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In *Shooting Range. Fotografie in de vuurlinie?* staat 'het beeld' van de Eerste Wereldoorlog in fotografie en film centraal. Wat is de belangrijkste rol van de moderne visuele media in WO I? Hoe worden voor het eerst op massale schaal foto's en films ingezet voor propagandadoeleinden? Hoe worden de veldslag en de dood (on)zichtbaar gemaakt? En wat bleef buiten beeld? In vijf hoofdstukken ontvouwt zich het verhaal van de fotografie in WO I. Een spannend en allerminst eenduidig verhaal over contradicties tussen macht en onmacht, tussen het zichtbare en verborgene, tussen publieke beeldvorming en authentiek historisch document. In een poging de publieke fotografische ruimte van WO I te reconstrueren, kijken we vanuit het standpunt van het publiek naar de originele verschijnings- en presentatievormen van fotografie en naar de historische context waarin het beeld werd gebruikt en hergebruikt, als venster op de realiteit, maar ook als wapen voor of tegen de oorlog.
History of Europe --- Photography --- anno 1910-1919 --- Exhibitions --- World War, 1914-1918 --- Photography. --- Fotografie --- Geschiedenis van Europa --- world wars
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Sex role --- Women --- World War, 1939-1945 --- World War, 1939-1945 --- History --- Social conditions --- Social aspects --- Women --- History - 20th Century - World Wars - Men and Women.
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War and society --- Social movements --- Social history --- History, Modern --- Guerre et société --- Mouvements sociaux --- Histoire sociale --- Histoire --- History --- War and society. --- World politics. --- Peace. --- Eerste Wereldoorlog. --- Interbellum. --- Tweede Wereldoorlog. --- Aspect social. --- Paix. --- Politique mondiale. --- Guerre. --- Société --- Political History --- 20th Century --- World Wars --- 1900-1949. --- Société. --- World Wars. --- Guerre et société
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This is the first full-length critical study of Paradd's End , the epic novel of the First World War, originally published in 4 volumes between 1924 and 1928, by the author and critic Ford Madox Ford. These 10 newly commissioned essays by critics focus on the psychological effects of the war, both upon Ford himself and upon his novel: its characters, its themes, and its form. The chapters explore: Ford's pioneering analysis of war trauma, trauma theory, shell shock, memory and repression, insomnia, empathy, therapy, literary Impressionism, and literary style. Other writers discussed alongside Ford include Conrad, Siegfried Sassoon, May Sinclair, Rebecca West, and Virginia Woolf as well as theorists William James, Freud, W. H. R. Rivers, Deleuze and Guattari, and Michel Foucault.
World War, 1914-1918 --- Combat Disorders --- Stress Disorders, Post-Traumatic --- Psychiatry in Literature --- World War I --- 1st World War --- First World War --- Great War --- 1914-1918 World War --- 1st World Wars --- First World Wars --- Great Wars --- War, 1st World --- War, First World --- War, Great --- Wars, 1914-1918 World --- Wars, 1st World --- Wars, First World --- Wars, Great --- World War, 1914 1918 --- World War, 1st --- World War, First --- World Wars, 1914-1918 --- World Wars, 1st --- World Wars, First --- Literature, Psychiatry in --- Psychological aspects --- Literature and the war --- psychology --- Ford, Ford Madox, --- Ford, Ford Madox --- Hueffer, Ford Madox, --- Hueffer, H. Ford, --- Huffer, Ford, --- Chaucer, Daniel, --- Hueffer, Ford Hermann, --- Hueffer, Ford M. --- Hueffer, Ford H. --- Haig, Fenil, --- Psychological aspects. --- Literature and the war.
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Shell-Shock and Medical Culture in First World War Britain is a thought-provoking reassessment of medical responses to war-related psychological breakdown in the early twentieth century. Dr Loughran places shell-shock within the historical context of British psychological medicine to examine the intellectual resources doctors drew on as they struggled to make sense of nervous collapse. She reveals how medical approaches to shell-shock were formulated within an evolutionary framework which viewed mental breakdown as regression to a level characteristic of earlier stages of individual or racial development, but also ultimately resulted in greater understanding and acceptance of psychoanalytic approaches to human mind and behaviour. Through its demonstration of the crucial importance of concepts of mind-body relations, gender, willpower and instinct to the diagnosis of shell-shock, this book locates the disorder within a series of debates on human identity dating back to the Darwinian revolution and extending far beyond the medical sphere.
