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Готові списки джерел за темами / GDR-cultural

Добірка наукової літератури з теми "GDR-cultural"

Автор: Grafiati

Опубліковано: 19 червня 2021

Оновлено: 1 лютого 2022

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Статті в журналах з теми "GDR-cultural":

1

Steding, Elizabeth Priester. "Losing Literature: The Reduction of the GDR to History." German Politics and Society 32, no. 4 (December 1, 2014): 39–55. http://dx.doi.org/10.3167/gps.2014.320403.

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Federal and state curricula not only determine much of what is taught in school, they also reveal what is important to political and cultural leaders and ultimately help shape a country's narrative. This article examines how the GDR currently is addressed in history and literature curricula for the Oberstufe. While state history curricula consistently require coverage of the GDR, literature curricula vary widely, with a few states clearly including GDR literature and many states completely omitting it. If GDR literature is ignored in state curricula, it risks being ignored in the classroom, limiting student understanding of the GDR to historical facts and depriving them of an opportunity to better understand both past and current German society.

2

GRÜNING, BARBARA. "SOCIOLOGICAL KNOWLEDGE AND IDEOLOGY IN THE GERMAN DEMOCRATIC REPUBLIC: THE INSTITUTIONALIZATION PROCESSES OF A DISCIPLINE." Society Register 3, no. 1 (August 14, 2019): 39–72. http://dx.doi.org/10.14746/sr.2019.3.1.03.

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This article analyzes the dissemination of sociological knowledge in the social sciences and humanities (SSH) and other fields of cultural production in the German Democratic Republic (GDR), from the early postwar period to German reunification. In this regard, I investigate the relationships between sociology and politics, taking into account the specific contexts of the GDR-State and the institutionalization processes of these disciplines. To prevent a deterministic understanding of political power on academic and scientific systems, I adopt the Bourdieusian concept of field (cf. Bourdieu 1966; 1984; 1985; Bourdieu and Wacquant 1992; Bourdieu and Boltanski 2008). This concept allows me to highlight how the relationship between the academic and political fields changed over time by simultaneously looking at the influences of political, cultural, social and economic transformations of GDR society on the political goals of the GDR-State and the strategies of sociologists within the broader field of production of sociological knowledge.

3

Taubeneck, Steven. "Deconstructing the GDR: Heiner Mueller and Postmodern Cultural Politics." Pacific Coast Philology 26, no. 1/2 (July 1991): 85. http://dx.doi.org/10.2307/1316559.

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4

Flow, B. V. "A Tighter Grip on Cultural Policy in the GDR." Index on Censorship 14, no. 2 (April 1985): 19. http://dx.doi.org/10.1080/03064228508533860.

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5

Kelly, Elaine. "Performing Diplomatic Relations: Music and East German Foreign Policy in the Middle East during the Late 1960s." Journal of the American Musicological Society 72, no. 2 (2019): 493–540. http://dx.doi.org/10.1525/jams.2019.72.2.493.

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Music provided the German Democratic Republic (GDR) with a crucial international platform during the Cold War. Denied diplomatic recognition by most Western nations until the early 1970s, the state depended on artists to negotiate its image abroad and channeled considerable resources to this end. This article explores how the GDR tried to expedite diplomatic relations with Egypt, Syria, and Lebanon in the late 1960s through an intensive program of musical activity, which included attempts to send East German musical “experts” to Cairo and Damascus, and the organization of state-funded tours to the region by high-profile ensembles such as the Dresdner Philharmonie, the Rundfunk-Sinfonieorchester Leipzig, the Gewandhausorchester Leipzig, and the Deutsche Staatsoper. Examining variously the politics of cultural transfer that these activities entailed, the economics involved, and the power dynamics that played out in the relations between the GDR and Egypt, in particular, the article illuminates the way music diplomacy functioned between Cold War periphery states. Notably, cultural exchange between the GDR and the Arab nations was shaped as much by discourses of postcolonialism, anti-imperialism, and anti-Zionism as it was by any binary opposition of Marxist-Leninism and capitalist democracy.

6

Larkey, Edward. "GDR Rock goes West: Finding a Voice in the West German Market." German Politics and Society 23, no. 4 (December 1, 2005): 45–68. http://dx.doi.org/10.3167/gps.2005.230403.

