View allAll Photos Tagged Existence
In the delicate dance of shadow and light, the 'Ephemeral Silhouettes' series captures the transient essence of existence. Each piece, a tableau of life's fleeting moments, portrays the ethereal journey of a figure, whose form and spirit merge and diverge in a silent ballet. Here, we explore the mutable boundaries of the human soul through a collection that speaks to the part of us that is forever yearning, forever in flux.
Poem:
Amidst the gentle hush of time's embrace,
A figure stands in twilight's tender grace.
In every line, a story's silent trace,
A soul adrift in life's relentless chase.
Her form, a spectre in the fading light,
A ghostly wisp of day succumbing to the night.
With every pose, a new horizon in sight,
She moves, a phantom in a realm of black and white.
In stillness, echoes of a whispered plight,
In movement, strands of hope shine ever bright.
Each silhouette, a dance of dream's delight,
Bears witness to the heart's unspoken flight.
Haiku:
Shadows softly speak,
Whispers in the silent shift,
Ephemeral wraith.
L'existence de réfugiés est consubstantielle à l'histoire du Liban, dont la
population actuelle a été constituée par les différentes vagues migratoires. Les
territoires de l’actuel Liban sont depuis 1918 une terre d'accueil des Arméniens
déportés de l'Empire ottoman. Au niveau administratif, devenus apatrides par
déchéance de nationalité ordonnée par les autorités turques, ils acquièrent
d’abord pour certains le statut de "réfugié Nansen" délivré par la Société des
Nations, puis font partie des premiers libanais avec la loi sur la nationalité libanaise
du 30 août 1924.
La deuxième vague de réfugiés est constituée par les Palestiniens acculés à
l'exil après la fondation de l'État d'Israël en 1948. La majorité a toujours le statut
de réfugié de l’UNRWA spécifique aux Palestiniens, mais l’État libanais leur délivre
des permis de voyage et ils bénéficient d’un statut d’exception dans la loi du
travail sur la préférence nationale, leur donnant ainsi accès à certains métiers.
L’arrivée d’irakiens après les deux guerres de 1991 et 2003 a conduit à une
évolution de la législation libanaise en matière de droit des réfugiés. Bien que non
signataire de la Convention de Genève de 1951, le Liban accueille depuis 1991 un
bureau du Haut-Commissariat pour les Réfugiés, et est signataire d’un mémorandum
d'accord sur le non-refoulement des réfugiés dans leur pays d'origine.
Ce cadre législatif s'applique, depuis, aux réfugiés syriens, arrivés après
2011. L’État ne reconnait pas le statut de réfugié, mais autorise cependant l’entrée
de syriens comme “déplacés (nâziḥûn)”. Un permis de séjour de six mois leur est
délivré par la Sûreté Générale, avec la tutelle du HCR (kafâlat al-umam). Après
2015, cette tutelle n’est plus reconnue par l’État libanais. Beaucoup résident alors
comme étrangers enregistrés sous la tutelle d’un citoyen libanais. Les situations
varient cependant selon les municipalités qui où ils résident.
إن وجود اللاجئين في لبنان ليس أمرًا وليد اليوم، بل يكاد يكون جزءًا لا يتجزأ من تكوين الدولة اللبنانية. حيث تأثر لبنان في تكوينه بموجات وفود اللاجئين في المراحل التاريخية المختلفة.
لجأ في البداية إلى لبنان الأرمن المُهجّرون من أراضي الإمبراطورية العثمانية عام 1918. وكان يطلق عليهم حينئذ لاجئي نانسي - نسبة إلى جواز سفر نانسن لعديمي الجنسية -. ثم حازوا على الجنسية اللبنانية مع صدور القانون اللبناني للجنسية في 30 آب لعام 1924.
يمثل اللجوء الفلسطيني الموجة الثانية من موجات اللجوء في لبنان، حيث وصل الفلسطينيون عام 1948 مع النكبة، والأغلبية العظمى من هؤلاء اللاجئين يتبعون قانون "وكالة الأمم المتحدة لإغاثة وتشغيل اللاجئين الفلسطينيين"، وتقدم لهم الدولة اللبنانية وثيقة سفر ثم إنهم يتمتعون باستثناءات محددة فيما يخص قانون العمل مما يمكنهم من الوصول إلى بعض الوظائف المقصورة على اللبنانيين.
