Regimes of ethnicity and nationhood in Germany, Russia, and Turkey
National Identities, Volume 16, Issue 1, Page 91-93, March 2014.
Quelle: http://www.tandfonline.com/doi/abs/10.1080/14608944.2013.877707?ai=z4&mi=3fqos0&af=R
Race in translation: culture wars around the postcolonial Atlantic
National Identities, Volume 16, Issue 1, Page 93-95, March 2014.
Quelle: http://www.tandfonline.com/doi/abs/10.1080/14608944.2013.831270?ai=z4&mi=3fqos0&af=R
Myth, national identity, and the contemporary tourism site: the case of Amalienborg and Frederiksstaden
National Identities, Volume 16, Issue 1, Page 53-70, March 2014.
Quelle: http://www.tandfonline.com/doi/abs/10.1080/14608944.2013.876399?ai=z4&mi=3fqos0&af=R
The Danish euro: constructing a monetary oxymoron in the Danish euro debate
National Identities, Volume 16, Issue 1, Page 31-51, March 2014.
Quelle: http://www.tandfonline.com/doi/abs/10.1080/14608944.2013.849669?ai=z4&mi=3fqos0&af=R
National identity and cultural resonance in English foxhunting movements
National Identities, Volume 16, Issue 1, Page 71-90, March 2014.
Quelle: http://www.tandfonline.com/doi/abs/10.1080/14608944.2013.877438?ai=z4&mi=3fqos0&af=R
0075 Iain Boyd Whyte, Nikolaus Pevsner: art history, nation, and exile
In September 1933, Nikolaus Pevsner travelled to England as a refugee from National Socialist Germany. This article investigates Pevsner's continuing debt at this time to German art history in general, and to [...]
Quelle: http://www.riha-journal.org/articles/2013/2013-oct-dec/whyte-pevsner
The Politics of Arabella : Post-Wagnerian Opera and the German-Jewish Quest for Lyrical Individualism, 1928–1933 *
<span class="paragraphSection">The joint artistic project of composer Richard Strauss (1864-1949) and librettist Hugo von Hofmannsthal (1874-1929), which flourished during the turbulent years 1909-1929, resulted in six operas – all won critical resonance and some even gained wide popularity. First staged in Dresden on 26 January 1911, <span style="font-style:italic;">Der Rosenkavalier</span> became an immediate hit and opened more than fifty times that year to packed houses – in Dresden as well as in a string of other European cities. Demand for the opera was so great that the Prussian State Railways laid on a special service of <span style="font-style:italic;">Rosenkavalier</span> trains to usher the enthusiastic crowds from Berlin to Dresden and its opera house.1<sup>1</sup></span>
