everyday Life." Contemporary European History 10, no. 1 (March 2001): 143–54. http://dx.doi.org/10.1017/s0960777301001072.

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Alexander von Vegasack and Mateo Kries, eds., Automobility – Was uns bewegt (Weil am Rhein: Vitra Design Museum, 1999), exhibition catalogue, Vitra Design Museum, 551 pp., ISBN 3-931-936-17-1. Paride Rugafiori, ed., La capitale dell'automobile: Imprendatori, cultura e società a Torino (Venice: Marsilio, 1999), 262 pp., Lire 35,000. ISBN 8-831-77194-9. Ulrich Kubisch, Das Automobil als Lesestoff: Zur Geschichte der deutschen Motorpresse, 1898–1998 (Berlin: Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, 1998), 80 pp., ISBN 3-895-00072-8. David Thoms, Len Holden, and Tim Claydon, eds., The Motor Car and Popular Culture in the 20th Century (Aldershot: Ashgate, 1998), 307 pp., ISBN 1-859-28461-2. Sean O'Connell, The Car in British Society: Class, Gender and Motoring, 1896–1939 (Manchester and New York: Manchester University Press, 1998), 240 pp., ISBN 0-71-905506-7
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BÉRNILS, RENATO S., CHRISTOPH KUCHARZEWSKI, JULIO CESAR DE MOURA-LEITE, and AXEL KWET. "Rediscovery of the holotype of Ditaxodon taeniatus (Peters in Hensel, 1868) (Serpentes: Colubridae) and invalidation of the neotype designation." Zootaxa 1764, no. 1 (May 7, 2008): 66. http://dx.doi.org/10.11646/zootaxa.1764.1.6.

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Ditaxodon taeniatus is a striped, racer-like colubrid snake inhabiting grassland savannas in southern Brazil. This species was described as Philodryas taeniatus by the then curator of the Museum für Naturkunde der Humboldt-Universität zu Berlin (formerly Zoologisches Museum Berlin, ZMB), Wilhelm Peters, from a single specimen collected by Reinhold Hensel in Porto Alegre, Rio Grande do Sul. Peters’ description was published in a paper by Hensel (1868: 331) and, according to the International Code of Zoological Nomenclature (ICZN, 1999: Article 50.1, Recommendation 51E), the correct citation is Ditaxodon taeniatus (Peters in Hensel, 1868). Later, George A. Boulenger (1896: 124) transferred Philodryas taeniatus to the genus Conophis, and Alphonse R. Hoge (1958: 54) created for it the new genus Ditaxodon, which remains monotypic today.
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Greuter, Werner, and Robert Vogt. "Bericht über den Botanischen Garten und das Botanische Museum Berlin-Dahlem (BGBM) für das Jahr 1999." Willdenowia 30, no. 1 (August 2000): 5–27. http://dx.doi.org/10.3372/wi.30.30101.

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Benedettino, Vincenza. "Ludwig Mies van der Rohe, James Johnson Sweeney e Werner Haftmann: mettere in scena l’arte moderna a Houston e Berlino." Opus Incertum 9 (December 13, 2023): 74–85. http://dx.doi.org/10.36253/opus-14842.

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This article aims to trace the history of the exhibition device created by Ludwig Mies van der Rohe (1886-1969) at the Neue Nationalgalerie in Berlin, used during the mandate of the museum’s first director, Werner Haftmann (1912-1999), from 1967 to 1974. The solution devised by the architect for the glass hall on the ground floor of the museum, intended for temporary exhibitions and characterised by a completely open space with no walls, consisted of a set of panels suspended from the ceiling by metal cables that could be freely mounted, modulated and dismantled. They were ideally intended to meet the specific museographic requirements of each exhibition and different types of artwork. By analysing the displays of some of the major exhibitions at the Neue Nationalgalerie, the role played by James Johnson Sweeney (1900-1986), director of the Museum of Fine Arts, Houston, in the realisation of Mies van der Rohe’s ideas and exhibition projects in Cullinan Hall, a wing of the museum built by the architect in 1958, and the relationship between museography, works of art, museum space and visitors will be discussed and critical issues will be highlighted.
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Hoppe, G. "Zur Geschichte der Geowissenschaften im Museum für Naturkunde zu Berlin: Teil 2: Von der Gründung der Berliner Bergakademie bis zur Gründung der Universität 1770–1810." Fossil Record 2, no. 1 (January 1, 1999): 3–24. http://dx.doi.org/10.5194/fr-2-3-1999.