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Culture in the German Democratic Republic (GDR) is often characterized as isolated from that of the West, with artists locked behind the Iron Curtain, having no opportunities to interact directly with global trends. While this may be true to a great extent for the general population, we should not close our eyes to the actual cross-border movements of artists and art forms that did take place in that regime. Many producers of artistic texts interacted with the West—not just well-known writers and theater directors like Christa Wolf or Bruno Besson, but also rock bands. Indeed, a few privileged GDR bands, belonging to the group of Reisekader (travel functionaries) were granted permission to travel to the West. An analysis of their interactions with their domestic audiences and with audiences in the West gives a more nuanced view regarding the nature of cultural globalization that continues into the 21st century, and provides insights into the role of cultural industries in cultural and political change today. The story of these bands contributes to our knowledge on how GDR authorities were unable to perceive and manage cultural creativity in an era of networked, flexible, and relatively autonomous creators.

7

Cook, Roger F. "Recharting the Skies above Berlin: Nostalgia East and West." German Politics and Society 23, no. 1 (March 1, 2005): 39–57. http://dx.doi.org/10.3167/104503005780889165.

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In the now almost fifteen years since the rush to German unity, East Germany's remembering of its lost cultural objects and social practices has already established a rich history of its own. The first product to become a prominent symbol of the German Democratic Republic (GDR) was the Trabant (Trabi). An unattractive, inefficient, obnoxiously loud car manufactured in the GDR, it went overnight from being an object for which many East Germans waited expectantly for several years to be able to purchase to an antiquated, undesired relic. The brunt of some of the first Ossie jokes, it also quickly became a symbol for East German resistance to an arrogant West German dismissal of all that was the GDR.

8

Stjernholm, Emil. "GDR Cinema on Swedish Television." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 41. http://dx.doi.org/10.18146/view.259.

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This article studies the import of East German films by Swedish public service broadcaster Sveriges Radio, and their reception in the Swedish public sphere. While few GDR films reached theatrical distribution, Swedish television imported and broadcasted over 30 productions by the state-owned film studio DEFA during the 1970s and 1980s, making this the primary distribution window for East German film in Sweden. Relying on sources such as Sveriges Radio’s in-house correspondence and screening reports, the weekly Sveriges Radio magazine Voices in Radio/Television (Röster i Radio/TV) and the public service corporation’s annual reports, this study sheds light on the political, economic and ideological considerations involved in the cultural exchange between Sweden and the GDR.

9

LEPENIES, WOLF. "Culture, politics and the European intelligentsia." European Review 9, no. 2 (May 2001): 147–58. http://dx.doi.org/10.1017/s106279870100014x.

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A distinctive German culture no longer exists, it has become merged into Western culture. De-Nazification foundered and the old elites and the émigrés re-emerged and came together. The November revolution in the GDR was not one of either the workers or of a cultural elite but one of the grassroots, the ordinary people; however the GDR lacked any cultural modernity. When a country loses a war, cultural policy has to serve the need for revenge. France and Germany have competed on which was more revolutionary in the past and who had the greater potential for future revolutions. The current dilemma, however, over the enlargement of Europe rests more on harsh economic problems of how to reconcile the desires of the have-nots with the desire of the haves to have more, and who feel threatened by the have-nots.

10

Goodfellow, Samuel Huston, Konrad H. Jarausch, and Eve Duffy. "Dictatorship as Experience: Towards a Socio-Cultural History of the GDR." German Studies Review 24, no. 1 (February 2001): 255. http://dx.doi.org/10.2307/1433231.

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Більше джерел

Дисертації з теми "GDR-cultural":

1

Evans, Andrew. "The last gasp of socialism : economic and cultural modernisation in the GDR 1958-1967." Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555887.

