The beginning of the occupation of the Czech Lands was closely linked to a variety of political, economic, and social problems. It was necessary to gain control over all respective administrative structures in order to ensure the smooth function of the state. In the first phases of the occupation, the temporary military administration was established and the basis for the future development of occupational structures was thus laid. An autonomous administration continued to work alongside the two-levelled German administration. Although the German administration was to take care of German citizens' affairs and to watch over the Protectorate authorities, the autonomous one soon began to succumb under the German influence. After some time, it became obvious that the German administration was overgrown and inefficient; that a reform had to be made. A man behind the reform was Reinhard Heydrich, sent to the Protectorate with a special mission to restore order. The number of occupational authorities was supposed to be diminished together with the number of staff, the redundant employees to be commanded to the frontline. This situation was made easier by the fact that the autonomous bodies had already been infiltrated by German officials; therefore there were not many difficulties while taking over them....

Die vorliegende Arbeit soll zur Forschung zur Einwirkung deutscher Baukultur duntersucht den Beitrag der deutschen Einwanderung der Architetkturgeschichte Porto Alegres beitragen indem sie die Eigentümlichkeit, die das Stadtbild durch das Miteinander luso-brasilianischer und deutscher Kultur erhalten hat. Sie stellt Wohnungsbauten von vier Archietkten deutschen Ursprung vors, die Anfang des 20ten Jahrhunderts nach Rio Grande do Sul gekommen waren. Hermann Menchen, Julius Rieth, Franz Filsinger und Gerhard Krause waren vier von circa einhundert deutschen Architekten und Bauunternehmern die zur Zeit der Velha Rebublica in Rio Grande do Sul wirkten. Da alle vier in Deutschland studierten und arbeiten bevor sie nach Brasilien kamen, ist ihr brasilianisches Werk von Einflüssen deutscher Architektur geprägt, deren Vorstellung Ziel dieser Arbeit ist . Basierend auf allgemeinen Informationen über die damals aktuellen Ströhmungen in Deutschland, über die Lehranstalten und die Städte die sie kannten – im Falle von Rieth auch über in Deutschland gebaute Werke – versucht die vorliegende Arbeit einen neuen Blick auf das rio-grandensische Werk dieser Deutschen zu lenken, die auf bemerkenswerte Weise zur allmählichen Aufgabe der historistischen Architektur und zur Suche nach formal und räumlich neuen Lösungsansätzen beigetragen haben. / O presente trabalho retoma o tema da contribuição da imigração alemã à arquitetura no Rio Grande do Sul, tema já estudado nas últimas décadas, sobretudo por Günter Weimer, buscando agora avançar na análise de elementos e características arquitetônicas que foram trazidas da Alemanha e influenciaram a produção local. Para isto, a pesquisa examina em particular os casos de quatro arquitetos imigrantes alemães, seus contextos de origem e formação na Alemanha e sua produção arquitetônica habitacional aqui no estado nas primeiras décadas do século XX. Hermann Menchen, Julius Rieth, Franz Filsinger e Gerhard Krause foram quatro de aproximadamente uma centena de arquitetos e construtores alemães, ou germânicos, que atuaram no estado durante a Republica Velha. Como todos eles estudaram e trabalharam na Alemanha antes de sua vinda para o Brasil, sua obra aqui é marcada pela influência alemã, objeto desta pesquisa. Com o estudo, portanto, de seus contextos de origem, sobre os movimentos de cultura na Alemanha da época, sobre as instituições de ensino, as cidades que conheciam e a produção arquitetônica que lhes pode ter servido de referência – no caso de Rieth, também através da apresentação de obras construídas na Alemanha –, o presente trabalho pretende estimular um novo olhar sobre a obra rio-grandense destes alemães, com análises de projetos de casas e prédios habitacionais, que contribuíram para o paulatino abandono da arquitetura eclética, rumo a novas soluções formais e espaciais. / The present work reexamines the contribution of German immigration to the architecture of Rio Grande do Sul, a subject which has already been studied in the past few decades chiefly by Günter Weimer, now aiming at expanding the analyses of the architectural elements and characteristics which were brought from Germany and influenced the local production. This research thus examines in particular the cases of four German architects who came to Brazil in the early 20th century, their contexts of origin and architectural training in Germany, and their projects of houses in Rio Grande do Sul during the first decades of the that century. Hermann Menchen, Julius Rieth, Franz Filsinger and Gerhard Krause were four of about a hundred architects and builders of German origin that worked at the time of the República Velha (1889-1930) in Rio Grande do Sul, southernmost state of Brazil. Since all four of them had studied and worked in Germany before coming to Brazil, their Brazilian work is marked by German influences, the object of this study. Thus, with the study of their contexts of origin, about the German cultural movements of the time, about architectural institutions and training, the towns they knew and the architectural production which may have influenced their own – and, in the case of Rieth, looking also at the works he built in Germany –, this paper tries, analysing projects of houses, to shed a new light on the Brazilian work of these Germans, who contributed to the progressive abandonment of the architecture of Eclecticism, thus searching for a new formal and spatial approach to architecture.

