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In Émigré Voices Lewkowicz and Grenville present twelve oral history interviews with men and women who came to Britain as Jewish refugees from Germany and Austria in the late 1930s, many of whom known for their enormous contributions to British culture.
Based on years of detailed and extensive interviews, and supplemented by a wide range of archival material, Growing with Canada showcases the men and women who came to Canada and the roles they played in developing the country's musical culture. Paul Helmer shows that émigrés were at the centre of the new musical milieu and uses the lively testimony of those involved to weave together the larger story of post-war Canadian music performance, production, and education. By introducing the sounds and techniques of their homelands, émigré artists were able to overcome the dominating British presence in post-secondary music education - vastly expanding the role music played in universities - while pioneering the performance and production of opera in Canada. From British Columbia to Newfoundland, they served as educators, teachers, and administrators as well as outstanding performers, conductors, composers, music historians, radio and television producers, and benefactors.
I was born on 28 March 1922 in Thanh-Hóa where my grand parents emigrated in 1897, fleeing the catastrophic flood of the Red River. I was a student at the faculty of sciences of the University of Hanoi when the Japanese putsch of 9 March1945 effectively put an end to my student life with the successive political events after that date. I went head on in patriotic activities for the independence of my country and decided to rally to the south in 1948. In 1952 I was drafted and sent to the French Air Academy in Salon de Provence to become aeronautic engineer. I became Commissioner of Supply in the military government of South Vietnam confronting the economic blockade of Saigon in 1965. Retired in 1974 I went into business. I got out of Saigon on 28 April 1975 before the bombardment of its airfield by communist artillery. I found my family in the refugee camp of Fort Chaffee before being sponsored by Saint Timothy Lutheran Church of Monterey to a humbly new start. I became owner of two 7-Eleven stores which I sold in October 1997 to retire at 75 after 20 years in business.
This new volume addresses the lasting contribution made by Central European émigré designers to twentieth-century American design and architecture. The contributors examine how oppositional stances in debates concerning consumption and modernism's social agendas taken by designers such as Felix Augenfeld, Joseph Binder, Josef Frank, Paul T. Frankl, Frederick Kiesler, Richard Neutra, and R. M. Schindler in Europe prefigured their later adoption or rejection by American culture. They argue that émigrés and refugees from fascist Europe such as György Kepes, Paul László, Victor Papanek, Bernard Rudofsky, Xanti Schawinsky, and Eva Zeisel drew on the particular experiences of their home countries, and networks of émigré and exiled designers in the United States, to develop a humanist, progressive, and socially inclusive design culture which continues to influence design practice today.
The Bolshevik takeover of Russia created an alternative Russia in exile that never laid down its arms. For two decades, expelled White Russians sought ways to retaliate against the Soviet Union and return home. Their irreconcilability was galvanized by a superstructure, the dominant military organization, the Russian All-Military Union (ROVS). Eventually, militant anti-Bolshevism led the exiled Russians into alliance with Nazi Germany, despite the latter’s anti-Slavic stance. For Russia with Hitler tells the story of how thousands of White Russian émigrés joined the German invasion of the Soviet Union as soldiers, translators, and civilian workers. Oleg Beyda investigates and contextualizes émigré collaboration with National Socialist Germany, explaining how it was possible for Russians to fight against the Russians. The book reveals that the exiles, although united ideologically by Russian nationalism in a general sense, did not establish one single, clear-cut political solution for a future “liberated Russia.” Drawing on wide archival material, For Russia with Hitler details the background and ideological framework of the émigrés, how they rationalized their support for Nazism, and what they did on the Eastern Front, including their reactions to life in occupation, war crimes, and the Holocaust.
A magisterial history of the artists and writers who left Weimar when the Nazis came to power In 1933 thousands of intellectuals, artists, writers, militants and other opponents of the Nazi regime fled Germany. They were, in the words of Heinrich Mann, “the best of Germany,” refusing to remain citizens in this new state that legalized terror and brutality. Exiled across the world, they continued the fight against Nazism in prose, poetry, painting, architecture, film and theater. Weimar in Exile follows these lives, from the rise of national socialism to their return to a ruined homeland, retracing their stories, struggles, setbacks and rare victories. The dignity in exile of Walter Benjamin, Ernst Bloch, Bertolt Brecht, Alfred Döblin, Hanns Eisler, Heinrich Mann, Thomas Mann, Anna Seghers, Ernst Toller, Stefan Zweig and many others provides a counterpoint to the story of Germany under the Nazis.
Wartime New York was the city where French Symbolism — Maurice Maeterlinck — came to live out its last productive years; where French surrealism — André Breton — came to survive; and where French structuralism — Claude Lévi-Strauss — came to be born. From the largely forgotten prewar visit to the city of Pétain and Laval to the seizing, burning, and capsizing of the Normandie, France’s floating museum, in the Hudson River, Jeffrey Mehlman evokes the writerly world of French Manhattan, its achievements and feuds, presenting a series of surprising and expertly etched portraits against the backdrop of an overriding irony: the United States, the world’s principal hope in the battle against Hitler’s barbarism, was for the most part more eager to deal with Pétain’s collaborationist regime than with what Secretary of State Cordell Hull called de Gaulle’s "so-called Free French" movement. “One of modern European history’s great stories. Jeffrey Mehlman tells the tale appealingly and persuasively... The individual stories — not least the symbolism of the ocean liner Normandie’s tragic burning and capsizing... — would be plenty to go on with, but Mr. Mehlman’s theme is a larger one. He finds the French intellectuals in World War II New York not very different from the French aristocrats who found refuge in Koblenz in the last decade of the 18th century, hoping for a reversal of the Revolution and restoration of the ancien regime.” — Colin Walters, Washington Times “Subtle, erudite, and often humorous. Previous attempts by literature professors to tackle culture have not always resulted in works as mind-stretching and entertaining as this account.” — Stanley Hoffman, Foreign Affairs “A series of elegant essays of cultural criticism.” — Kim Munholland, American Historical Review “Jeffrey Mehlman has written an intriguing, highly original work... [He] has succeeded in achieving a personal, yet erudite, series of insights about intellectual production of French writers and philosophers exiled in New York during the Second World War... Mehlman deftly and sometime humorously brings to life this motley cast of characters.” — Jonathan Gosnell, French Review “Mehlman’s insightful book on French exiles in wartime New York City enriches the understanding of how very diverse political exiles reacted to the traumatic suffering of their homelands and other countries occupied by the Nazis.” — Edmund J. Campion,Magill’s Literary Annual “Mehlman’s greatest achievement... is neither the history he’s opened up nor the reputations he’s reclaimed. It is the quality of the close reading that is most admirable, tracing words and themes as they echo and resonate from one text to another.” — David Herman, Jewish Quarterly “Mehlman has written a brilliant, original, and challenging work. There is quite simply no other work like it, because Mehlman works on two levels at once, historical and metaphysical. It should find an eager audience among scholars working in the fields of twentieth-century French literature, the history of French thought, and the history of France in World War II.” — Arthur Goldhammer, Center for European Studies,Harvard University
Presents volume three of a three-volume encyclopedia that describes the events, movements, trends, people, sports, science, music, politics, and more of the 1970s listed in alphabetical order.