أسهم وصول العراقيين إلى لبنان بعد حربي 1991 و2003 في إحداث تغييرات تشريعية فيما يخص شئون اللاجئين. حيث استقبل البلد عام 1991 مكتبًا للمفوضية العليا لشئون اللاجئين، رغم عدم توقيعه على معاهدة جنيف لعام 1951. ثم وقع على اتفاقية عدم ترحيل اللاجئين لبلادهم.
طِبَّق المعايير السابقة على اللاجئين السوريين الذين بعد وصلوا بعد عام 2011، ورغم عدم اعتراف الدولة اللبنانية بوضع اللجوء إلى أنها سمحت بدخول السوريين إلى أراضيها تحت اسم "نازحين". وأصد الأمن العام لهم تصاريح إقامة لمدة ستة أشهر تحت كفالة الأمم المتحدة. إلا أنه بعد عام 2015 لم تعد الدولة اللبنانية تعترف بهذه الكفالة، وأصبح النازحون السوريون يحصلون على تصاريح الإقامة كأي أجنبي آخر، تحت كفالة مواطن لبنان. وجدير الذكر أن الأوضاع الإدارية قد تختلف أحيانا باختلاف البلديات.
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
Thirteen years of existence. Back then, I only view life as blue - mysterious yet like an open book, full of anxiety and worries. For me life is a five thousand pieces jigsaw puzzles, as a teenager, I experienced restricting myself and walking away on life's hardships. Just like how I was with puzzles back in my childhood, never realizing that effort and patience will give you the lesson you are needing to find. Of course, I often question myself, 'what is beyond these walls and curtains?'. My life took a turn, or rather a massive drive, instead of running away, I buckled up. Diving to the ocean of photography, I realized that life is more than just the color blue. Life is a white canvas and I am the painter of my own masterpiece, the one who captures memories, and most importantly, the anxiety to my travel. Whenever I travel, the surge of anxiety always take over, but after my accomplishment, I realized that anxiety is there to let you feel the fear, the excitement, the worry yet it can give you satisfaction after your fulfillment. Imagine surfing at the refreshing island of Boracay, but without any waves. See? Anxiety gives you the continuous thrilling saga and the spice your life needs. Sometimes, anxiety is not bad as you thought. Just look at the positive side, anxiety and travel does go together. Don't only see life in one color, travel and capture these moments with a lens or much better, with your own eyes and save it to your mind, keep it on your heart and make it a piece of your soul. If you look at it, travelling is often about finding yourself. There are a lot of opportunities waiting for you with open hands, move those curtains and plan how you want to spend your life. Walk, run or even scream at a mountain's peak! God knew, and will always know, all the happiness you have stored inside. Anxiety may take over you, but don't let it stop you, let it be the waves and surf through it, let it be the mountains and climb on it. Take time to enjoy, don't always look at anxiety negatively. Let it surge, but be the master of your own sail. Go travel, have fun, let go, be free, and most importantly, find yourself mesmerized in God's wonderful creation. Life is short - so make the best of it. philippines-tourism.org/quezon/mauban/travelling-with-anx...
NASA image release July 15, 2010
Astronomers using NASA's Hubble Space Telescope have confirmed the existence of a baked object that could be called a "cometary planet." The gas giant planet, named HD 209458b, is orbiting so close to its star that its heated atmosphere is escaping into space.
Observations taken with Hubble's Cosmic Origins Spectrograph (COS) suggest powerful stellar winds are sweeping the cast-off atmospheric material behind the scorched planet and shaping it into a comet-like tail.
"Since 2003 scientists have theorized the lost mass is being pushed back into a tail, and they have even calculated what it looks like," said astronomer Jeffrey Linsky of the University of Colorado in Boulder, leader of the COS study. "We think we have the best observational evidence to support that theory. We have measured gas coming off the planet at specific speeds, some coming toward Earth. The most likely interpretation is that we have measured the velocity of material in a tail."