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Die Berliner Bergakademie und die mit ihr verbundene Sammlung des preußischen Berg- und Hütten-Departements, das Königliche Mineralienkabinett, sind die unmittelbaren institutionellen Vorläufer der geowissenschaftlichen Institute und Sammlungen, die sich heute im Museum für Naturkunde der Humboldt-Universität befinden. In der Zeit ihres Bestehens erlebten diese Einrichtungen eine beachtliche Entwicklung. Am Königlichen Mineralienkabinett waren als Leiter und Lehrer der Mineralogie und Bergbaukunde nacheinander drei Bergbeamten tätig, Carl Abraham Gerhard als ihr Gründer, danach für kurze Zeit Johann Jacob Ferber und ab 1789 Dietrich Ludwig Gustav Karsten. Gefördert durch den bedeutenden Bergwerks-Minister Friedrich Anton Frh. von Heinitz konnte die Einrichtung im Jahre 1801 einen museumsartigen Neubau, die sogenannte Neue Münze, beziehen, wodurch sie neben ihrer Einbindung in die Lehraufgaben der Bergakademie auch eine Wirksamkeit in der Allgemeinbildung erhielt. Ein Besucherbuch markiert mit seinen Eintragungen den Höhepunkt der Entwicklung. Der Niedergang Preußens durch den Einfall Napoleons 1806 und die danach folgende Besinnung auf innere Kräfte führten im Jahre 1810 zur Errichtung der Berliner Universität. Diese übernahm die Lehraufgaben der Bergakademie, und das Königliche Mineralienkabinett war von nun an das Mineralogisches Museum der Universität. <br><br> doi:<a href="http://dx.doi.org/10.1002/mmng.1999.4860020101" target="_blank">10.1002/mmng.1999.4860020101</a>
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Kamczycki, Artur. "The Kabbalistic Alphabet of Libeskind: The Motif of Letter-shaped Windows in the Design of the Jewish Museum in Berlin." Ikonotheka 28 (August 6, 2019): 7–40. http://dx.doi.org/10.5604/01.3001.0013.3319.

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The present article attempts to analyse and interpret the structure of windows in the Jewish Museum in Berlin, designed by Daniel Libeskind and constructed in 1989–1999. Elongated, narrow, irregular window openings arranged at different angles like a tangle of cuts and grooves span the entire structure and resemble Hebrew letters and the kabbalistic notion of the “scattered alphabet”, which functions in Jewish tradition as a visual metaphor. The assumption of such a perspective of interpretation, based on the visual form of the building which was, in its principle, meant to partially refer to the Holocaust, leads to the hypothesis that the chosen motifs of letter-shaped windows (the scattered alphabet) is connected to the kabbalistic postulate of the “repair of the world”, known in Jewish tradition as tikkun olam. The characteristic chaotic arrangement of the window openings is not, as it might be assumed, simply a symbol of the civilisational “fragmentation” resulting from the Holocaust. On the contrary, the design manifestly embodies the nostalgia for the mythical (and messianic) times of harmony, order and regularity, as well as the longing for clear structure and symbiosis. This manifests in the kabbalistic interpretation of the motif of letter-windows understood as a mystical (or even theurgical) element of restoration. Concentration, contemplation, perception and consideration of the forms and shapes of the letters is a notion known from the Kabbalah; in this case architectural references to Jewish mysticism are more than just a strategy for interpretation, but a declarative assumption made by the architect himself. Libeskind’s design in Berlin, therefore, involves the matter of language as the elementary material and instrument of salvation, while the context of the Kabbalah ought to be regarded as a certain symptom or a specific modality shaping new meanings manifested by the work of art that this museum undoubtedly is.
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Henne, Thomas. "Die Grundrechte im Spiegel des Plakats 1919 bis 1999, hg. v. Kai Artinger. Deutsches Historisches Museum, Berlin 2000. 191 S., zahlr. Abb." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 120, no. 1 (August 1, 2003): 897–99. http://dx.doi.org/10.1515/zrgga.2003.120.1.897.

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Korb, S. K. "A CATALOGUE OF THE TYPE SPECIMENS OF COLIAS FABRICIUS, 1807 DEPOSITED IN THE MUSEUM FÜR NATURKUNDE AN DER HUMBOLDT-UNIVERSITÄT ZU BERLIN (LEPIDOPTERA, PIERIDAE)." Amurian Zoological Journal 6, no. 2 (2014): 182–206. http://dx.doi.org/10.33910/1999-4079-2014-6-2-182-206.