Die vorliegende Arbeit soll zur Forschung zur Einwirkung deutscher Baukultur duntersucht den Beitrag der deutschen Einwanderung der Architetkturgeschichte Porto Alegres beitragen indem sie die Eigentümlichkeit, die das Stadtbild durch das Miteinander luso-brasilianischer und deutscher Kultur erhalten hat. Sie stellt Wohnungsbauten von vier Archietkten deutschen Ursprung vors, die Anfang des 20ten Jahrhunderts nach Rio Grande do Sul gekommen waren. Hermann Menchen, Julius Rieth, Franz Filsinger und Gerhard Krause waren vier von circa einhundert deutschen Architekten und Bauunternehmern die zur Zeit der Velha Rebublica in Rio Grande do Sul wirkten. Da alle vier in Deutschland studierten und arbeiten bevor sie nach Brasilien kamen, ist ihr brasilianisches Werk von Einflüssen deutscher Architektur geprägt, deren Vorstellung Ziel dieser Arbeit ist . Basierend auf allgemeinen Informationen über die damals aktuellen Ströhmungen in Deutschland, über die Lehranstalten und die Städte die sie kannten – im Falle von Rieth auch über in Deutschland gebaute Werke – versucht die vorliegende Arbeit einen neuen Blick auf das rio-grandensische Werk dieser Deutschen zu lenken, die auf bemerkenswerte Weise zur allmählichen Aufgabe der historistischen Architektur und zur Suche nach formal und räumlich neuen Lösungsansätzen beigetragen haben. / O presente trabalho retoma o tema da contribuição da imigração alemã à arquitetura no Rio Grande do Sul, tema já estudado nas últimas décadas, sobretudo por Günter Weimer, buscando agora avançar na análise de elementos e características arquitetônicas que foram trazidas da Alemanha e influenciaram a produção local. Para isto, a pesquisa examina em particular os casos de quatro arquitetos imigrantes alemães, seus contextos de origem e formação na Alemanha e sua produção arquitetônica habitacional aqui no estado nas primeiras décadas do século XX. Hermann Menchen, Julius Rieth, Franz Filsinger e Gerhard Krause foram quatro de aproximadamente uma centena de arquitetos e construtores alemães, ou germânicos, que atuaram no estado durante a Republica Velha. Como todos eles estudaram e trabalharam na Alemanha antes de sua vinda para o Brasil, sua obra aqui é marcada pela influência alemã, objeto desta pesquisa. Com o estudo, portanto, de seus contextos de origem, sobre os movimentos de cultura na Alemanha da época, sobre as instituições de ensino, as cidades que conheciam e a produção arquitetônica que lhes pode ter servido de referência – no caso de Rieth, também através da apresentação de obras construídas na Alemanha –, o presente trabalho pretende estimular um novo olhar sobre a obra rio-grandense destes alemães, com análises de projetos de casas e prédios habitacionais, que contribuíram para o paulatino abandono da arquitetura eclética, rumo a novas soluções formais e espaciais. / The present work reexamines the contribution of German immigration to the architecture of Rio Grande do Sul, a subject which has already been studied in the past few decades chiefly by Günter Weimer, now aiming at expanding the analyses of the architectural elements and characteristics which were brought from Germany and influenced the local production. This research thus examines in particular the cases of four German architects who came to Brazil in the early 20th century, their contexts of origin and architectural training in Germany, and their projects of houses in Rio Grande do Sul during the first decades of the that century. Hermann Menchen, Julius Rieth, Franz Filsinger and Gerhard Krause were four of about a hundred architects and builders of German origin that worked at the time of the República Velha (1889-1930) in Rio Grande do Sul, southernmost state of Brazil. Since all four of them had studied and worked in Germany before coming to Brazil, their Brazilian work is marked by German influences, the object of this study. Thus, with the study of their contexts of origin, about the German cultural movements of the time, about architectural institutions and training, the towns they knew and the architectural production which may have influenced their own – and, in the case of Rieth, looking also at the works he built in Germany –, this paper tries, analysing projects of houses, to shed a new light on the Brazilian work of these Germans, who contributed to the progressive abandonment of the architecture of Eclecticism, thus searching for a new formal and spatial approach to architecture.