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East Germany's history can be broadly divided into two eras: Firstly, the 1950s Aufbau period, in which the need to build a socialist society for future generations was emphasised. Secondly, the so-called 'real-existing socialism' of the 1970s, in which social stability, a sense of belonging and Honecker's 'unity of economic and social policy' were the watchwords. The reforms of the NES, or New Economic System - introduced in 1963 and abandoned at the end of the decade - marked the transition between these two periods and aimed to ensure the state's economic survival. This thesis will examine both the economic and cultural policy of this period in order to contextualise the NES. The reforms typified the regime's new approach to reconciling its desire to maintain control with the need to modernise the GDR. The period is conceptualised using the idea of the dialectic of flexibility and control. In order to maintain its control, the regime needed to allow flexibility of economic and cultural policies, and to adapt its ideology. The NES era was characterised by what can be described as a tum towards the present: economic policy, ideology and culture Increasingly focused on socialism as an already-existing reality, rather than on the future. On the one hand, the economic reforms represented the climax of a productivist model which threw all the SED's utopian aspirations into a desperate drive for economic growth and which look precedence over the democratic political promise made by socialist ideology. On the other hand, however, the NES could only be introduced on the premise that socialism had already developed into what Ulbricht would later describe as a 'relativ selbstandige Gesellschaftsformation'. This development is illustrated with an examination of journal articles published during the NES era, in which writers sought to articulate the socialist essence of the state.

2

Zell, David. "Major cultural commemorations and the construction of national identity in the GDR, 1959-1983." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8118/.

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My thesis asks whether cultural commemorations helped the GDR to build a distinct national identity, and examines the role of political and cultural actors involved in them. Covering different strands of German cultural heritage, the aims, implementations and outcomes of anniversary commemorations are investigated as a longitudinal series of case-studies: Schiller (1959); Kollwitz (1967); Beethoven (1970); and Luther (1983). Substantial evidence from largely unpublished sources exposes recurring gaps between the theory and practice of these commemorations, essentially attributable to manifest examples of agency by commemoration stakeholders. Each commemoration produced some positive legacies. But driven mainly by demarcation motives versus West Germany, the appropriation of these German cultural icons as socialist role-models to promote national identity was mostly unsuccessful in three commemorations. Kollwitz was the exception as the GDRˈs claimed linkage to her political life was already undisputed in both German states. These research results are both new and important. They address a gap in both memory studies and GDR history scholarship regarding the relationship between commemorations and national identity. Furthermore, the findings of agency offer an original contribution to historiographical debates, by enhancing a ˈconsensusˈ- /ˈparticipatoryˈ dictatorship model of the GDR in preference to a top-down totalitarian system.

3

Micke, Marina Kai-Ina. "'Wechselschritt zwischen Anpassung und aufrechtem Gang' : negotiating the tensions between literary ambition and political constraints at the Institut für Literatur 'Johannes R. Becher' Leipzig (1950-1990)." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/wechselschritt-zwischen-anpassung-und-aufrechtem-gang-negotiating-the-tensions-between-literary-ambition-and-political-constraints-at-the-institut-fur-literatur-johannes-r-becher-leipzig-19501990(c259d032-f129-4373-a6ef-f8acaf48c4c0).html.

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This thesis explores how the Institut für Literatur ‘Johannes R. Becher’, an East German institution for the training of writers, negotiated tensions that arose from the conflicting demands between literary and political values. The Institute had the objective to foster emerging literary talents according to the socialist ideal of a working writer, but often found students and staff drawn towards more autonomous literary values that were incompatible with the views of the East German Socialist Unity Party. As a result, the Institute’s practices fluctuated between toeing the party line and pursuing literary ambitions. An overview of the existing scholarship shows that the Institute and its function have been highly politicised and hardly subjected to analyses that allow for a more nuanced appraisal of its practices. As a result, the study of the Institut has not been able to transcend the binary differentiation between assent and dissent and the Institute is either presented as a liberal haven or an orthodox academy with little artistic value. This thesis addresses this issue by applying Bourdieu’s’ theory of cultural production, more specifically his notion of field, capital and habitus, to the study of the Becher Institute. Three case studies that form the core of this dissertation investigate how cultural capital in its institutionalised, embodied, and objectified form was accumulated, converted and exchanged by the Institute, how it tried to reconcile the tensions between cultural policy and creative aspirations and how these tensions affected the Institute’s common habitus. The first case study will show how the Institute’s founding shaped the institutionalised capital it represented and question the importance that has been attributed to prominent political figures during the founding process. The second case study examines the role of the lecturer and the influence their embodied capital had on the Institute. Two lecturers, working writer Werner Bräunig and poet Georg Maurer, and their representation of the Institute’s multiple habitus will be the focus of the analysis. The third and final case study is dedicated to objectified cultural capital in the form of the Institute’s publications during the 1970s. The Institute’s orthodox publications have so far been overlooked by scholars in favour of its more controversial literary output, which gives a misleading impression of the Institute’s literary output that I aim to amend. By developing a sociological framework for the study of the Institute, this thesis is able to investigate the Institute and its practices as a social and literary space under the watchful eye of the Socialist Unity Party, without denying its pedagogical and cultural dimensions. The findings will reveal a deeply conflicted institution that struggled throughout its existence to resolve the tensions between literary ambitions and political restraints as well as the contradictions within the literary field itself.