The planet, located 153 light-years from Earth, weighs slightly less than Jupiter but orbits 100 times closer to its star than the Jovian giant. The roasted planet zips around its star in a short 3.5 days. In contrast, our solar system's fastest planet, Mercury, orbits the Sun in 88 days. The extrasolar planet is one of the most intensely scrutinized, because it is the first of the few known alien worlds that can be seen passing in front of, or transiting, its star. Linsky and his team used COS to analyze the planet's atmosphere during transiting events. During a transit, astronomers study the structure and chemical makeup of a planet's atmosphere by sampling the starlight that passes through it. The dip in starlight because of the planet's passage, excluding the atmosphere, is very small, only about 1.5 percent. When the atmosphere is added, the dip jumps to 8 percent, indicating a bloated atmosphere.
COS detected the heavy elements carbon and silicon in the planet's super-hot, 2,000-degree-Fahrenheit atmosphere. This detection revealed the parent star is heating the entire atmosphere, dredging up the heavier elements and allowing them to escape the planet.
The COS data also showed the material leaving the planet was not all traveling at the same speed. "We found gas escaping at high velocities, with a large amount of this gas flowing toward us at 22,000 miles per hour," Linsky said. "This large gas flow is likely gas swept up by the stellar wind to form the comet-like tail trailing the planet."
Hubble's newest spectrograph has the ability to probe a planet's chemistry at ultraviolet wavelengths not accessible to ground-based telescopes. COS is proving to be an important instrument for probing the atmospheres of "hot Jupiters" like HD 209458b.
Another Hubble instrument, the Space Telescope Imaging Spectrograph (STIS), observed the planet in 2003. The STIS data showed an active, evaporating atmosphere, and a comet-tail-like structure was suggested as a possibility. But STIS wasn't able to obtain the spectroscopic detail necessary to show a tail, or an Earthward-moving component of the gas, during transits. The tail was detected for the first time because of the unique combination of very high ultraviolet sensitivity and good spectral resolution provided by COS.
Although this extreme planet is being roasted by its star, it won't be destroyed anytime soon. "It will take about a trillion years for the planet to evaporate," Linsky said.
The results appeared in the July 10 issue of The Astrophysical Journal.
The Hubble Space Telescope is a project of international cooperation between NASA and the European Space Agency. NASA’s Goddard Space Flight Center manages the telescope. The Space Telescope Science Institute (STScI) conducts Hubble science operations. STScI is operated for NASA by the Association of Universities for Research in Astronomy, Inc. in Washington, D.C.
Illustration Credit: NASA, ESA, and G. Bacon (STScI)
NASA Goddard Space Flight Center is home to the nation's largest organization of combined scientists, engineers and technologists that build spacecraft, instruments and new technology to study the Earth, the sun, our solar system, and the universe.
Buddhism has always meant a lot to me. Whether it be in a little statue such as this, or learning more about it, it's always been one of those things I've had a craving for. "Even death is not to be feared by one who has lived wisely. " ~Buddha
Gandhi in the streets of LILLE / FRANCE
flickr.com/groups/constructingcoexistence/
Picture by Olivier Horen :
The Athlone 10KM and 5KM road races were held in Clonown Village, Co. Roscommon, Ireland on Sunday 28th of April 2013 at 14:30 and 15:00. Clonown is a small townland on the west bank of the River Shannon and is situated about 3 miles south of the town of Athlone. Whilst the townland is almost completely rural it is accessed easily from major routes and towns by the M6 motorway.