Die vorliegende Arbeit soll zur Forschung zur Einwirkung deutscher Baukultur duntersucht den Beitrag der deutschen Einwanderung der Architetkturgeschichte Porto Alegres beitragen indem sie die Eigentümlichkeit, die das Stadtbild durch das Miteinander luso-brasilianischer und deutscher Kultur erhalten hat. Sie stellt Wohnungsbauten von vier Archietkten deutschen Ursprung vors, die Anfang des 20ten Jahrhunderts nach Rio Grande do Sul gekommen waren. Hermann Menchen, Julius Rieth, Franz Filsinger und Gerhard Krause waren vier von circa einhundert deutschen Architekten und Bauunternehmern die zur Zeit der Velha Rebublica in Rio Grande do Sul wirkten. Da alle vier in Deutschland studierten und arbeiten bevor sie nach Brasilien kamen, ist ihr brasilianisches Werk von Einflüssen deutscher Architektur geprägt, deren Vorstellung Ziel dieser Arbeit ist . Basierend auf allgemeinen Informationen über die damals aktuellen Ströhmungen in Deutschland, über die Lehranstalten und die Städte die sie kannten – im Falle von Rieth auch über in Deutschland gebaute Werke – versucht die vorliegende Arbeit einen neuen Blick auf das rio-grandensische Werk dieser Deutschen zu lenken, die auf bemerkenswerte Weise zur allmählichen Aufgabe der historistischen Architektur und zur Suche nach formal und räumlich neuen Lösungsansätzen beigetragen haben. / O presente trabalho retoma o tema da contribuição da imigração alemã à arquitetura no Rio Grande do Sul, tema já estudado nas últimas décadas, sobretudo por Günter Weimer, buscando agora avançar na análise de elementos e características arquitetônicas que foram trazidas da Alemanha e influenciaram a produção local. Para isto, a pesquisa examina em particular os casos de quatro arquitetos imigrantes alemães, seus contextos de origem e formação na Alemanha e sua produção arquitetônica habitacional aqui no estado nas primeiras décadas do século XX. Hermann Menchen, Julius Rieth, Franz Filsinger e Gerhard Krause foram quatro de aproximadamente uma centena de arquitetos e construtores alemães, ou germânicos, que atuaram no estado durante a Republica Velha. Como todos eles estudaram e trabalharam na Alemanha antes de sua vinda para o Brasil, sua obra aqui é marcada pela influência alemã, objeto desta pesquisa. Com o estudo, portanto, de seus contextos de origem, sobre os movimentos de cultura na Alemanha da época, sobre as instituições de ensino, as cidades que conheciam e a produção arquitetônica que lhes pode ter servido de referência – no caso de Rieth, também através da apresentação de obras construídas na Alemanha –, o presente trabalho pretende estimular um novo olhar sobre a obra rio-grandense destes alemães, com análises de projetos de casas e prédios habitacionais, que contribuíram para o paulatino abandono da arquitetura eclética, rumo a novas soluções formais e espaciais. / The present work reexamines the contribution of German immigration to the architecture of Rio Grande do Sul, a subject which has already been studied in the past few decades chiefly by Günter Weimer, now aiming at expanding the analyses of the architectural elements and characteristics which were brought from Germany and influenced the local production. This research thus examines in particular the cases of four German architects who came to Brazil in the early 20th century, their contexts of origin and architectural training in Germany, and their projects of houses in Rio Grande do Sul during the first decades of the that century. Hermann Menchen, Julius Rieth, Franz Filsinger and Gerhard Krause were four of about a hundred architects and builders of German origin that worked at the time of the República Velha (1889-1930) in Rio Grande do Sul, southernmost state of Brazil. Since all four of them had studied and worked in Germany before coming to Brazil, their Brazilian work is marked by German influences, the object of this study. Thus, with the study of their contexts of origin, about the German cultural movements of the time, about architectural institutions and training, the towns they knew and the architectural production which may have influenced their own – and, in the case of Rieth, looking also at the works he built in Germany –, this paper tries, analysing projects of houses, to shed a new light on the Brazilian work of these Germans, who contributed to the progressive abandonment of the architecture of Eclecticism, thus searching for a new formal and spatial approach to architecture.

