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Die in vielen Museen der DDR präsentierte „Geschichte der Urgesellschaft" war ein fester Bestandteil des nationalen Geschichtsbilds des „Arbeiter- und Bauernstaats" und unterstützte die historische Legitimierung der SED-Diktatur. Allerdings besaß die sozialistische Urgeschichtserzählung mit dem in der NS-Zeit propagierten Bild der „Germanischen Vorzeit" ein ideologisch hoch belastetes Erbe. Die Museen standen angesichts des politisch verordneten Antifaschismus vor der Aufgabe, in ihren Ausstellungen den narrativen Turn vom „germanischen" zum marxistischen Urgeschichtsbild zu meistern. Entlang eines umfangreichen Korpus an Ausstellungsfotos analysiert die Studie die museale Darstellung der Urgeschichte in der SBZ und DDR sowie die Diskurse, die zum Wandel oder zur Beständigkeit von Geschichtsbildern führten. In the German Democratic Republic (GDR), prehistory was part of the national narrative that served to legitimize the dictatorial regime of the Socialist Unity Party of Germany (SED). However, the socialist conception of prehistory came up against a heavily loaded ideological legacy in the wake of the notions of ‘German prehistory’ that had been espoused during the National Socialist period. Museums were tasked with mastering the politically prescribed narrative shift from an ethnic-nationalist conception of prehistory to a Marxist one. Using an extensive body of exhibition photos, this doctoral project analyses the depiction of prehistory in museums of the Soviet Occupation Zone and the GDR as well as discourses that led to the alteration or persistence of related concepts.

ART / History / Modern (late 19th Century to 1945). --- Public History, history of museums, German Democratic Republic.

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Gegenwärtig brechen in verschiedenen Gesellschaften Ikonoklasmen mit neuer Gewalt auf. Angriffe gegen Objekte visueller materieller Kultur und Geschichtszeugnisse bieten Zündstoff für gesellschaftliche Auseinandersetzungen. Sie sind Ausdruck politischer, religiöser, nationaler und identitätsbedingter Konflikte. Selbst die Freiheit der Kunst ist durch Zensur und Cancel Culture bedroht. In Fallstudien aus verschiedenen Regionen der Welt werden zeitgenössische Ikonoklasmen in Kunst, Medien und im Umgang mit dem Kulturerbe in globaler und interdisziplinärer Perspektive einer kritischen Analyse unterzogen. Die Publikation befasst sich mit Angriffen auf Denk- und Mahnmäler, Auseinandersetzungen in der Kunstproduktion und im Museumsbetrieb sowie mit Formen eines medialisierten Ikonoklasmus in der zeitgenössischen Kunst. In many contemporary societies we encounter iconoclasm breaking out with renewed violence. Iconoclastic actions against objects of visual material culture and testimonials of history act as dynamite in the public sphere. They are expressions of political, religious, national, and identity conflicts. Even the freedom of art is threatened by censorship and cancel culture. Based on case studies from different world regions, contemporary iconoclasms in art, media, and cultural heritage are critically analyzed from both a global and an interdisciplinary perspective. Divided into three sections, the book discusses attacks on monuments and memorials, idol disputes in museums and the visual arts, and forms of mediated iconoclasm in contemporary art.

ART / History / Modern (late 19th Century to 1945). --- 20th century. --- 21st century. --- Cultural Heritage. --- Iconoclasm. --- Visual Studies. --- art. --- destruction. --- idols.

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The radical changes wrought by the rise of the salon system in nineteenth-century Europe provoked an interesting response from painters in the American South. Painterly trends emanating from Barbizon and Giverny emphasized the subtle textures of nature through warm color and broken brush stroke. Artists' subject matter tended to represent a prosperous middle class at play, with the subtle suggestion that painting was indeed art for art's sake and not an evocation of the heroic manner. Many painters in the South took up the stylistics of Tonalism, Impressionism, and naturalism to create works of a very evocative nature, works which celebrated the Southern scene as an exotic other, a locale offering refuge from an increasingly mechanized urban environment. Scenic Impressions offers an insight into a particular period of American art history as borne out in seminal paintings from the holdings of the Johnson Collection of Spartanburg, South Carolina. By consolidating academic information on a disparate group of objects under a common theme and important global artistic umbrella, Scenic Impressions will underscore the Johnsons' commitment to illuminating the rich cultural history of the American South and advancing scholarship in the field, specifically examining some forty paintings created between 1880 and 1940, including landscapes and genre scenes. A foreword, written by Kevin Sharp, director of the Dixon Gallery and Gardens in Memphis, Tennessee, introduces the topic. Two lead essays, written by noted art historians Estill Curtis Pennington and Martha R. Severens, discuss the history and import of the Impressionist movement-abroad and domestically-and specifically address the school's influence on art created in and about the American South. The featured works of art are presented in full color plates and delineated in complementary entries written by Pennington and Severens. Also included are detailed artist biographies illustrated by photographs of the artists, extensive documentation, and indices. Featured artists include Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, G. Ruger Donoho, Harvey Joiner, John Ross Key, Blondelle Malone, Lawrence Mazzanovich, Paul Plaschke, Hattie Saussy, Alice Ravenel, Huger Smith, Anthony Thieme, and Helen Turner.