4

Rusch, Ana M. "An Alternative Narrative of Integration In Germany through an Ethnographic Exploration of Cuban Immigration." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3918.

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This ethnographic study on Cuban immigrants conducted in Germany explored the dynamics of integration through an understudied immigrant population. Most of the research conducted on integration in Germany has overwhelmingly been on Turkish immigrants, which is Germany’s majority immigrant group. To contribute to Integration Studies, this research focused on a minority and lesser studied immigrant group, Cuban immigrants. Cuban immigrants in Germany not only have a different historical and geopolitical relationship with Germany than its majority group but they also subscribe to different cultural and ethnoreligious categories. Because of these varying circumstances, Cubans act as a counter example to the majority immigrant group, creating an alternative narrative to integration in Germany. This dissertation addressed the methodology used in this study, explored the complexity of identity, examined German immigration and integration policies, reviewed the Cuban diaspora in the United States and globally, and presented an ethnography of Cuban integration in Germany. Effectively contributing to not only Integration Studies but also to Cuban Diaspora Studies, and Identity Studies.

5

Förster, Felicitas. "Die Bluesbewegung in der DDR. Akteur eines Kulturtransferprozesses." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-155283.

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Die Bluesbewegung war eine Jugendbewegung, die sich Ende der 1960er Jahre in der DDR formierte. Sie regte einen Kulturtransfer an, der in den 1970er und 1980er Jahren amerikanischen Blues in die DDR brachte. Die vorliegende Arbeit rekonstruiert diesen Prozess, angefangen bei den Motiven für die Jugendlichen, sich für Blues zu interessieren, über die Vermittlung des Blues durch verschiedene Medien, vor allem durch den Hörfunk, bis zur DDR-spezifischen Aneignung des Blues inner- und außerhalb der Szene
“Bluesbewegung” is the name of a youth movement that arose in the late 1960’s in the GDR. This movement encouraged the cultural transfer which brought American blues music into the GDR. My study wants to reconstruct this process beginning with the motives for being interested in Blues music, continuing with the transfer of Blues music throughout the media (especially in radio broadcasting), and finally, ending with the GDR-specific appropriation of Blues within and outside of the youth scene

6

Banze, Birgitta. "Einen Ausreiseantrag, den es gibt, gibt es nicht auf Schwedisch : Eine vergleichende Studie einer kultursemantisch und -pragmatisch treubleibenden Übersetzung von deutschen Nominalkomposita ins Schwedische." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104527.

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7

Bretschneider, Simon. "Tanz- und Unterhaltungsmusik in Dresden." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/19411.