This research of distance learning in singing study provides some historical framework of long-distance singing study, including research on three former distance singing courses, which exemplify the "best practices" of their time: Siegel-Myers Correspondence School of Music, the Perfect Voice Institute, and the Hermann Klein Phono-Vocal Method: Based Upon the Famous School of Manuel Garcia. I also discuss current trends in long-distance singing study, including interviews and insights from current long-distance singing teachers using cutting edge technology in their virtual studios. Lastly, I make predictions and projections, based on analyses of past "best practices," where this information may have impact upon future methods of distance singing lessons, including conceivable distance singing course components of online degree programs offered at universities.

Ausgehend von einem ‚Close Reading’ der ersten Durchführung aus dem langsamen Satz von Johann Nepomuk Davids dritter Symphonie diskutiert der Beitrag Kontrapunktlehrwerke der 1930- und frühen 1940er-Jahre, um von dort her das Spielfeld von ‚Linearität' abzustecken, eines Begriffs, der aus der Theorie der Bildenden Kunst Mitte der 1910er-Jahre in musikgeschichtliche Diskurse wanderte, um sich um 1940 mit kämpferischem Ton zu rüsten.

Frederick C. Beiser: Hermann Cohen - An Intellectual Biography, Oxford: Oxford University Press 2018, 387 S., ISBN: 978–0–19–882816–7, £60.00. Besprochen von George Y. Kohler.

Disability Mainstreaming zielt (analog zu Gender Mainstreaming) darauf, Anliegen und Bedürfnisse der Personengruppe 'Menschen mit Behinderung' nicht allein in den für diese Gruppe offensichtlich wichtigen Bereichen anzusprechen, sondern sie in allen gesellschaftspolitischen Handlungsebenen mitzudenken und dementsprechende Forderungen umzusetzen. Dabei wird ‚Behinderung‘ vorrangig als soziale Konstruktion interpretiert, die mit der Erfahrung von Diskriminierung und Exklusion einhergeht.

The first International Congress of Mathematicians (ICM) was held in Zurich in 1897, setting the standards for all future ICMs. Whilst giving an overview of the congress itself, this thesis focuses on the Swiss organisers, who were predominantly university professors and secondary school teachers. As this thesis aims to offer some insight into their lives, it includes their biographies, highlighting their individual contributions to the congress. Furthermore, it explains why Zurich was chosen as the first host city and how the committee proceeded with the congress organisation. Two of the main organisers were the Swiss geometers Carl Friedrich Geiser (1843-1934) and Ferdinand Rudio (1856-1929). In addition to the congress, they also made valuable contributions to mathematical education, and in Rudio's case, the history of mathematics. Therefore, this thesis focuses primarily on these two mathematicians. As for Geiser, the relationship to his great-uncle Jakob Steiner is explained in more detail. Furthermore, his contributions to the administration of the Swiss Federal Institute of Technology are summarised. Due to the overarching theme of mathematical education and collaborations in this thesis, Geiser's schoolbook "Einleitung in die synthetische Geometrie" is considered in more detail and Geiser's methods are highlighted. A selection of Rudio's contributions to the history of mathematics is studied as well. His book "Archimedes, Huygens, Lambert, Legendre" is analysed and compared to E W Hobson's treatise "Squaring the Circle". Furthermore, Rudio's papers relating to the commentary of Simplicius on quadratures by Antiphon and Hippocrates are considered, focusing on Rudio's translation of the commentary and on "Die Möndchen des Hippokrates". The thesis concludes with an analysis of Rudio's popular lectures "Leonhard Euler" and "Über den Antheil der mathematischen Wissenschaften an der Kultur der Renaissance", which are prime examples of his approach to the history of mathematics.

