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Academic literature on the topic 'Prussian Portraits'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Prussian Portraits"

1

Bartsocas, Christos S. "A Greek physician’s portrait in Windsor Castle." Journal of Medical Biography 27, no. 3 (April 6, 2017): 168–72. http://dx.doi.org/10.1177/0967772017702344.

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To the visitor to Windsor Castle, the Thomas Lawrence portraits in the Waterloo Chamber represent the most important contributors to the military defeat of Napoleon Bonaparte, by British, Prussian, Russian and Austrian forces at the Battle of Waterloo. Nevertheless, only few individuals realise that a Greek physician, Count Ioannis Capodistrias, a native of the island of Corfu, stands among these leading personalities as a diplomat, the Russian Minister of Foreign Affairs, who contributed remarkably to European unity in the early nineteenth century and as a statesman (‘Governor’ of Greece) with a tragic end to his life, after establishing a Greek State practically from ruins.

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2

Lange, Britta. "Archival Silences as Historical Sources. Reconsidering Sound Recordings of Prisoners of War (1915-1918) from the Berlin Lautarchiv." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 3 (April 9, 2018): 46–60. http://dx.doi.org/10.7146/se.v7i3.105232.

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This article aims to consider not only sound recordings of speech samples as historical sources, but also the absence of words and the content hereof: silences in speech. Its focus are sound recordings made by prisoners in German camps during World War I, today kept in the Lautarchiv (Sound Archive) of the Humboldt-Universität zu Berlin (http://www.lautarchiv.hu-berlin.de/). The World War I recordings comprise one of the archive’s three founding collections. The fi rst contains voice portraits of illustrious fi gures such as Kaiser Wilhelm II and Paul von Hindenburg, the recordings of which began during the war in connection with the autograph collection of Ludwig Darmstaedter. The second collection is made up of voice portraits of people who were not well-known or prominent individuals, but exemplary speakers of particular languages and dialects. Between 1915 and 1918, in German prisoner of war camps, the state-funded Königlich Preußische Phonographische Kommission (Royal Prussian Phonographic Commission) produced sound recordings of a range of languages, dialects and ethnic groups for the purposes of linguistic and musicological research.

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3

Döhring, Sieghart. "Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien." Studia Musicologica 52, no. 1-4 (March 1, 2011): 341–50. http://dx.doi.org/10.1556/smus.52.2011.1-4.24.

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The chief representative of cosmopolitan grand opéra as the composer of an opera for Prussia — this uncomfortable phenomenon owes its origin to an unusual historical situation. Giacomo Meyerbeer was invited to succeed Gaspare Spontini as the chief director of music in Berlin, the city of his birth, and he could not evade the honour of being commissioned to compose a festive opera for the re-opening of the Berlin Opera after its destruction in a fire, even though he considered Paris, now as before, to be his artistic home and the future headquarters of his work as a composer for the theatre. Together with his friend Alexander von Humboldt, who had very close ties to the Prussian royal house, in particular to the young King Friedrich Wilhelm IV, Meyerbeer sought and found a diplomatic solution which made it possible for him to fulfil his commission without too great an artistic compromise. He asked the skilled Parisian librettist Eugène Scribe to write a prose text in French, but to remain anonymous while the official librettist was advertized as Ludwig Rellstab, who translated the French into German, and put the words of the sung items into verse. Since Scribe here also worked strictly to the dramaturgical prescriptions of the composer, the resulting “Lebensbilder aus der Zeit Friedrichs des Großen” (“Pictures from the time of Frederick the Great”, the subtitle of the work) pays homage to the king of Prussia as the patron of peace and the arts. Given this interpretation, which was inspired by contemporary literary and pictorial portraits of Frederick II (by Franz Kugler and Adolph von Menzel), the confrontation with authority found in Meyerbeer’s grand historical operas was here given new life in an unusual context, one which made the concept of the nation relative to a generalized ideal of humanity.

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4

Jodliński, Leszek. "‘And I still see their faces…’: Wilhelm von Blandowski’s photographs from the collection of Museum in Gliwice." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 155. http://dx.doi.org/10.1071/rs09155.

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Wilhelm von Blandowski (1822-1878) was born in Gleiwitz, Prussia (now Gliwice, Upper Silesia, Poland). From 1862 through 1868, Wilhelm von Blandowski may have taken up to 10, 000 photographs. Though only a portion of his photographic accomplishment has been preserved, the existing photographs provide an insight into their content and character, as well as providing us with the better understanding of the work of their author. The main emphasis in the paper will be on Blandowski’s photographs presently in the collections of Museum in Gliwice. It will focus on his portraits with reference to some of the formal experiments Blandowski carried out, such as photomontage and narrative photography. Attention will be also drawn to his creation of documentary-like and realistic photographs. Both the commercial nature of the photographic business run by Blandowski, as well as his personal interest in picturing the human condition, had a strong influence on his photography. He put the person at the center of his interest. This was reflected in Blandowski’s attempts to capture the natural world of the Prussian borderlands in the 1860s. Blandowski depicted a place inhabited by Germans, Jews and Poles ‘the promised land’ of early industrialization. Witnesses of these days, the known and anonymous characters look at us from the hundreds of prints taken by Blandowski. Among them one can see wealthy industrialists, priests and doctors, workers and peasants, children and women, the rich and the poor, persons of different professions, nationalities and confessions. The article concludes with a discussion of the influences that Blandowski has had on his contemporaries and also of his place in the history of early photography in Poland.