This race completely defied the fact that it is only the second year of it's existence. Every aspect of the organisation was professional: from stewarting, registration, start of races exactly on time, car-parking, and post race refreshments. The 10KM route followed an anti-clockwise loop. The race started on the L2035 Togher Road (about 100m from Clonown Centre) and heads towards the old Ballinasloe Rd and back via Creggan with the finish at the Clonown Community Centre. The 5KM run was added this year to provide a managable challenge for people who are following programmes such as Operation Transformation. The 5KM race route follows a meandering around the townland. The race starts at the church in Clonown and head clockwise around the Ballinaculla townland which offers lovely views of the River Shannon. The route then goes to the Drumlosh road and runs for 1.5 km before the roundabout which is the 3km mark. The race then turns around and returns back to the village and finish at Clonown Community Centre. Both races share some of the race route for the Flatline Athlone Half held in September (www.athlonehalfmarathon.com/) which makes the race routes very fast and flat.
Overall Race Summary
Participants: Approximately 400 people took part in both events with runners, joggers, walkers, and families involved.
Weather: This was a wonderfully bright dry afternoon but a very strong wind made difficult running conditions in places.
Course: Very flat accurately measured course on rural roads and bog roadway. There were waterstops provided at various points and by locals along the route. Very well stewarded.
Refreshments: There were lots of refreshments served in the community center aftwards.
Location Map: This is the start/finish area on Google StreetView [goo.gl/maps/W0Hxc]
Some Useful Links
The Clonown area on Google Streetview [goo.gl/maps/W0Hxc]
Facebook Page for the Athlone 10KM Race 2013 www.facebook.com/Athlone10krun?fref=ts
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, Google Orkut etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also means the use of these images for Facebook profile pictures. In these cases please make a wall post with a link to our Flickr page. If you do not know how this should be done for Facebook or other media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
I ran the race - but my photograph doesn't appear here in your Flickr set!
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
You were hidden behind another participant as you passed our camera
Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
If you want to contribute something for these images?
We do not charge for these images. We take these photographs as our contribution to the running community in Ireland. If you feel that the image(s) you request are good enough that you would ordinarily pay for their purchase we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible.
One of the photos of my major work. © 2012 Michael Cadelina
Strobist info:
1x SB-600 Camera right facing 45 degrees into reflective white foam board behind aquarium reflecting light towards camera.
then burnt out post-processing even more to separate subject and blow out the background further
The Athlone 10KM and 5KM road races were held in Clonown Village, Co. Roscommon, Ireland on Sunday 28th of April 2013 at 14:30 and 15:00. Clonown is a small townland on the west bank of the River Shannon and is situated about 3 miles south of the town of Athlone. Whilst the townland is almost completely rural it is accessed easily from major routes and towns by the M6 motorway.
This race completely defied the fact that it is only the second year of it's existence. Every aspect of the organisation was professional: from stewarting, registration, start of races exactly on time, car-parking, and post race refreshments. The 10KM route followed an anti-clockwise loop. The race started on the L2035 Togher Road (about 100m from Clonown Centre) and heads towards the old Ballinasloe Rd and back via Creggan with the finish at the Clonown Community Centre. The 5KM run was added this year to provide a managable challenge for people who are following programmes such as Operation Transformation. The 5KM race route follows a meandering around the townland. The race starts at the church in Clonown and head clockwise around the Ballinaculla townland which offers lovely views of the River Shannon. The route then goes to the Drumlosh road and runs for 1.5 km before the roundabout which is the 3km mark. The race then turns around and returns back to the village and finish at Clonown Community Centre. Both races share some of the race route for the Flatline Athlone Half held in September (www.athlonehalfmarathon.com/) which makes the race routes very fast and flat.
Overall Race Summary
Participants: Approximately 400 people took part in both events with runners, joggers, walkers, and families involved.
Weather: This was a wonderfully bright dry afternoon but a very strong wind made difficult running conditions in places.
Course: Very flat accurately measured course on rural roads and bog roadway. There were waterstops provided at various points and by locals along the route. Very well stewarded.
Refreshments: There were lots of refreshments served in the community center aftwards.
Location Map: This is the start/finish area on Google StreetView [goo.gl/maps/W0Hxc]
Some Useful Links
The Clonown area on Google Streetview [goo.gl/maps/W0Hxc]
Facebook Page for the Athlone 10KM Race 2013 www.facebook.com/Athlone10krun?fref=ts
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, Google Orkut etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also means the use of these images for Facebook profile pictures. In these cases please make a wall post with a link to our Flickr page. If you do not know how this should be done for Facebook or other media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
I ran the race - but my photograph doesn't appear here in your Flickr set!
