Reproduction of oil painting portrait of Judith Danziger nee Nathan Portraits Women

Digital Image

Reproduction of oil painting portrait of Sara Pesche Polack nee Ruben Hirsch Portraits Women

Digital Image

Reproduction of oil painting portrait of Ernestine Salomonsen nee Philip Portraits Women

Digital Image

Simonis family album Album

Album contains genealogical information

Tolle Jahre Versuch einer Lebensbeschreibung

Description of the author’s family background. His paternal family owned a tobacco and cigarres business in Ulm, which was transferred to Munich in 1888. The maternal family in Frankfurt am Main had a textile export business. Recollections of his schooldays at the Catholic St. Anna Schule. Antisemitic encounters at the local Gymnasium. Description of life in the 19th century. Reverence for the local royalties. The family was involved in the Zionist movement, as were most of the members of their local synagoge.

Aus meinem Leben 1899-1918

The memoir was written between 1899 and 1918. Family history going back to the early 18th century. Recollection of the author's childhood in Hildesheim. Moritz was the youngest child of Joseph and Bena Guedemann. Early death of his father in 1847. Moritz attended the Jewish elementary school prior to the age of five. In 1843 he was enrolled in the episcopal "Josephinum Gymnasium", where he was the only Jewish student in the entire school. He had friendly relationships with students and teachers and was not confronted with antisemitism during his school years. Moritz Guedemann graduated in 1853 and enrolled in the newly established Jewish Theological Seminary in Breslau. Description of teachers and colleagues in the seminary. Doctorate in 1858 and continuation of rabbinic studies. Occasional invitation to preach at the high holidays in Berlin, where Moritz got acquainted with the famous rabbi Dr. Michael Sachs. Position as a rabbi in Magdeburg in 1862. Small publications of studies in Jewish history. Engagement with Fanny Spiegel. In 1863 Moritz and Fanny Guedemann got married. Offer to succeed rabbi Michael Sachs in Berlin. Division and intrigues in the Jewish community and withdrawing from the position. Invitation to give a sermon in Vienna. In 1866 Moritz Guedemann was nominated to succeed rabbi Mannheimer at the Leopoldstadt synagogue in Vienna. Austro-Prussian war and defeat of Austria in Koeniggraetz. Initial difficulties and cultural differences. Criticism toward his orthodox conduct in the Vienna Jewish press ("Neuzeit"). Cultural life in Vienna. Welfare institutions and philanthropists. Difference within the Jewish community. Crash of the stock exchange and rise of antisemitism. Publication of sermons and studies in Jewish history. In 1891 Max Guedemann became chief rabbi of Vienna. Speeches against antisemitism and blood libel trials. He was awarded with the title "Ritter" of the Kaiser Franz Joseph order for these achievements. Death of his wife in

Ashe-Eschwege collection 1941-1942

Letters and postcards from Theresienstadt and Cholm

Jacob Plaut Family Collection Interview Disc circa 1930-1940

Private press aluminum phonographic record sent to Jakob Plaut in Berlin by his sons Günther and Walter in Maine, United States, on his 58th birthday with their birthday wishes and an interview. Each side is only a few minutes long.

Schmidl-Speyer Family Collection 1914-1935, 1988-1993

Autographs: Postcards and picture postcards (all photocopies) written by luminaries such as Richard Beer- Hofmann, Otto Brahm, Josef Floch to Paula Schmidl-Speyer, Anton Hanak, Theodor Herzl, Wilhelm Mueller-Hofmann, Arthur Schnitzler, Julius Wagner-Jauregg, Jakob Wassermann, and David Wolfson.

Der Orden Pour le Mérite für Wissenschaften und Künste von 1842 bis 1983.

A brochure, listing all members of the order, 1842-1983. A typescript adds members until 1985 and lists Jewish members, 1842-1981.

Customer Energy in Relationships

All companies have a portfolio of customer relationships. From a managerial standpoint the value of these customer relationships is a key issue. The aim of the paper is to introduce a conceptual framework for customers’ energy towards a service provider. Customer energy is defined as the cognitive, affective and behavioural effort a customer puts into the purchase of an offering. It is based on two dimensions: life theme involvement and relationship commitment. Data from a survey study of 425 customers of an online gambling site was combined with data about their individual purchases and activity. Analysis showed that involvement and commitment influence both customer behaviour and attitudes. Customer involvement was found to be strongly related to overall spending within a consumption area, whereas relationship commitment is a better predictor of the amount of money spent at a particular company. Dividing the customers into four different involvement / commitment segments revealed differences in churn rates, word-of-mouth, brand attitude, switching propensity and the use of the service for socializing. The framework provides a tool for customer management by revealing differences in fundamental drivers of customer behaviour resulting in completely new customer portfolios. Knowledge of customer energy allows companies to manage their communication and offering development better and provides insight into the risk of losing a customer.

Pietismin kuva - ikkuna yksityiseen hengellisyyteen : Johann Arndtin opetukset pietistisen embleemin perustana

The image of Pietism a window to personal spirituality. The teachings of Johann Arndt as the basis of Pietist emblems The Pietist effect on spiritual images has to be scrutinised as a continuum initiating from the teachings of Johann Arndt who created a protestant iconography that defended the status of pictures and images as the foundation of divine revelation. Pietist artworks reveal Arndtian part of secret, eternal world, and God. Even though modern scholars do not regarded him as a founding father of Pietism anymore, his works have been essential for the development of iconography, and the themes of the Pietist images are linked with his works. For Arndt, the starting point is in the affecting love for Christ who suffered for the humankind. The reading experience is personal and the words point directly at the reader and thus appear as evidence of the guilt of the reader as well as of the love of God. Arndt uses bounteous and descriptive language which has partially affected promoting and picturing of many themes. Like Arndt, Philipp Jakob Spener also emphasised the heart that believes. The Pietist movement was born to oppose detached faith and the lack of the Holy Ghost. Christians touched by the teachings of Arndt and Spener began to create images out of metaphors presented by Arndt. As those people were part of the intelligentsia, it was natural that the fashionable emblematics of the 17th century was moulded for the personal needs. For Arndt, the human heart is manifested as a symbol of soul, personal faith or unbelief as well as an allegory of the burning love for Jesus. Due to this fact, heart emblems were gradually widely used and linked with the love of Christ. In the Nordic countries, the introduction of emblems emanated from the gentry s connections to the Central Europe where emblems were exploited in order to decorate books, artefacts, interiors, and buildings as well as visual/literal trademarks of the intelligentsia. Emblematic paintings in the churches of the castles of Venngarn (1665) and Läckö (1668), owned by Magnus Gabriel De la Gardie, are one of the most central interior paintings preserved in the Nordic countries, and they emphasise personal righteous life. Nonetheless, it was the books by Arndt and the Poet s Society in Nurnberg that bound the Swedish gentry and the scholars of the Pietist movement together. The Finnish gentry had no castles or castle churches so they supported county churches, both in building and in maintenance. As the churches were not private, their iconography could not be private either. Instead, people used Pietist symbols such as Agnus Dei, Cor ardens, an open book, beams, king David, frankincense, wood themes and Virtues. In the Pietist images made for public spaces, the attention is focused on pedagogical, metaphorical, and meaningful presentation as well as concealed statements.