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5

Hoffrogge, Ralf. ""Die wirkliche Bewegung, welche den jetztigen Zustand aufhebt"." PROKLA. Zeitschrift für kritische Sozialwissenschaft 39, no. 155 (June 1, 2009): 287–305. http://dx.doi.org/10.32387/prokla.v39i155.434.

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This article gives a short overview on the German labour movement from its beginnings to the 1920ies and shortly portraits the different concepts of socialism within the German social democratic party, Against the common misperception of a hegemonial, coherent and powerful concept of socialist politics in the past the article argues that even in their heyday the German labour movement did not have a clear concept of socialist politics, that the term socialism itself was an object of permanent discussions, Both the Marxist critique of utopian socialism and the overwhelming domination of the Prussian state often constrained these discussions about the political form of a postcapitalist society, The most interesting concept of socialism was not created by theoretical discussions among leftist intellectuals, but by political actions against the first world war, which ended with the German Revolution of 1918 and the rise of a powerful council movement This movement not only insisted on the principles of class war but practically overturned many authoritarian and state-dominated ideas of socialism which were common at that time,

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6

Finn, Margot C. "England's "Prussian Minister": Edwin Chadwick and the Politics of Government Growth, 1832-1854. Anthony BrundagePeel and the Victorians. Donald ReadGovernment and Expertise: Specialists, Administrators, and Professionals, 1860-1919. Roy MacLeodPrudent Revolutionaries: Portraits of British Feminists between the Wars. Brian Harrison." Journal of Modern History 63, no. 3 (September 1991): 564–70. http://dx.doi.org/10.1086/244359.

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7

Russo, Elena. "The Naked Philosophe and the Shameless Prussian: Diderot’s Portrait Sitting." Romanic Review 101, no. 4 (November 1, 2010): 709–25. http://dx.doi.org/10.1215/26885220-101.4.709.

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8

Cnockaert, Véronique. "Portraits de l’ennemi : le Prussien, la prostituée et le cochon." Études françaises 49, no. 3 (January 13, 2014): 33–46. http://dx.doi.org/10.7202/1021201ar.

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Durant la guerre franco-prussienne de 1870, un usage politique et idéologique fut fait de certaines théories physiologistes, notamment, on s’en doute, celles qui définissaient l’ennemi. Les différents discours contre ces derniers qui feront rage jusqu’à la Première Guerre mondiale s’échafaudent à partir d’élaborations scientifiques douteuses, qui relèvent également d’un imaginaire historique et d’une rhétorique qui s’appuie sur une forme de sacralisation de la guerre. Notre propos voudrait montrer que dans les nouvelles Boule de suif et Saint-Antoine, Maupassant révèle l’instrumentalisation qui est faite de ces discours modélisants. Souvent avec ironie, l’écrivain démontre que l’imaginaire social se fonde moins sur un savoir objectif et empirique que sur la conviction subjective d’une différence anthropologique et morale entre les individus, qui puise son énergie dans l’angoisse, la peur et une volonté de puissance d’un individu sur un autre. Dans les textes qui nous occupent, la « mise en ennemi » s’ajuste bel et bien, au-delà du fait historique, sur une intrication de données naturelles (biologiques, physiologiques) et culturelles (moeurs, habitudes) qui caractérisent l’ennemi comme l’« Autre à tuer ». L’ironie se cache dans l’utilisation que fait Maupassant du modèle anthropologique : en mettant en scène des identités hybrides où se mêlent qualités et défauts des dominés et des dominants, le romancier va en effet quitter l’échiquier ethnique et dépasser la question des identités nationales pour s’attaquer non pas aux Allemands ou aux Français en particulier, mais à la nature humaine en général et à sa propension à la barbarie.

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9

Puchalski, Lucjan. "Preußisch, modern – und doch österreichisch? Österreichische Reminiszenzen und Bezüge in Johann Gottlieb Schummels "Reise durch Schlesien"." Germanica Wratislaviensia 144 (November 20, 2019): 13–27. http://dx.doi.org/10.19195/0435-5865.144.1.