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Anfang des 20. Jahrhunderts begann sich der Tanzmusik-Markt zu internationalisieren und die europäischen Staaten orientierten sich zunehmend an Trends, die von den USA ausgingen. Die Übernahme afroamerikanischer Charakteristika in die Interpretation, Instrumentation und Kompositionen europäischer Tanz- und Unterhaltungsmusik (TUM) wurde ab den 1930er Jahren, in der Hochzeit swingender Bigbands, zur Regel. Ich möchte in der vorliegenden kulturwissenschaftlichen Arbeit der Frage nachgehen, inwieweit diese Internationalisierung der TUM im Osten Deutschlands nach 1945 weiterhin Bestand hatte. Dort galt ja die USA und der Westen nun als »Klassenfeind«. Gelang es der staatlichen Kulturpolitik, das sozialistische Musik-Feld in ihrem Sinne zu dominieren? Wurde also in der sowjetischen Besatzungszone (SBZ) und frühen DDR eine andere, »nationalere« und sozialistischere Tanzmusik produziert und rezipiert als in Westdeutschland? Mittels einer hermeneutischen Untersuchung relevanter Musikdiskurse und einer möglichst umfassenden Einbeziehung aller im Musik-Feld tätigen Akteure und ihrer Strategien gelang es mir, ein differenziertes Bild zu zeichnen. Ein Ergebnis ist die Diagnose zweier getrennter Welten: einer Kulturpolitik, welche die öffentliche zensierte Meinung in der DDR bestimmte und westlich beeinflusste Tanzmusik ablehnte. Und andererseits das Musikgeschäft in alltäglichen Tanzabenden, Radioprogrammen und Schallplattenproduktionen, welches gezwungen war, sich an internationalen Trends zu orientieren, wollte es nicht Tänzer brüskieren oder Hörer an die »Westsender« verlieren. Diese Kluft zwischen Intention und Wirklichkeit, unter der vor allem die ausübenden Tanzmusiker zu leiden hatten, konnte zumindest bis zum Mauerbau 1961 nicht überwunden werden. Das lag unter anderem auch an der Uneinigkeit unter den staatlichen Musikexperten, wie genau die Kriterien einer vom Westen unabhängigen Tanzmusik auszusehen haben. Die vorliegende Arbeit untersucht eingehend das Tanzmusikgeschäft in Dresden, hat aber den Anspruch, auch für andere Städte der DDR in diesem Zeitraum zu gelten.
In the beginning of the 20th century, the market for dance music began to become more international, and also the european states imported more and more trends like the new jazz idiomes from the USA. In the 1930`s, when swing was to become the first worldwide pop music, lots of dance bands also in germany integrated the new stilistics in their everyday music work. In this cultural study i would like to ask, if this internationalism in dance music was lasting through the years of early cold war until 1961. In the eastern part of germany under soviet government structures, the USA was the military and cultural enemy. Western dance music like swing and R`n`B had to be replaced by somewhat socialist and nationalist dance music, so the governmental culture politics. Became their wishes reality? Does exist such genre in popular music? With the help of hermeneutics, analysis of relevant discourses and the strategies of musicians, politicians and writers, it is possible to state two worlds of music life in the young GDR. On the one hand, the censored public opinion, in which all western trends in dance music were damned. On the other side, the socialist music business with live music, radio broadcasting and music production, in which music influenced from afroamerican, latin american, jazz and country genres represented a big part. Because radio listeners for example could easily switch to western stations and so be distant from political propaganda. Or the dance halls, which had to consider the wishes of the mostly young dancers for new genres like rock`n`roll because of financial issues. The gap between this two worlds couldn`t be closed until 1961, and especially the dance musicians had to be creative in this regard. The situation became more complex because of the cluelessness of the music experts, how a genuine socialist dance music had to sound like. This study explores the dance music business and cultural politics in dresden, but it claims to be representative also for other cities in the young GDR.

8

Westgate, Geoff. "Strategies under surveillance : reading Irmtraud Morgner as a GDR writer." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312861.

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9

Solbrig, Jacob H., and Jacob Hagen Solbrig. "Stasi Brainwashing in the GDR 1957 - 1990." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2431.

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This thesis examines the methods used by the Ministerium für Staatssicherheit (MfS), more commonly known as the Stasi, or East German secret police, for extraction of information from citizens of the German Democratic Republic for the purpose of espionage and covert operations inside East Germany, as it pertains to the deliberate brainwashing of East German citizens. As one of the most efficient intelligence agencies to ever exist, the Stasi’s main purpose was to monitor the population, gather intelligence, and collect or turn informants. They used brainwashing techniques to control the people of the GDR, keeping the populace paralyzed with fear and paranoia. By surrounding themselves with a network of informants they prevented actions against the dictatorial communist regime. Using the video testimonies of former prisoners, and former confidential informants who worked closely with and collaborated with Stasi agents, in combination with periodicals and previous historical studies, this work argues that the East German Police State’s brainwashing techniques had long and lasting consequences both for German citizens, and for the psychiatric health of former GDR citizens. The scope and breadth of the techniques and data compiled for use by the Stasi were exhaustive, and the repercussions of their use are still being felt and discovered twenty five years after the fall of the Berlin Wall. This study aims to show the lasting effects brainwashing had on former informants and the Stasi’s victims.

10

Smith, Briana Jennifer. "Creative alternatives: experimental art and cultural politics in Berlin, 1971-1999." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5854.

