The title of this book ‘When the Cemetery Becomes Political’ implies the question: How can the cemetery – a place for the dead – become a space that develops a political dynamic? Scholars from different countries explored such dynamics further in three conferences – one held in Münster/Germany (2017) and the other two in Nicosia/Cyprus (2018/2019). Ten of the papers presented at these conferences are compiled in this volume. They investigate how religious heritage is dealt with in multi-ethnic/religious countries like Bosnia-Herzegovina, Cyprus and Lebanon; one of the papers focuses on the fate of Thessaloniki’s huge Jewish cemetery destructed during the German occupation of Greece in World War II. Further questions addressed in this book are: Why does one group destroy or desecrate the cemeteries and places of worship of the other group(s) during interreligious or interethnic conflicts? What are the reasons behind such extreme actions, and what is the purpose of such acts of destruction? The book gives insights into the complex and complicated interaction between religion and politics – and thus contributes to the discussion of a hot topic of our times. This book contains papers by Elie Al Hindy, Dima de Clerck, Lisa Dikomitis with Vassos Argyrou, Ziad Fahed, Thorsten Kruse, Leon Saltiel, Petros Savvides, Theopisti Stylianou-Lambert with Alexandra Bounia, Theodosios Tsivolas and Željana Tunić.
German National Cinema is the first comprehensive history of German film from its origins to the present. In this new edition, Sabine Hake discusses film-making in economic, political, social, and cultural terms, and considers the contribution of Germany's most popular films to changing definitions of genre, authorship, and film form. The book traces the central role of cinema in the nation’s turbulent history from the Wilhelmine Empire to the Berlin Republic, with special attention paid to the competing demands of film as art, entertainment, and propaganda. Hake also explores the centrality of genre films and the star system to the development of a filmic imaginary. This fully revised and updated new edition will be required reading for everyone interested in German film and the history of modern Germany.
The improvements in the technology, artistry, and distribution of motion pictures coincided with the traumas of modern Germany. It is hardly to be wondered that filmmakers frequently turned their cameras on Germany's social and political problems that propagandists regularly sought to manipulate them, that entrepreneurs tried to exploit them, and that German thinkers brooded upon the relationship between German society, politics, and the films that represented them all. From these tangled motives a rich discourse on film emerged that paralleled or anticipated discourses in the other film centers of the world. The Cinema's Third Machine reproduces the diversity of perspectives and the intensity of controversies of early German film within the broad context of German social and political history, from the aesthetic rapture of the first years to the institutionalization of film by the national socialist state. Many texts have been rediscovered and are now presented to modern scholars for the first time. Hake treats all aspects of the medium: production, promotion, education, journalism, aesthetics, and political activism, following throughout the various forms criticism assumed.
Marine insurance has been of great importance to the expansion of long distance trade and economic growth in the early modern period, in particular for seafaring nations such as the Dutch Republic. The Amsterdam market became Europe's leading insurance market and within the Republic other insurance systems also emerged. Little is known about the differing institutional frameworks governing these industries and the interaction between the institutions and the actors in the industry. This study examines the development of marine insurance in the Netherlands in Amsterdam, Rotterdam and the province of Groningen from c. 1600 to 1870 from an institutional point of view. It examines how the behavior of authorities, insurers, underwriters and brokers was affected by the formal and informal constraints of the industry and how in turn their conduct has influenced the institutional framework and induced institutional change. Three insurance systems in the Netherlands, each with its own distinctive characteristics and the interaction between institutions and actors is examined. By examining developments over a period of two and half centuries the path of long - term institutional change becomes discernable.
In Topographies of Class, Sabine Hake explores why Weimar Berlin has had such a powerful hold on the urban imagination. Approaching Weimar architectural culture from the perspective of mass discourse and class analysis, Hake examines the way in which architectural projects; debates; and representations in literature, photography, and film played a key role in establishing the terms under which contemporaries made sense of the rise of white-collar society. Focusing on the so-called stabilization period, Topographies of Class maps out complex relationships between modern architecture and mass society, from Martin Wagner's planning initiatives and Erich Mendelsohn's functionalist buildings, to the most famous Berlin texts of the period, Alfred Döblin's city novel Berlin Alexanderplatz (1929) and Walter Ruttmann's city film Berlin, Symphony of the Big City (1927). Hake draws on critical, philosophical, literary, photographic, and filmic texts to reconstruct the urban imagination at a key point in the history of German modernity, making this the first study---in English or German---to take an interdisciplinary approach to the rich architectural culture of Weimar Berlin. Sabine Hake is Professor and Texas Chair of German Literature and Culture at the University of Texas at Austin. She is the author of numerous books, including German National Cinema and Popular Cinema of the Third Reich. Cover art: Construction of the Karstadt Department Store at Hermannplatz, Berlin-Neukölln. Courtesy Bildarchiv Preeussischer Kulturbesitz / Art Resource, NY
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