No ha sido frecuente, sin embargo, estudiar a un «otro» que nada tuviera que ver con el tradicional «nosotros». Sin llegar a consideraciones apocalípticas, mirar al pasado con un ojo puesto en el ...presente, como nos invita este libro, no deja de ser un saludable objetivo en el que la racionalidad, tan cuestionada, se convierta en guía para la reflexión, es decir, para la crítica, es decir, para el pensamiento. En definitiva, la figura del mártir sería una construcción cultural articulada en torno a cuatro perfiles: organicismo -subordinación del individuo al todo social-, binarismo -dicotomías absolutas, en torno al eje bien-mal-, imperfección -constatar la distancia entre la corrupción del presente y la perfección futura- y ductilidad -aunque imperfecto, el ser humano se puede moldear y reconducir, tanto individualmente como en la colectividad- (pp. 31-40). Pero incluso más allá de estos dos argumentos, resultan de especial interés sus reflexiones sobre el totalitarismo, al que define, weberianamente, como «un tipo ideal para referirse a aquella forma de dominación que lamina el pluralismo
The Portuguese-style artistic sidewalk, in the continuity of a tradition that dates back to the mid-19th century, would be one of the scenic elements integrated in the great event of the 1940s, which ...was the Exhibition of the Portuguese World. The best pavers are called for this event, not only to elaborate the designs that Cottinelli Telmo would project for part of the pavements of this exhibition, as well as to demonstrate, within the spirit of a popular culture that took root, the distinction of paving mastery within a working class that left a mark with a certain stamp, also artistic to the taste of the regime. In this way, the Estado Novo was valuing the legacy of a past, where generations bent on placing stones on the ground, either on the roads or on sidewalks, which in this way showed again, in order to leave a "mark" of identity and political legitimation according to the iconography of the Estado Novo. Although anonymous, these artisans would come to leave a personal stamp of a popular nature among the stones. They are marks of a certain intrinsic eruditism of an art of manipulating the stone that has been perfected. In this work, we try to identify some of the signs of strategy and valorization of popular art used by the Estado Novo and which would mark and drive the development of the paving process on the Portuguese artistic sidewalk, which would have its heyday at the Portuguese World. We also seek in this research study, to raise this theme to understand a subject that has been somewhat neglected, both in its dimension as popular culture, as an adjunct to the artistic element, the pavement in artistic sidewalk in the urban environment and also as an element of an art that expresses itself in public. In turn, we focus here on this exhibition promoted by the Estado Novo, because it is here that we find material that has not been deepened and to understand how the State itself ends up taking over a popular culture to pass its propaganda on a scale and dimension never before seen. A calcada artistica a portuguesa, na continuidade de uma tradicao que vinha ja dos meados do seculo XIX, seria um dos elementos cenicos integrados no grande evento da decada de 1940, que foi a Exposicao do Mundo Portugues. Os melhores calceteiros sao chamados para este evento, nao so para elaborar os desenhos que Cottinelli Telmo projetaria para parte dos pavimentos desta exposicao, bem como para demostrar, dentro do espirito de uma cultura popular que se enraizava, a distincao da mestria do calcetamento dentro de uma classe operaria que deixava uma marca com um certo cunho, tambem artistico ao gosto do regime. Estava desta forma o Estado Novo a valorizar o legado de um passado, onde geracoes se debrucaram a colocar pedras no chao, quer das estradas ou dos passeios, que deste modo, voltava a dar mostras, de forma a de deixar uma "marca" de identidade e legitimacao politica ao gosto da iconografia do Estado Novo. Embora anonimos, estes artesaos viriam a deixaria um cunho pessoal de de cariz popular no meio das pedras. Sao marcas de um certo eruditismo intrinseco de uma arte de manipular a pedra que se foi aperfeicoando. Neste trabalho, procuramos assim, identificar alguns dos sinais de estrategia e valorizacao de uma arte popular aproveitada pelo Estado Novo e que viria a marcar e impulsionar o desenvolvimento do processo de pavimentacao na calcada artistica a portuguesa, no qual teria o seu apogeu na Exposicao do Mundo Portugues. Procuramos ainda neste estudo de investigacao, elevar este tema para a compreensao de uma materia que tem sido de alguma forma menosprezada, quer na sua dimensao enquanto cultura popular, como coadjuvante de elemento artistico, a pavimentacao em calcada artistica no meio urbano e tambem como elemento de uma arte que se expressa em publico. Por sua vez, centramo-nos aqui nesta exposicao promovida pelo Estado Novo, pois e aqui que encontramos materia que nao foi aprofundada e de perceber como o proprio Estado acaba por se apoderar de uma cultura popular para passar a sua propaganda numa escala e dimensao nunca antes vista.
