Goethe’s tree (notice n° 219379)
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fixed length control field | 01428cam a2200157 4500500 |
005 - DATE AND TIME OF LATEST TRANSACTION | |
control field | 20250112055617.0 |
041 ## - LANGUAGE CODE | |
Language code of text/sound track or separate title | fre |
042 ## - AUTHENTICATION CODE | |
Authentication code | dc |
100 10 - MAIN ENTRY--PERSONAL NAME | |
Personal name | Huguet, Jean-Marc |
Relator term | author |
245 00 - TITLE STATEMENT | |
Title | Goethe’s tree |
260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
Date of publication, distribution, etc. | 2002.<br/> |
500 ## - GENERAL NOTE | |
General note | 35 |
520 ## - SUMMARY, ETC. | |
Summary, etc. | Buchenwald is eight kilometers from Weimar. Weimar-the-Beautiful, cradle of German culture, symbolizes German unity, according to Goethe. Weimar-the-Black, Hitler parading at the Elephant Hotel, when he took Thuringia. In the Buchenwald camp, Faust can cry “Even Hell has its own laws.” Boris Taslitzky paints Halbwachs in the Revier de Buchenwald, Zoran Music draws Dachau. Another war at another time, in 1912, at the Neulengbach prison, Egon Schiele “lives a life of profound misery.” Five years later, in the Weimar Republic, the Bauhaus School inaugurated total architectural creativity. Wassily Kandinsky and Paul Klee invented modern art. The Bauhaus was closed in 1933. Art was to be devoted to the glorification of the Volksgemeinschaft, the Nazi national community. The imbrication of good and evil, by the proximity of these places, renders what art can suggest of the unspeakable when the artist rubs shoulders with horror. |
786 0# - DATA SOURCE ENTRY | |
Note | Revue internationale de Psychosociologie | VIII | 18 | 2002-03-01 | p. 127-137 | 1260-1705 |
856 41 - ELECTRONIC LOCATION AND ACCESS | |
Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-revue-internationale-de-psychosociologie-2002-18-page-127?lang=en">https://shs.cairn.info/journal-revue-internationale-de-psychosociologie-2002-18-page-127?lang=en</a> |
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