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Creative Alternatives examines the intersections between cultural politics, experimental art, and the public sphere in late twentieth century Berlin. The work identifies how artists used interactive visual displays to engage with West Berlin publics, develop democratic subjectivities under state socialism in East Berlin, and reject the city’s neoliberal turn after German unification. The work also traces the role of the arts as an economic motor in late twentieth century Berlin, as city leaders responded to the pressures of globalization and interurban competition. This study of divided and unified Berlin transcends the political ruptures and geographical divisions that structure our understanding of modern Germany and hinder integrated histories of the two German states, even as it addresses issues common to major cities worldwide.

Книги з теми "GDR-cultural":

1

Manuel, Rader. Art and design reflecting aspects of cultural identity: Specifically looking at the GDR. London: LCP, 2000.

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2

Golz, Hans-Georg. Verordnete Völkerfreundschaft: Das Wirken der Freundschaftsgesellschaft DDR-Grossbritannien und der Britain-GDR Society : Möglichkeiten und Grenzen. [Leipzig]: Leipziger Universitätsverlag, 2004.

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3

Richthofen, Esther von. Bringing culture to the masses: Control, compromise and participation in the GDR. New York: Berghahn Books, 2008.

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4

Bathrick, David. The powers of speech: The politics of culture in the GDR. Lincoln: University of Nebraska Press, 1995.

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5

(Editor), Konrad H. Jarausch, and Eve Duffy (Translator), eds. Dictatorship As Experience: Towards a Socio-Cultural History of the Gdr. Berghahn Books, 1999.

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6

(Editor), Konrad H. Jarausch, and Eve Duffy (Translator), eds. Dictatorship As Experience: Towards a Socio-Cultural History of the Gdr. Berghahn Books, 1999.

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7

Dictatorship as experience: Towards a socio-cultural history of the GDR. New York: Berghahn Books, 1999.

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8

Rolle, Sabine, and Matthew Philpotts. Edinburgh German Yearbook 3 : Contested Legacies: Constructions of Cultural Heritage in the GDR. Boydell & Brewer, Incorporated, 2009.

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9

Nehring, Holger. Peace Movements and the Demilitarization of German Political Culture, 1970s–1980s. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037894.003.0004.

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This chapter examines the relationship between peace movement activism and demilitarization in both East and West Germany during the 1970s and 1980s. It focuses on the history of peace activism in the two parts of the divided Germany: the liberal-democratic West German Federal Republic (FRG) and the socialist dictatorship of the German Democratic Republic (GDR). Such an approach reveals not only the common themes they addressed and the transfers of ideas across the Iron Curtain, but also the ways in which governments addressed them as mirror images in the Cold War for ideas. While the peace movements in the West could appear in the contemporary political-cultural mainstream as the results of communist infiltration, the GDR government regarded the independent peace movement in the East as the result of the infiltration of the GDR by dangerous bourgeois-capitalist pacifists.

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(Firm), Panorama DDR, ed. Culture and the arts in the GDR. Dresden: Panorama DDR, 1988.

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Частини книг з теми "GDR-cultural":

1

Hedges, Inez. "Reclaimed Memory: Worker Culture in the Former GDR and Peter Weiss’s The Aesthetics of Resistance." In World Cinema and Cultural Memory, 139–53. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137465122_9.

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"Interweaving GDR Education and Cultural Policy toward a National Literature." In Transformation and Education in the Literature of the GDR, 48–78. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvnwbz9p.8.

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"Interweaving GDR Education and Cultural Policy toward a National Literature." In Transformation and Education in the Literature of the GDR, 48–78. Boydell and Brewer Limited, 2020. http://dx.doi.org/10.1017/9781787445390.003.

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"Biographical Fiction by GDR Women Writers: Reassessing the Cultural Heritage." In Travellers in Time and Space / Reisende durch Zeit und Raum, 155–65. Brill | Rodopi, 2001. http://dx.doi.org/10.1163/9789004333949_010.

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Stangl, Paul. "Conclusion." In Risen from Ruins. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503603202.003.0008.

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Key cultural and political groups displayed a great deal of internal unity in their approach to the urban landscape due to their adherence to the same frameworks of interpretation and political interests. This is not to imply that humans agency was irrelevant. Individuals and groups created and altered these frameworks, and made decisions about how to apply them to the city. The triad of place-based meaning, spatial/formal relations and representation was consistently significant, albeit with vastly different levels of importance attached to each on a case-by-case basis. The differential treatment of memorials, monumental architecture, vernacular buildings, public spaces, and city plans suggests that they differed in how they conveyed cultural meaning. The construction of the Berlin Wall in 1961 made an emphatic statement about the GDR that would always stand as a counterpoint to its other building projects.