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Kimm, Jong Soung. "The Legacy of Mies van der Rohe in Modern Movement and the Modern Architecture in Korea." Reuse, Renovation and Restoration, no. 52 (2015): 4–9. http://dx.doi.org/10.52200/52.a.rwd0uw0t.

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The following article is an edited version of the keynote presented at the 13th International docomomo Conference that took place in Seoul, Korea, on September 2014. The paper discusses how “Western” architecture was first introduced to Korean soil: a French Catholic missionary-architect built the Seoul Cathedral at the end of the 19th century. American and Canadian architects built educational buildings for the Protestant missionary-founded colleges in Korea. Japanese civil servant architects built some public buildings during the colonial rule. The work of two prominent Korean architects, Kim Chung-Up and Kim Swoo-Geun are discussed. The author discusses his education at Mies van der Rohe’s Illinois Institute of Technology (IIT) in mid-1950s, his work for the Master during the 1960s, and his teaching at IIT 1966 and 1978. He describes how his dual position of teaching at IIT and working for Mies gave him the opportunity to work on three projects of importance: the Mies Retrospective in Berlin in 1968; the exhibition proposal for the extension of the Museum of Fine Arts in Houston of 1969; the Toronto-Dominion Bank executive floor and Banking Pavilion of 1966–1968. The author discusses several works of Mies van der Rohe to “demystify” the general perception that Mies was a rigid aesthetician: how Mies van der Rohe would arrive at design decisions not always sticking to the module, grid and geometry, contrary to the conventional reading of his architecture. The author then discusses five works from his three decades of practice with sac International in Seoul, highlighting where Mies’ influences might be found in these works: the Korea Military Academy Library of 1982; Seoul Hilton Hotel of 1983; the Weight-lifting Gymnasium for ‘88 Seoul Olympics of 1986; Kyongju Museum of Art of 1991; and the SK Group Office Building in Seoul of 1999. The paper also reflects on its relationship to the main theme of the recent International docomomo Conference in Seoul, Expansion and Conflict.
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Dissertations / Theses on the topic "Jüdisches Museum Berlin (1999- )"

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Miller, Brian J. "The Politics pf Memory in the Jüdisches Museum Berlin, 1999-2004: Curatorial Strategies, Exhibition Spaces, and the German-Jewish Past." Digital Archive @ GSU, 2005. http://digitalarchive.gsu.edu/history_theses/2.

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This thesis explores representations of the Holocaust in the Jewish Museum Berlin and the impact of commercialism on representational choices. Daniel Libeskind’s bold architectural design, which ultimately became the Jewish Museum Berlin, is in many ways a Holocaust memorial. By exploring curatorial strategies in regards to exhibition design and content, this thesis analyzes the debates within the Jewish Museum Berlin over the appropriate manner to represent the Holocaust to the museum-going public in contemporary Germany. This thesis argues that commercialism and the prospects of commercial viability played a significant role in curatorial decisions concerning exhibition narrative. Germany leads the world in acknowledging and exploring their past social crimes but, this thesis argues, an important opportunity for atonement was lost when the administration of the Jewish Museum Berlin privileged commercial success over the presentation of more difficult and uncomfortable, yet socially necessary, representations of the horror of the Holocaust.
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Warneck, Dorothea. "Natalia Berger: „The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2020. https://slub.qucosa.de/id/qucosa%3A71019.

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Berger, Natalia: The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem [= Ben-Rafael, Eliezer/Gorny, Yosef/Liwerant, Judit Bokser (Hg.): Jewish Identities in a Changing World, Band 29], Leiden/Boston: Brill 2018, 584 S., ISBN: 978-90-04-35387-9, EUR 160,00. Besprochen von Dorothea Warneck.
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Miller, Brian J. "The Politics of Memory in the Jüdisches Museum Berlin, 1999-2004: Curatorial Strategies, Exhibition Spaces, and the German-Jewish Past." 2005. http://scholarworks.gsu.edu/history_theses/2.

