L'art de propagande en Espagne, de la Seconde République au premier franquisme : affiches et portraits officiels

This thesis questions the major esthetic differences between the artistic productions of the Second Spanish Republic (1931-1939) and the nationalist artistic productions of the Civil War years and the first decade of the francoist dictatorship. These differences are analysed using the artistic productions of Josep Renau (1907 Valence – 1982 Berlin East) and of Ignacio Zuloaga (Elibar 1870 – Madrid 1945). Renau was an important artistic figure during the Spanich Republic. In this thesis, we analyse Renau’s different propaganda productions between 1931 and 1939. Zuloaga was an international artist when the nationalist uprising occurred in 1936. He was recognized by the European elites for his portraits of Andalousian and Castillian sceneries. Zuloaga supported the nationalist putsch and the francoist ideology. In 1939, the Caudillo ordered the painting of the portrait that we will be analysing. The theories of François Hartog, Reinhart Koselleck, Paul Ricoeur and Hannah Arendt are used to analyse the historical conceptual confrontation in Spain, portrayed by the artworks that we studied. During the Republic, it was the modern historical regime that was in force. The historical references used are close in time and the history is constructed in the future and attached to the idea of progress. With the nationalists, the historical conception is connected to the Historia magistra where the past is used as an example. In the first francoism, a return to Spain’s glorious past (the Middle Ages, the Golden Century and the Counter Reform) is clearly claimed in order to rescue the country from the ills of modernity. It is with these different historical conceptions in mind that we compare the esthetics specificities of the artworks, the identity and historical references and the mediums used to legitimize the power and the political actions of each front.

Studien zur Geschichte des deutschen Filmplakats von den Anfängen bis 1945

Plakate begleiten den Film auch in Deutschland schon seit seinen Anfängen 1895/96. Filmplakate sollen Filminhalte in einem grafischen Kürzel zusammenfassen. Aufraggeber ist zumeist der Filmverleih bzw. die Filmgesellschaft, seltener einzelne Kinos. Filmplakate sind im wesentlichen bildlich-figürlich bestimmt, viele illustrieren auf naive Art eine Szene des Films, verbunden mit der Darstellung der Schauspieler. Die Grafiker können sich oft lediglich anhand von Inhaltsangaben und Fotos einen Eindruck von der zu bewerbenden Sache verschaffen. Zunächst werben sie für Programme, weniger für einzelne Filme. Das ändert sich mit der zunehmenden Länge der Produktionen. Neben zahlreichen anonymen Zeichnern werden schon bald auch namhafte Plakatkünstler mit Filmplakaten beschäftigt, wie Klinger, Deutsch, Kainer, Hohlwein, Erdt, die jeweils verschiedene Plakatauffassungen vertreten. Plakate für Asta Nielsen oder Henny Porten dokumentieren frühe Stardarstellungen, diejenigen für frühe Detektivfilme stehen für ein Genre. Mit dem Namen Fenneker steht das expressionistische Filmplakat um 1920 in Verbindung. Grafiker wie Matejko; Leonard, oder Kupfer-Sachs arbeiten eher naturalistisch. Konstruktivistische Plakate entwirf Tschichold. 1927 für den Münchener „Phoebus-Palast“. Zwischen 1930 und 1945 ist der Plakatstil des Ufa-Werbedienstes maßgebend. Abweichend davon kann Pewas Fotomontageplakate gestalten.. Sehr früh beginnt die Zensur sich der Filmplakate anzunehmen. Zunächst in unterschiedlichen Rechtstiteln enthalten, wird die Plakatzensur 1920 im „Reichslichtspielgesetz“ verankert.

Catharine Waugh McCullouch papers in the Mary Earhart Dillon collection, 1869-1945

Collection primarily documents McCulloch's research on women's legal status, and her work with the Illinois Equal Suffrage Association, the National American Woman Suffrage Association, and the League of Women Voters. There is also documentation of women in the legal profession, of McCulloch's friendships with the other women suffragists and lawyers, and some biographical material. The papers contain little information about her family or social life.

The reminiscences of Carl Schurz : illustrated with portraits and original drawings /

"A sketch of Carl Schurz's political career, 1869-1906, by Frederic Bancroft and William Dunning": v. 3, p. [311]-455.

Twenty-four portraits

"This edition is limited to 2000 copies, of which 1200 are for sale in Great Britain and 800 in the U. S. A.

Denkwürdigkeiten des Generals und Admirals Albrecht v. Stosch ... Briefe und Tagebuchblätter

Mode of access: Internet.

Lanzen, stangen und fahnen als hilfsmittel der komposition in den graphischen frühwerken des Albrecht Dürer ...

Published with plates as hft.68 of Studien zur deutschen kunstgeschichte.

Educação do corpo e vida ao ar livre : natureza e educação fisica em São Paulo (1930-1945)

Universidade Estadual de Campinas . Faculdade de Educação Física

The Australian species of Lobatocreadium Madhavi, 1972, Hypocreadium Ozaki, 1936 and Dermadena Manter, 1945 (Digenea: Lepocreadiidae), parasites of marine tetraodontiform fishes

The genera Lobatocreadium, Pseudocreadium, Hypocreadium and Dermadena are redefined and host lists given. Provisional keys to species of Lobatocreadium, Hypocreadium and Dermadena are presented. The following species are described from (1) the Great Barrier Reef: Lobatocreadium exiguum from Balistapus undulatus and Sufflamen bursa; Hypocreadium cavum n. sp. from Abalistes stellatus (type-host) and Cantheschenia grandisquamis; H. grandisquamis n. sp. from Cantheschenia grandisquamis; Dermadena spatiosa n. sp, from Cantheschenia grandisquamis; and (2) southwestern Australia: D. stirlingi n. sp. from Meeschenia hippocrepis. The following new combinations are made: Lobatocreadium vitellosum (Ozaki, 1936) n. comb. (originally Leptocreadium); Hypocrendium balistes (Nagaty, 1942) n. comb. (originally Pseudocreadium); H. biminensis (Sogandares-Bernal, 1959) n. comb. (originally Pseudocreadium); H. indicum (Madhavi, 1972) n. comb. (originally Pseudocreadium); and H. galapagoensis (Manter, 1945) n. comb. (originally Pseudocreadium). Several nominal species of Pseudocreadium and Hypocreadium are considered incertae sedis.