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El Greco, the absolute artist, whose paintings afford a glimpse of the human soul, is summoned to paint a portrait of Cardinal Nino de Guevara, the despised Grand Inquisitor of Spain, an inordinately cruel man - with deeply held convictions. The painter from Greece faces the choices open to all those who live and work in an age of despotic suppression: to flee, to capitulate, or to be a witness for truth, regardless of the consequences. El Greco and his friend Dr. Cazalla do what they must to retain their personal freedom while living in virtual bondage. Stefan Andres wrote El Greco Paints the Grand Inquisitor in 1935 as new restraints were being imposed by the Nazis on the artistic community in Germany. Upon its publication in 1936 it was recognized immediately as a veiled document of resistance to Nazi tyranny. It depicts the struggle of the indomitable painter to record, for ages yet to come, the viper in the eye of the feared cardinal.
This impressive volume is actually three histories in one: of the legal procedures, personnel, and institutions that shaped the inquisitorial tribunals from Rome to early modern Europe; of the myth of The Inquisition, from its origins with the anti-Hispanists and religious reformers of the sixteenth century to its embodiment in literary and artistic masterpieces of the nineteenth century; and of how the myth itself became the foundation for a "history" of the inquisitions.
Cretan-born painter Domenicos Theotocopoulos, better known by his Spanish nickname, El Greco (c.1545-1614), studied under Titian in Venice before settling down in Toldeo. Commissioned by the church and local nobility, El Greco produced dramatic paintings marked by distorted figures and vibrant color contrasted with subtle grays. Though his work was appreciated by his contemporaries, especially intellectuals, it wasn't until the 20th century that it was widely embraced and admired, influencing in particular the Expressionist movement.
This book is the first survey in English of literature and film in Nazi Germany. It treats not only works sympathetic to National Socialism, but also works of the so-called Inner Emigration, of the resistance, and those written in prisons and concentration camps. Much of this literature is not easily accessible in German, and not available at all in English translation. Historical and ideological context is provided in chapters covering influential works of the time such as Alfred Rosenberg's The Myth of the Twentieth Century and Houston Stewart Chamberlain's The Foundations of the Nineteenth Century. Schoeps also analyzes Nazi cultural policies, fascist histories of literature, and the role of German studies and Germanists in the Nazi movement. A major section of the book is devoted to film, then a relatively new medium of communication whose propaganda value was clearly recognized by Goebbels, the minister for propaganda and president of the Reich's Chamber of Culture. One of the most interesting areas of research in recent years is the relationship between Hitler's cultural commissars, in particular Goebbels, and the literature and film production of the Nazi years. This book is based on the revised and expanded second German edition, Literatur im Dritten Reich (1933-1945), but has again been revised and expanded, especially the chapter on film and Nazi policies toward the film industry. The chapter on cultural policies has also been expanded to include Himmler's efforts to meddle in this area. New also are sections dealing with Jewish entertainers in concentration camps (for example, Kurt Gerron) and activities of the Jewish Cultural League. Karl-Heinz Schoeps is professor of German at the University of Illinois at Urbana-Champaign.
Traces literary developments in the German-speaking countries from 1900 to the present. This study of German literature in the past hundred years sets its subject clearly in the artistic and political context of developments in Western Europe during the century. It begins with the turn-of-the-century aestheticism andvisions of decay led by Schnitzler, Hofmannsthal and other Austrian writers, and the quite different explosion of new artistic energy in the Expressionist and Dada movements. These movements are succeeded by the rise of Modernism, culminating in the inter-war years: the poetry of Rilke, Brecht's epic theatre, and novels by Thomas Mann, Kafka, Hesse, Musil, Doblin and Broch; the influence of Nazism on literary production is considered. The study of developments after 1945 reflects the struggle to establish a post-Holocaust literature and to deal with the questions posed by the political division of Germany. Finally, the convergence of East and West German literature after unification is addressed. Ingo R. Stoehr teaches literature at Kilgore College, Texas, and is editor of the bilingual journal of German literature in English translation, Dimension2.
A narrative history of the Inquisition, and an examination of the influence it exerted on contemporary society, by the author of ARE WE ROME?
Expertly introduced and edited by A. Leslie Willson, the present volume is a collection to read and cherish, and to reread: to pass along and talk about. Its broad themes of tragedy, satire, and carefully observed daily living make it a cross section of German life and liveliness over the second half of the 20th century.
After the end of Nazi era, many German writers claimed to have retreated into "Inner Emigration". This book presents the complexity of Inner Emigration through the analysis of individual cases of writers who, under constant pressure from a watchful dictatorship to conform and to collaborate, were caught between conscience and compromise.
The New York Times Bestselling novel is now available in modern digital formats, featuring a new, substantive Foreword by Justice Samuel Alito. This book is universally considered to be an unusual, fascinating, and well-written observation of the life of a man who was first a war hero and Medal of Honor winner from the Korean War, then Chief Justice of the United States, later a monk reeling from tragedy, and finally elected to be Pope: Pope Francis I, in fact. His exciting life is described by three men who 'knew him well.' The first narrator is a Marine, telling of their time together in Korea. A constitutional scholar and Supreme Court Justice, appalled at the new Chief Justice, narrates the second phase. The third is a Cardinal of the Roman Catholic Church: fat, kind, but distracted. The Marine cares for him the most, the Supreme Court Justice condescends and despises him, and the Cardinal is much more interested in food than his subject. But Declan Walsh was a man who earned the Medal of Honor while ordering the death of friends, ruled pragmatically and energetically on the Court but lost his way to death and neglect, and became a miraculous healer, assassinated for challenging the powers that rule the secular world. New ebook edition features proper formatting, active and detailed Table of Contents, and linked notes and URLs in Justice Alito's extensive and informative introduction. What makes this book extraordinary is that it proves itself by paradox — reconciling and weaving together strong, seemingly incompatible elements into a cohesive, memorable work quite unlike any other in recent fiction. Ambitious in length and scope, the stage is nothing less than the contemporary world, its recent history and prophecy; while the focus, from several points of view, is clearly upon a single man — an American — who rises to become Bishop of Rome.