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This thesis explores representations of the Holocaust in the Jewish Museum Berlin and the impact of commercialism on representational choices. Daniel Libeskind’s bold architectural design, which ultimately became the Jewish Museum Berlin, is in many ways a Holocaust memorial. By exploring curatorial strategies in regards to exhibition design and content, this thesis analyzes the debates within the Jewish Museum Berlin over the appropriate manner to represent the Holocaust to the museum-going public in contemporary Germany. This thesis argues that commercialism and the prospects of commercial viability played a significant role in curatorial decisions concerning exhibition narrative. Germany leads the world in acknowledging and exploring their past social crimes but, this thesis argues, an important opportunity for atonement was lost when the administration of the Jewish Museum Berlin privileged commercial success over the presentation of more difficult and uncomfortable, yet socially necessary, representations of the horror of the Holocaust.
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Costa, Sara Filipa Santos 1995. "Olhos que pensam (desenham) e olhos que sentem (fruem)." Master's thesis, 2019. http://hdl.handle.net/11067/4665.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2019
Exame público realizado em 25 de Julho de 2019
A presente dissertação teve origem, primeiramente, no meu interesse pelo Holocausto que ocorreu durante a Segunda Guerra Mundial. Desde os meus dez anos, com a apresentação do tema através da história de Anne Frank, que me surgem questões intrigantes sobre a existência e responsabilidade de cada Ser Humano. Com o passar dos anos novas questões se puseram, agora no campo da Arquitetura, sobre o seu real propósito. Assim, unindo-se o interesse sobre tal período histórico à extrema necessidade da existência de um sentido na Arquitetura, considerou-se pertinente perceber se e como pode a Arquitetura narrar - sem boca para falar, olhos para mostrar a sua alma, mãos e pés para se mover – uma história, instruindo a população que visita. Como tal, pretende-se dissecar o processo arquitetónico, desde a fase anterior à sua criação, à fase de criação, tal como a fase posterior à construção; destacando, particularmente o papel de espaços públicos, nomeadamente museus, que têm a função se ensinar a população sobre o passado. Pretende-se, portanto, compreender a contribuição da Arquitetura para contar uma história, para fazer parte da história, para ficar para a História. Destaca-se igualmente o papel do arquiteto na Vida Humana para a construção do Mundo que influencia os indivíduos que nele vivem e que, simultaneamente é influenciado por eles. Espera-se que, ao conhecer o funcionamento do Corpo Humano, posteriormente a sua relação com a envolvente que o leva a comportar-se de determinado modo, levando-o a construir de um determinado modo, se possa compreender como tais construções são capazes de manter a memória presente, reduzindo a possibilidade de algo tão trágico como o Holocausto Judeu voltar a acontecer. Pretende-se, portanto, justificar o potencial catártico da Arquitetura.
The present dissertation was instigated, first of all, in my interest in the Holocaust that occurred during World War II. Since I was ten years old, with the (history of Anne Frank) presentation of the theme through the history of Anne Frank, I (started to have questions) “get intriguing” questions about the existence and responsibility of each Human Being. Over the years, new questions have arisen, now in the field of Architecture, about its real purpose. Thus, joining the interest in such a historical period to the extreme necessity of the existence of a meaning in Architecture, it was considered pertinent to see if and how Architecture can narrate – without (with no) mouth to speak, eyes to show their soul, hands and feet to move - a story, instructing the visiting population. For this, it is intended to dissect the architectural process, from the pre-creation phase, to the creation phase, just like the post-construction phase; highlighting, in particular, the role of public spaces, namely museums, whose function is to teach the population about the past. It is intended, therefore, to understand the contribution of Architecture to tell a story, to be part of history, to stay for History. Equally important is the role of the architect in human life for the construction of the world that influences the individuals who live in it and who are simultaneously influenced by them. It is hoped that, by knowing the functioning of the Human Body, later on its relation with the surroundings that causes it to behave in a certain way, leading it to build in a certain way; one can understand how such constructions are able to keep the memory present, reducing the possibility of something as tragic as the Jewish Holocaust to happen again. It is therefore intended to justify the cathartic potential of Architecture.
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Books on the topic "Jüdisches Museum Berlin (1999- )"

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Nida-Rümelin, Julian. Jüdisches Museum Berlin. Berlin: Jüdische Presse, 2001.

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), Jüdisches Museum Berlin (1999. Jüdisches Museum Berlin: Konzept und Vision. Berlin: Jüdisches Museum Berlin, 1998.

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Libeskind, Daniel. Jewish Museum, Berlin. [Amsterdam?]: G + B Arts International, 1999.

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Dorner, Elke. Daniel Libeskind: Jüdisches Museum Berlin. Berlin: Gebr. Mann, 1999.

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Encke, Bruni. Das jüdische Museum Berlin =: The Jewish Museum Berlin. Berlin: Bostelmann & Siebenhaar, 2001.

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Sabine, Bertram, Kohlhoff Kolja, and Museumspädagogischer Dienst Berlin (Germany), eds. Leerzeit: Wege durch das Jüdische Museum Berlin. Berlin: Museumspädagogischer Dienst, 2000.