Following the formation of the German National Socialist Party in the 1920s, various forms of sound (popular music, voice, noise and silence) and media technology (radio and loudspeaker systems) were ...configured as useful to the party's political programme. Focusing on the urban "soundscape" of Düsseldorf, the author makes a persuasive case for investigating such sound events and technological devices in their specific contexts of production and reception. Nazi Soundscapes identifies strategies for controlling space and reworking identity patterns, but also the ongoing difficulties in manipulating mediated sounds and the spaces of listening reception, whether in the home, workplace, the cinema, public rituals or with wartime siren systems. The study revises visualist notions of social control, and reveals the disciplinary functions of listening (as eavesdropping) as well as the sonic dimensions to exclusion and violence during Nazism. An essential title for everyone interested in the links between German political culture, audiovisual media and urban history, Nazi Soundscapes provides a fascinating analysis of the cultural significance of sound between the 1920s and early 1940s. Click "http://soundclips.humanities.uva.nl/">here for the sound clips discussed in the book. This title is available in the OAPEN Library - http://www.oapen.org.
Jeffrey Herf, a leading scholar in the field, offers the most extensive examination to date of Nazi propaganda activities targeting Arabs and Muslims in the Middle East during World War II and the ...Holocaust. He draws extensively on previously unused and little-known archival resources, including the shocking transcriptions of the "Axis Broadcasts in Arabic" radio programs, which convey a strongly anti-Semitic message.
Herf explores the intellectual, political, and cultural context in which German and European radical anti-Semitism was found to resonate with similar views rooted in a selective appropriation of the traditions of Islam. Pro-Nazi Arab exiles in wartime Berlin, including Haj el-Husseini and Rashid el-Kilani, collaborated with the Nazis in constructing their Middle East propaganda campaign. By integrating the political and military history of the war in the Middle East with the intellectual and cultural dimensions of the propagandistic diffusion of Nazi ideology, Herf offers the most thorough examination to date of this important chapter in the history of World War II. Importantly, he also shows how the anti-Semitism promoted by the Nazi propaganda effort contributed to the anti-Semitism exhibited by adherents of radical forms of Islam in the Middle East today.
To this end, the play is analysed from a dual perspective, assessing both the playwright's intent and the audience's acceptance. The study considers a number of factors: the writer's ideological ...standpoint and his environment, the close ties between the play and the political context as well as its relationship to the doctrinal texts published in the journal Acción Española. Durante la Dictadura de Primo de Rivera, en la que pronto se implicó políticamente, se destacó también como ideólogo y plasmó en El hecho y la idea de la Unión Patriótica (1929), considerado el ideario del partido primorriverista, un alineamiento con el tradicionalismo español aderezado con algunos conceptos de la nueva derecha europea que en España no habían calado todavía con fuerza.3 La proclamación de la República aceleró y profundizó el proceso de alejamiento del liberalismo en la mayor parte de los monárquicos que no tardaron en pasar a la acción. La primera fue la creación de Renovación Española, partido nacido a principios de 1933 con el objetivo de articular un programa genuinamente monárquico que diferenciara a la derecha alfonsina de la táctica accidentalista de la CEDA.6 Ante la escasa proyección de esa primera iniciativa, en la primavera de 1934 nacía el Bloque Nacional con la intención de convertirse en una plataforma de unión de organizaciones derechistas alrededor de la figura de Calvo Sotelo.7 Acción Española cultivó también la vía conspirativa y contribuyó a difundir la idea de que subvertir el orden republicano era justo desde los puntos de vista político y religioso.8 En la práctica, muchos de los integrantes del grupo estuvieron relacionados, de un modo u otro, con todos los intentos de sublevación contrarrepublicana que se produjeron en el período.9 Pemán no colaboró con la misma intensidad en todos los frentes de lucha abiertos por Acción Española.