War neuroses --- Soldiers --- Veterans --- Military psychiatry --- Social medicine --- World War, 1914-1918 --- Combat Disorders --- Psychiatry --- War Exposure --- Military Personnel --- World War I. --- 1st World War --- First World War --- Great War --- 1914-1918 World War --- 1st World Wars --- First World Wars --- Great Wars --- War, 1st World --- War, First World --- War, Great --- Wars, 1914-1918 World --- Wars, 1st World --- Wars, First World --- Wars, Great --- World War, 1914 1918 --- World War, 1st --- World War, First --- World Wars, 1914-1918 --- World Wars, 1st --- World Wars, First --- European War, 1914-1918 --- First World War, 1914-1918 --- Great War, 1914-1918 --- World War 1, 1914-1918 --- World War I, 1914-1918 --- World War One, 1914-1918 --- WW I (World War, 1914-1918) --- WWI (World War, 1914-1918) --- History, Modern --- Medical care --- Medical sociology --- Medicine --- Medicine, Social --- Public health --- Public welfare --- Sociology --- Medical ethics --- Medical sociologists --- Psychiatry, Military --- Medicine, Military --- Shell shock --- Traumatic neuroses --- Combat veterans --- Ex-military personnel --- Ex-service men --- Military veterans --- Returning veterans --- Vets (Veterans) --- War veterans --- Armed Forces --- Retired military personnel --- Armed Forces personnel --- Members of the Armed Forces --- Military personnel --- Military service members --- Service members --- Servicemen, Military --- History --- Mental health --- Treatment --- Health aspects --- history. --- adverse effects. --- psychology. --- Social aspects --- United Kingdom. --- Great Britain --- Isle of Man --- World War I --- history --- adverse effects --- psychology
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Art --- art [fine art] --- world wars --- Kot'átková, Eva --- anno 1910-1919 --- Ypres --- Wereldoorlog I --- 20ste eeuw --- 21ste eeuw --- Menen --- Wervik --- Zonnebeke --- Ieper --- History of Belgium and Luxembourg --- Contemporary [style of art] --- Menin --- Wereldoorlog I. --- 20ste eeuw. --- 21ste eeuw. --- Menen. --- Wervik. --- Zonnebeke. --- Ieper. --- art [discipline]
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The Historical Uncanny explores how certain memories become inscribed into the heritage of a country or region while others are suppressed or forgotten. In response to the erasure of historical memories that discomfit a public's self-understanding, this book proposes the historical uncanny as that which resists reification precisely because it cannot be assimilated to dominant discourses of commemoration. Focusing on the problems of representation and reception, the book explores memorials for two marginalized aspects of Holocaust: the Nazi euthanasia program directed against the mentally ill and disabled and the Fascist persecution of Slovenes, Croats, and Jews in and around Trieste. Reading these memorials together with literary and artistic texts, Knittel redefines "sites of memory" as assemblages of cultural artifacts and discourses that accumulate over time; they emerge as a physical and a cultural space that is continually redefined, rewritten, and re-presented. In bringing perspectives from disability studies and postcolonialism to the question of memory, Knittel unsettles our understanding of the Holocaust and its place in the culture of contemporary Europe.--Provided by publisher.
People with disabilities --- Killing of the mentally ill --- Euthanasia --- Collective memory --- Holocaust memorials --- Holocaust, Jewish (1939-1945) --- World War, 1939-1945 --- Disabled Persons --- Holocaust --- Jews --- World War II. --- #SBIB:39A9 --- #SBIB:39A6 --- 2nd World War --- Second World War --- 1939-1945 World War --- 2nd World Wars --- Second World Wars --- War II, World --- War, 1939-1945 World --- War, 2nd World --- War, Second World --- Wars, 2nd World --- Wars, Second World --- World War, 1939 1945 --- World War, 2nd --- World War, Second --- World Wars, 2nd --- World Wars, Second --- Memorials --- Collective remembrance --- Common memory --- Cultural memory --- Emblematic memory --- Historical memory --- National memory --- Public memory --- Social memory --- Memory --- Social psychology --- Group identity --- National characteristics --- Assisted death (Euthanasia) --- Assisted dying (Euthanasia) --- Death, Assisted (Euthanasia) --- Death, Mercy --- Dying, Assisted (Euthanasia) --- Killing, Mercy --- Mercy death --- Mercy killing --- Homicide --- Medical ethics --- Assisted suicide --- Right to die --- Insane, Killing of the --- Mentally ill --- Murder --- Nazi persecution of people with disabilities --- Persecution --- Nazi persecution. --- History --- Government policy --- Political aspects. --- Political aspects --- Historiography. --- Atrocities. --- history. --- Medische antropologie / gezondheid / handicaps --- Etniciteit / Migratiebeleid en -problemen --- Atrocities --- Slovenes --- Croats --- Germany. --- Italy. --- Slovenia. --- Sardinia --- Crimes against --- Euthanasia. --- World War II --- Nazi persecution --- Historiography --- history