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Frühauf, Tina. "The Leipziger Synagogalchor in the Service of State Propaganda." In Transcending Dystopia, 267–80. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532973.003.0018.

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Having received solid funding from the state, the Leipziger Synagogalchor began to adopt a new image to conform to the GDR’s cultural policies. By the early 1980s, its representation of Jewishness became ever more opaque. The choir maintained loose connections to the Jewish communities, while also entering deeper into the political web of the Democratic Republic through the state’s award system and through negotiations allowing travel to represent antifascist values. The choir found itself in additional contexts, in which aspects of Jewish culture intersected in other ways with GDR politics. At the same time interfaith efforts increased throughout East Germany, providing another performance context for the choir. Discussions about the Leipziger Synagogalchor are juxtaposed with the declining musical life of the Jewish communities.

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Bortfeldt, Heinrich. "In the Shadow of the Federal Republic: Cultural Relations Between the GDR and the United States." In The United States and Germany in the Era of the Cold War, 1945–1990, 305–11. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9781139052443.037.

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Frühauf, Tina. "Dystopia under Communism." In Transcending Dystopia, 201–10. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532973.003.0014.

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After the initial promising years, Jewish life in the newly founded Democratic Republic took an unforeseen turn that would largely bring its course to a halt. Police raids and persecutions took place between November 1952 and March 1953, and discriminatory and repressive policies were directed toward Jews, who were then labeled by the Ministry for State Security as capitalists and criminals. Subsequently a wave of migration set in, severely affecting the Jewish community. Musical practices hinged on the only cantor resident in the GDR, Werner Sander from Breslau. Sander’s contacts and collaborations with the communities (especially Dresden, Erfurt, Karl-Marx-Stadt, and Leipzig), not merely disseminated his life’s work, but led to their interaction and exchange, and ultimately to their cultural survival. As the communities did not have the resources to fully establish their own cultural programs, they often relied on Sander and his choruses as well as his connections to the secular music world for concerts and other events.

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Frühauf, Tina. "Werner Sander and the Formation of the Leipziger Synagogalchor." In Transcending Dystopia, 211–36. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532973.003.0015.

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Werner Sander’s establishment of the Leipziger Synagogalchor as a concert choir with Jewish repertoire was relatively independent from any institutions. From his founding of the choir in 1962 to his death in 1972, Sander developed with the choir a repertoire of nearly eighty works of synagogue music and forty titles of Yiddish and Hasidic music, as well as Hebrew folklore. Under his baton, the choir performed three to four times a year, and from 1968 on assumed a steady role in the musical life of the GDR, both inside and outside the Jewish community. In spite of pressure, Sander preserved the secularity and independence of the ensemble by never overtly defining it or creating specific or lasting alliances, in a spatial mobility that navigated between different venues—synagogue, church, concert hall, and radio station. In this way, he ensured Jewish music’s cultural survival under unique and changing conditions, preserving this musical heritage for the Jewish community and transmitting it to the wider public.

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"Profession and Ideology: Cultural Institutions and the Formation of Literary Circles in the Soviet Occupied Territory and the Early GDR." In Precarious Alliances, 241–56. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839423189-013.

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Тези доповідей конференцій з теми "GDR-cultural":

1

Tischer, Matthias. "Musikgeschichte der DDR: Ein Pilotprojekt zur digitalen Musikvermittlung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.106.

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Thirty years after the so-called ‚Wende‘, a fundamental and comprehensive study of the musical history of the GDR - encompassing both the music itself and the political and cultural contexts (i.e. the musical relations) - still represents a desideratum. The same is true for a long-term comparative music history of the divided Germany, for which the our project develops some essential prerequisites. The research project presented here is an informed cultural-historical analysis of the musical discourse of the GDR under the auspices of the Cold War. It is not about a revised version of national history only, because despite a relatively strong national and regional self-centredness of the musical life of the GDR, it can hardly be understood without the political and cultural references to the Soviet Union, the Federal Republic of Germany and the neighbouring European states.