ART / History / Modern (late 19th Century to 1945). --- Genre painting, American --- Landscape painting, American --- Impressionism (Art) --- American genre painting --- American landscape painting --- Aesthetics --- Art, Modern --- Modernism (Art) --- Painting --- Post-impressionism (Art) --- Johnson Collection (Spartanburg, S.C.)

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In Devastation and Laughter, Annie Gerin explores the use of satire in the visual arts, the circus, theatre, and cinema under Lenin and Stalin. Gerin traces the rise and decline of the genre and argues that the use of satire in official Soviet art and propaganda was neither marginal nor un-theorized. The author sheds light on the theoretical texts written in the 1920s and 1930s by Anatoly Lunacharsky, the Soviet Commissar of Enlightenment, and the impact his writings had on satirists. While the Avant-Garde and Socialist Realism were necessarily forward-looking and utopian, satire afforded artists the means to examine critically past and present subjects, themes, and practice. Devastation and Laughter is the first work to bring Soviet theoretical writings on the use of satire to the attention of scholars outside of Russia. By introducing important bodies of work that have largely been overlooked in the fields of art history, film and theatre history, Annie Gerin provides a nuanced and alternative reading of early Soviet art.

Art and state --- Arts, Soviet. --- Laughter --- Satire in art. --- Satire, Soviet. --- Anatoly Lunacharsky. --- Satire. --- Soviet. --- art. --- cinema. --- circus. --- theatre. --- ART / History / Modern (late 19th Century to 1945). --- Soviet satire --- Soviet wit and humor --- Laughing --- Emotions --- Nonverbal communication --- Wit and humor --- Arts of the Soviet Union --- Soviet arts --- Art --- Arts --- Politics and art --- State and art --- Art and society --- Cultural policy --- Education and state --- Government policy --- Soviet Union --- Intellectual life --- Art and state. --- Intellectual life. --- Laughter. --- 1917-1970. --- Soviet Union. --- 1917-1970

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What is the gender of political power? Since the beginning of political thought, rule has been a male prerogative in European imagination. This is of course not to say that there never were women sovereigns. In-depth studies of women sovereigns have grown considerably in number in the past three decades and have added substantially to our understanding of the complexities of their rule of power.0Yet what is often obscured by such in-depth analyses is the fact that all women rulers throughout the entirety of European cultural history have had to operate in a context that could not think of power as female - except in grotesque terms. This continuity, as this book demonstrates, can only be brought out by studying women?s political rule comparatively and in the longue duree.0This collection of essays brings together studies of female sovereignty from the Polish-Lithuanian to the British Commonwealth, and from the Middle Ages to the dawn of modern democracy. It demonstrates how the strategies and imagination women rulers adopted against the backdrop of an all-pervasive scepticism toward female rule are comparable across regions and periods. To illustrate its point, this book not only addresses historical figures and queens, but also takes stock of the rich yet unsettling imagination of female rule in philosophy, literature and art history.

Sociology of the family. Sociology of sexuality --- History of civilization --- Europe --- Women heads of state --- Academic collection --- 316 --- 396 --- Heads of state --- 396 Feminisme. Vrouwenbeweging. Vrouw en maatschappij --- Feminisme. Vrouwenbeweging. Vrouw en maatschappij --- 396 Feminism. Women's movement. Woman and society --- Feminism. Women's movement. Woman and society --- 316 Sociologie --(algemeen)--EU --- Sociologie --(algemeen)--EU --- Art / History / Modern (Late 19th Century to 1945) --- Art / European --- Social Science / Gender Studies --- Arts --- Arts, Fine --- Arts, Occidental --- Arts, Primitive --- Arts, Western --- Fine arts --- Humanities --- gender --- political history --- cultural history --- literature --- art history