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Sous l'Occupation allemande, le marché de l'art a été florissant. Les marchandises affluent, certaines issues des spoliations des familles juives. Une semaine après l'entrée des troupes allemandes dans Paris commence la saisie des oeuvres d'art leur appartenant. Le gouvernement de Vichy oblige les galeristes juifs à céder leurs tableaux aux administrateurs provisoires, tandis que les autorités occupantes en confisquent une partie. Dès lors, l'hôtel des ventes de Drouot, qui a interdit "de manière absolue" son entrée aux Juifs, ne désemplit pas. Les ventes des objets d'art atteignent des prix records. Après une longue enquête en Europe et aux Etats-Unis, et grâce à des archives jusque-là inexploitées, Emmanuelle Polack dresse un tableau précis du marché de l'art sous l'Occupation. Sous sa plume se déploie une galerie impressionnante de protagonistes - marchands, commissaires-priseurs, antiquaires, experts, courtiers, acheteurs, conservateurs. Pour comprendre le rôle de chacun, on entre dans le lieu de leurs activités - appartements, galeries, salles de ventes aux enchères, palaces, banques. Une faune d'intermédiaires peu scrupuleux profite sans retenue de la confiscation des oeuvres d'art. On découvre le destin tragique de galeristes juifs victimes de l'"aryanisation" du monde de l'art. Après la guerre, peu de sanctions seront prises. Aujourd'hui, de nombreuses oeuvres n'ont toujours pas été restituées à leurs propriétaires. Elles sont les témoins silencieux de l'Histoire. Un livre essentiel sur une page sombre de l'hisoire française. -- Quatrième de couverture
World War, 1939-1945 --- Art thefts --- Art and the war. --- History --- Confiscations and contributions --- France --- Art --- art market --- confiscating --- world wars --- anno 1940-1949 --- Europe --- Guerre mondiale (1939-1945) --- Trésors artistiques durant la guerre --- Commerce --- Vol (droit) --- Confiscations. --- Art treasures in war --- Marketing --- Joden --- Wereldoorlog II --- kunsthandel --- roofkunst --- Joden, Joods leven --- kunsthandel. --- roofkunst. --- Joden, Joods leven. --- Wereldoorlog II. --- Trésors artistiques durant la guerre
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Archivistics --- cultureel erfgoed --- History as a science --- History of Belgium and Luxembourg --- anno 1940-1949 --- War damage compensation --- World War, 1939-1945 --- Dommages de guerre --- 2ème guerre mondiale --- History --- Sources --- Reparations --- Indemnités --- Histoire --- Réparations --- 930.25 <493> --- Archiefwetenschap. Archivistiek--België --- 930.25 <493> Archiefwetenschap. Archivistiek--België --- 2ème guerre mondiale --- Indemnités --- Réparations --- architecture [discipline] --- world wars --- 935.4 --- Oorlogsschade; België; Wereldoorlog II --- Oorlogsschade--België--Wereldoorlog II --- Environmental planning --- wederopbouw
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Tijdens WO II vond er een immense kunstdrainage naar nazi-Duitsland plaats. Voor het eerst wordt dat verhaal voor België verteld. Hoe konden schilderijen van Memling, Brueghel en Jordaens zomaar verdwijnen? De nazi's haalden woningen leeg, roofden en spendeerden miljoenen Reichsmark om kunst te kopen. Na 8 jaar onderzoek legt Geert Sels de puzzelstukken bij elkaar die hij aantrof in archieven in Parijs, Den Haag, Koblenz en overal in België. Verzamelaars, handelaars en veilinghuizengingen zonder veel reserves mee in de kunstverwerving van de nazi's. Dit boek brengt de trafieken in kaart waarlangs de kunst het land verliet. Schilderijen uit België vonden hun weg naar het Louvre, Tate Modern, het Getty Museum of de Yale Art Gallery. Zelfs Rusland blijkt nog altijd kunst te hebben die na de oorlog naar België had moeten terugkeren. Andere werken kwamen wel terug en hangen nu in Belgische musea, zonder dat de rechtmatige eigenaars werden opgespoord.
BPB9999 --- Criminology. Victimology --- Art --- History of Germany and Austria --- History of Belgium and Luxembourg --- world wars --- looting --- restitution --- anno 1940-1949 --- 935 --- nazisme --- Tweede Wereldoorlog --- kunsthandel --- nieuwste tijden 1789-1945 --- Art thefts --- World War, 1939-1945 --- National socialism and art. --- kunstroof --- oorlogsbuit --- repatriëring van kunst --- looting [social issue] --- roofkunst. --- Wereldoorlog II. --- nazisme. --- geschiedenis. --- kunsthandel. --- verzamelingen. --- 20ste eeuw. --- België. --- roofkunst --- Wereldoorlog II --- geschiedenis --- verzamelingen --- 20ste eeuw --- België --- trophies of war [objects] --- looted art
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