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Johann Gottlieb Schummels 1792 veröffentlichte Reise durch Schlesien war eine wichtige Stimme in der Debatte um die Identität der vor einem halben Jahrhundert von Preußen annektierten Provinz. Der Verfasser machte sich auf den Weg mit einem klaren Programm. Er wollte die Erfolge der wirtschaftlichen Entwicklung und Fortschritte der Aufklärung verzeichnen und damit das Land an der Oder als vollwertigen Teil des modernen preußischen Staates präsentieren. Im Text und in der Haltung des Reisenden kann man aber immer wieder Inhalte und Wertungen finden, die an die vielfachen Bindungen Schlesiens an die alte Habsburgermonarchie und deren katholisch geprägte Kultur erinnern. Interessanterweise nahm Schummel in sein Reiseprogramm auch Österreichisch-Schlesien auf und distanzierte sich damit klar von dem staatspolitischen Geschehen seiner Gegenwart. Die josephinisch-theresianischen Reformen bildeten allerdings einen wichtigen Referenzrahmen für das ganze Reiseprojekt. Schummel war zwar bemüht, ein preußisch-modernes Gesicht der Provinz zu erschließen, aber in seiner Haltung und Argumentationsweise – so das Fazit der Überlegungen – wirkten Kräfte, Gewohnheiten und Denkmuster nach, die darauf hinweisen, dass er sich gleichzeitig immer noch in der kulturellen Umlaufbahn von Wien bewegte.Prussian, modern – and yet Austrian? Austrian reminiscences and references in Johann Gottlieb Schummel’s Reise durch SchlesienWritten by Johnann Gottlieb Schummel and published in 1792 Reise durch Schlesien Journey through Silesia was an important voice in the identity debates of the province conquered by Prussia half a century before. The author set out with a clear plan. He wanted to record economic developments and growth of enlightenment and, thereby, to present the country on the Oder-River as a fullvalue part of the modern Prussian state. However, in his text appear contents and valuations which suggest multiple connections of Silesia with the old Habsburg Monarchy and its Catholic-influenced culture. Interestingly, the itinerary of Schummel included Austrian Silesia – by virtue of which the author distanced himself from topical issues in current politics. Yet the political reforms undertaken by Maria Theresia and Joseph II provided an important frame of reference for the whole journey of Schummel. He was willing to render a Prussian-modern portrait of the province, but his approach and argumentation – it is the conclusion of the article – are informed by powers, habits and patterns of thinking which indicate that he still moved in the cultural orbit of Vienna.

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10

Lagunoff, D. "PORTRAITS OF SCIENCE: A Polish, Jewish Scientist in 19th-Century Prussia." Science 298, no. 5602 (December 20, 2002): 2331. http://dx.doi.org/10.1126/science.1080726.

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Books on the topic "Prussian Portraits"

1

Zola, Emile. The Debacle. London: Penguin Group UK, 2010.

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2

Le domaine de Meudon et les Jérôme Bonaparte, 1848-1870. Meudon: Les Amis de Meudon, 1997.

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3

Bleckwenn, Hans. Altpreussische Offizierporträts: Studien aus dem Nachlass. Osnabrück: Biblio, 2000.

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4

Herr, Ulrich. Die deutschen Generale: Sowie Kriegsministerien und Generalstäbe von 1871 bis 1914 : Uniformierung und Ausrüstung. Vienna, Austria: Verl. Militaria, 2012.

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5

Nowak, Holger. Die Schlacht bei Jena und Auerstedt am 14. Oktober 1806. Jena: Städtische Museen Jena, 1994.

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6

Zola, Emile. The Downfall (Large Print Edition). BiblioBazaar, 2007.

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Zola, Emile. The Downfall. Kessinger Publishing, LLC, 2005.

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Zola, Emile. The Downfall. BiblioBazaar, 2007.

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9

Zola, Emile. The Downfall. Echo Library, 2007.

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10

Zola, Emile. The Downfall (Dodo Press). Dodo Press, 2007.

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Book chapters on the topic "Prussian Portraits"

1

Todd, R. Larry. "1843–1844 Portrait of A Prussian Musician." In Mendelssohn, 447–84. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780195179880.003.0015.

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Holtschneider, Hannah. "Portrait and Ideology." In Jewish Orthodoxy in Scotland, 19–39. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452595.003.0002.

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This chapter introduces Rabbi Dr Salis Daiches and maps his migration from the Lithuanian part of the Russian Empire to East Prussia, Berlin and then Britain, arriving in Edinburgh in early 1919. His educational, linguistic and cultural voyage across Europe presents the context in which to analyse his religious ideology and outlook on life in a secular society. Daiches presented both an opportunity and a challenge for the Chief Rabbis under whose authority he served in various congregations across the United Kingdom. Daiches possessed the learning of an Eastern European rabbi and the eloquence of an English clergyman, and used these advantages at once to forge a bridge between residents and immigrants and to challenge the hegemony of the Chief Rabbi which he saw as ineffective outwith London’s United Synagogue. Thus, Daiches emerges as a case study that illustrates well the key issues in the debates about the bundling of religious authority in the Chief Rabbi and his court, the frustrations of immigrant rabbis whose religious training far surpassed that of the English Jewish ministers who excelled in preaching, and knowledge of civil law, but were embarrassed by their lack of halakhic competence.

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