Thema dieser Dissertation ist die Frage, wie sich Licht und Sehen im Zuge der Elektrifizierung veränderten, und zwar aus Sicht literarischer Erzähltexte, die zwischen 1900 und 1933 publiziert wurden. Ausgangslage der Untersuchung ist erstens die These, dass durch den Einsatz des elektrischen Lichts eine Reihe neuer Wahrnehmungsdispositive entstanden, wo trotz der Lichtstärke elektrischer Leuchtmittel zwielichtige Licht- und prekäre Sichtverhältnisse herrschten. An drei besonders markanten Zwielichtszenarien der ästhetisch-technischen Moderne – Großstadt, Kino und Schützengraben – werden anhand einer breiten Quellenbasis aus Literatur, Technik, Wissenschaft, Philosophie und Ästhetik aufgezeigt, wie die Ausdifferenzierung der lichttechnischen Infrastruktur neue Blickregime und ästhetische Weltanschauungen produzierte, die ihrerseits veränderte Techniken des Sehens evozierten. Eine weitere zentrale These lautet, dass sich angesichts der prekären Licht- und Sichtverhältnisse auch die kulturelle Semantik des Lichts veränderte: die Art und Weise, wie Licht, und damit ebenso die Vorstellungen von Wahrnehmung, Wahrheit und Wirklichkeit, vor- und dargestellt wurden. Die neuen Lichtphänomene erforderten neben aisthetischen (die sinnliche Wahrnehmung betreffende) Anpassungsleistungen auch ästhetische Bewältigungsstrategien: neue Darstellungsweisen und symbolisch-metaphorische Zuschreibungen, die das zeitgenössische Wissen über Licht und Sehen gehörig in Bewegung brachte. Es entstanden virulente neue Korrelationen ‚moderner Wahrnehmung‘ zwischen technisch erzeugtem Zwielicht, epistemischer Irritation und narrativ erzeugter Visualität. Ich hoffe, mit meiner Arbeit neue Perspektiven auf die nach wie vor relevante Frage ‚moderner Wahrnehmung‘ zu werfen, die sich seit der ‚elektrischen Moderne‘ sukzessive als immer ausgeklügelteres Zusammenspiel von (Licht-)technik, aisthesis und Ästhetik neuformiert. / This dissertation focuses on how light(ing) and seeing/ perception changed in the course of electrification, from the perspective of German literature, published between 1900 and 1933. My first claim is, that the use of electric light created a series of new perceptual dispositifs, where dubious light and precarious visual conditions prevailed despite the luminous intensity of electric lighting. Three particularly striking twilight scenarios, that play a significant role in technology and aesthetics in the early 20th century, – namely the City, the Cinema, and the Trenches of WWI – are gripping settings to demonstrate, how disruptive lighting infrastructure produced new scopic regimes and innovative aesthetic perspectives (Weltanschauungen) that changed the techniques of visual perception. Drawing from a broad base of sources from literature, technology, science, philosophy, and aesthetics, I argue that the disruptive lighting technologies did not only change light phenomena, visual conditions and perception, but also transformed the cultural semantics of light substantially. Closely tied to concepts of truth, perception and reality, the rhetoric of light and lighting are dense metaphors and symbols, deeply interconnected with the history of knowledge. The new light phenomena required aisthetic (sensory perception-related) adaptations, as well as aesthetic coping strategies, like new modes of representation and symbolic-metaphorical attributions that troubled contemporary knowledge about light and visuality. My research zooms in on the visual dispositifs of ‘electric modernity’ and thus on the new correlations between technically generated twilight, epistemic irritation, and narrative visuality. By analysing the interplay of lighting and visual technology, aisthesis, and literary aesthetics in early 20th century, I hope to shed new light on the intriguing question of ‘modern perception’ that remains relevant from the beginning of the electric age until now.