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Pieper, Katrin. Die Musealisierung des Holocaust: Das Jüdische Museum Berlin und das U.S. Holocaust Memorial Museum in Washington D.C. : ein Vergleich. Köln: Böhlau, 2006.

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Kamczycki, Artur. Muzeum Libeskinda w Berlinie: Żydowski kontekst architektury = Daniel Libeskind's museum in Berlin : the Jewish context of architecture. Poznań: Wydawnictwo Naukowe UAM, 2015.

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Margret, Kampmeyer-Käding, Kugelmann Cilly 1947-, Naumann Marie, United States Holocaust Memorial Museum., and Jüdisches Museum Berlin (1999- ), eds. Tödliche Medizin: Rassenwahn im Nationalsozialismus : [eine Ausstellung des United States Holocaust Memorial Museums, Washington, D.C. in Zusammenarbeit mit dem Jüdischen Museum Berlin, präsentiert im Jüdischen Museum Berlin, 13. März bis 19. Juli 2009]. Göttingen: Wallstein, 2009.

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Libeskind, Daniel. Jüdisches Museum Berlin. [Dresden]: Verlag der Kunst, 1999.

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Book chapters on the topic "Jüdisches Museum Berlin (1999- )"

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"III. Der Realisierungswettbewerb »Erweiterungsbau Berlin Museum mit Abteilung Jüdisches Museum« 1988/89." In Von der Hauptstadtposse zur Erfolgsgeschichte, 31–67. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666300714.31.

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"Kapitel 6 Scharouns Philharmonie und Libeskinds Jüdisches Museum in Berlin." In Erinnerungsorte in der Musik, 225–63. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110767483-007.

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"Heimat und Exil. Emigration der deutschen Juden nach 1933. Hrsg. von der Stiftung Jüdisches Museum Berlin und der Stiftung Haus der Geschichte der Bundesrepublik Deutschland." In Jahrbuch zur Kultur und Literatur der Weimarer Republik, edited by Sabina Becker, Eckhard Faul, and Reiner Marx, 189–91. edition text + kritik im Richard Boorberg Verlag, 2007. http://dx.doi.org/10.5771/9783967072167-189.

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Conference papers on the topic "Jüdisches Museum Berlin (1999- )"

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Azulay Tapiero, Marilda. "Arquitectura, dispositivo de experiencia memorial. *** Architecture: a drive of memorial experience ." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7604.

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La arquitectura puede introducirnos en la experiencia de la memoria; memoria como reflexión, y arquitectura como dispositivo para la experiencia memorial a la vez que contenedor de la información. Cada objeto es definido en un proceso en el que considerar diversos actores, sus voluntades, opciones y experiencias. Es el caso de las obras que aborda este trabajo, en las que evidenciar e interrogarnos sobre el gesto arquitectónico, la memoria evocada y su interpretación social. Obras que han alcanzado notoriedad por diferentes motivos: como la Sala del Recuerdo, de Arieh Elhanani, Arieh Sharon y Benjamin Idelson (1961) en Yad Vashem, Jerusalén; por su significado científico e histórico, como el Museo de Historia del Holocausto, también en Yad Vashem, de Moshé Safdie (2005); por su relevancia cultural o arquitectónica, como el Museo Judío (Ampliación del Museo de Berlín con el Departamento del Museo Judío) de Daniel Libeskind en Berlín (1999); e incluso por la controversia que han suscitado, como el Monumento en Memoria de los Judíos Asesinados de Europa, también en Berlín, conocido como el Monumento del Holocausto, de Peter Eisenman (2004).***Architecture can introduce us to the experience of memory; memory as reflection, and architecture as a drive for the experience of remembering as well as a container of information. Each object is de ned in a process in which different actors, their wills, options and experiences, are taken into account. This is the case of the artworks addressed by the present communication, in which we reveal and ask ourselves about the architectural gesture, the evoked memory and its social interpretation. Artworks that have achieved prominence for different reasons, such as the Hall of Remembrance, of Arieh Elhanani, Arieh Sharon and Benjamin Idelson (1961) in Yad Vashem, Jerusalem; for its scientific and historical significance, such as the Holocaust History Museum, also in Yad Vashem, by Moshe Safdie (2005); for its cultural or architectural relevance, such as the Jewish Museum (Extension of the Berlin Museum with the Department of the Jewish Museum) by Daniel Libeskind in Berlin (1999); and even because of the controversy they have raised, such as the Memorial to the Murdered Jews of Europe, also in Berlin, known as the Holocaust Memorial, by Peter Eisenman (2004).
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