Los ecos de una vida ocupan normalmente la parte final, conclusiva y, a veces, fuera ya de la lógica argumental de una biografía. Y si hay algo a nivel popular que está vivo entre nosotros es el ...Temple, y lo está gracias a un proceso judicial que acabó con la orden de llevar a la hoguera a Jacques de Molay, "l'une des rares figures du Moyen Âge -dice el autor- dont beaucoup de gens connaissent le nom" La segunda razón es puramente metodológica. Si Jacques de Molay y la orden del Temple son tan populares, y lo son con independencia del papel histórico que realmente desempeñaron, es preciso conocer la causa de esa popularidad, y esto es algo que, al margen de la reconstrucción de sus realidades, se ha generado modernamente. Comenzar por su análisis permite detectar todo un cúmulo de datos y precepciones legendarias, cuando no míticas, que debidamente detectadas, nos facilita acercarnos después al tiempo de Jacques de Molay y a su trayectoria personal, y hacerlo liberados de una extraordinaria cantidad de prejuicios que sin duda pueden contaminar la labor del historiador. Pienso que el documentadísimo análisis de este argumento aporta claves hasta ahora desconocidas, y ayudan a explicar cómo el posterior desarrollo pictórico y teatral de "lo templario", desde 1800, da lugar a la creación de la moderna orden del Temple por parte de FabréPalabrat. Desde luego, me parece especialmente pertinente la relación que el propio autor establece entre la labor del egiptólogo Jan Assmann al intentar explicar la "reinvención" moderna del Egipto faraónico, con el problema del Temple y la masonería.
El presente texto contempla la muralla como elemento material de una inmaterialidad, a saber, la condición de ciudadano, la separación espacial y mental del ámbito de la cultura, el saber y la ...civilización (ciudad amurallada interior y su entorno más inmediato usado para actividades industriales, localizar cementerios, etc.,), del espacio salvaje y natural (territorio lejos de la ciudad, controlado por esta o no, que sirve sobre todo de aprovisionamiento de recursos naturales y control del territorio). Gran parte del buen hacer y resultados incluidos en esta publicación parte de la inclusión de la Arqueología como disciplina básica para comprender los usos y delimitaciones del espacio, tramos viarios, técnicas constructivas, restos materiales de las actividades sociales, culturales y económicas, etc. Para empezar, el texto de la directora del libro, María Mercedes Delgado Pérez, arabista de la Universidad de Sevilla especializada en la historia política y cultural de al-Ándalus e Islam; un relato que ya de por sí pudiera servir de reseña de la obra en que se inscribe, pero que vertebra una introducción escueta y comentada de la misma y sus aportaciones, justificando así la realidad y valía de este libro coral. Es el caso del capítulo que nos ocupa, donde la autora analiza la historiografía, el corpus documental escrito y los escenarios y paisajes que la violencia generó, ilustrando a la perfección el fenómeno urbano configurado por la guerra.
Inhumanities is an unprecedented account of the ways Nazi Germany manipulated and mobilized European literature, philosophy, painting, sculpture and music in support of its ideological ends. David B. ...Dennis shows how, based on belief that the Third Reich represented the culmination of Western civilization, culture became a key propaganda tool in the regime's program of national renewal and its campaign against political, national and racial enemies. Focusing on the daily output of the Völkischer Beobachter, the party's official organ and the most widely circulating German newspaper of the day, he reveals how activists twisted history, biography and aesthetics to fit Nazism's authoritarian, militaristic and anti-Semitic world views. Ranging from National Socialist coverage of Germans such as Luther, Dürer, Goethe, Beethoven, Wagner and Nietzsche to 'great men of the Nordic West' such as Socrates, Leonardo and Michelangelo, Dennis reveals the true extent of the regime's ambitious attempt to reshape the 'German mind'.
In the tumultuous first decade of the Cuban Revolution, Fidel Castro and other leaders saturated the media with altruistic images of themselves in a campaign to win the hearts of Cuba's six million ...citizens. InVisions of Power in Cuba, Lillian Guerra argues that these visual representations explained rapidly occurring events and encouraged radical change and mutual self-sacrifice.Mass rallies and labor mobilizations of unprecedented scale produced tangible evidence of what Fidel Castro called "unanimous support" for a revolution whose "moral power" defied U.S. control. Yet participation in state-orchestrated spectacles quickly became a requirement for political inclusion in a new Cuba that policed most forms of dissent. Devoted revolutionaries who resisted disastrous economic policies, exposed post-1959 racism, and challenged gender norms set by Cuba's one-party state increasingly found themselves marginalized, silenced, or jailed. Using previously unexplored sources, Guerra focuses on the lived experiences of citizens, including peasants, intellectuals, former prostitutes, black activists, and filmmakers, as they struggled to author their own scripts of revolution by resisting repression, defying state-imposed boundaries, and working for anti-imperial redemption in a truly free Cuba.
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