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
You were hidden behind another participant as you passed our camera
Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
If you want to contribute something for these images?
We do not charge for these images. We take these photographs as our contribution to the running community in Ireland. If you feel that the image(s) you request are good enough that you would ordinarily pay for their purchase we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible.
The University. A combat zone
Vienna around and after 1900: science and research are driven forward by numerous Jewish protagonists. Also first Jewish scientists (female ones) win themselves the way to the until then exclusively male-dominated academic platform. Their projects, their successes - including Nobel Prizes are until these days partly anchored in the academic consciousness. Lesser known are the professorial chairs refused them, the related to this brain drain before 1938 as well as their expulsion and murder in the era of National Socialism and their new careers in exile. This field of tension between Viennese Modernism and Fascism is one of several focal points of a large-scale exhibition project to the 650th year of existence of the University of Vienna, giving for the first time a comprehensive look at the history of relations between Jews (male and female ones) and the universities of Central Europe, especially Vienna.
The exhibition narrative begins with the stones of 1421 destroyed medieval synagogue, which were used for the then new University of Vienna. At the same time it raises the question of Jewish learning and communication strategies in times when Jews entry to the catholic universities were denied. Another focus forms that turn at the end of the 18th century, entailing the admission of Jewish students and the by emperor Joseph II sought "Germanization of the Jews" in the Habsburg Empire. Therefore, the exhibition illuminates also the Jewish student body during the 1848 revolution, its German national fantasies of freedom, soon followed by their exclusion from the fraternities because of the anti-Semitic development. Following the initially described tension between modernism and fascism, the exhibition narrative finally approaches the presence: Between the demonstrations in 1965 against the anti-Semitic professor Taras Borodajkewycz and the rise of anti-Semitism within individual groups of the New Left in the 1970s, we learn one of the unknown to the public point of view of Vienna and its universities in the years between 1945 and today.
Die Universität. Eine Kampfzone
Wien um und nach 1900: Wissenschaft und Forschung wird von zahlreichen jüdischen Protagonisten vorangetrieben. Auch erste jüdische Wissenschaftlerinnen erkämpfen sich den Weg auf die bis dahin ausschließlich männlich dominierte akademische Bühne. Ihre Projekte, ihre Erfolge – darunter Nobelpreise, sind heute zum Teil im akademischen Bewusstseins verankert. Weniger bekannt sind die ihnen verweigerten Professuren, der damit zusammenhängende braindrain vor 1938 sowie ihre Vertreibung und Ermordung in der Zeit des Nationalsozialismus bzw. ihre neuen Karrieren im Exil. Dieses Spannungsfeld zwischen Wiener Moderne und Faschismus ist einer von mehreren Schwerpunkten eines groß angelegten Ausstellungsprojekts zum 650. Jahr des Bestehens der Universität Wien, das erstmals einen umfassenden Einblick in die Beziehungsgeschichte zwischen Jüdinnen und Juden und den Universitäten Mitteleuropas, insbesondere Wiens, vermittelt.
Die Ausstellungserzählung beginnt mit den Steinen der 1421 zerstörten mittelalterlichen Synagoge, die für den damaligen Neubau der Wiener Universität verwendet wurden. Gleichzeitig stellt sie die Frage nach jüdischen Lehr- und Vermittlungsstrategien in Zeiten, in denen Jüdinnen und Juden der Zutritt zu den katholisch geprägten Universitäten verwehrt wurde. Einen weiteren Fokus bildet jener turn am Ende des 18. Jahrhunderts, den die Zulassung jüdischer Studenten und die von Kaiser Joseph II. angestrebte „Germanisierung der Juden“ im Habsburger-Reich mit sich brachten. Die Ausstellung beleuchtet daher auch die jüdische Studentenschaft während der 1848-Revolution, ihre deutschnationalen Freiheitsphantasien und ihren bald darauf folgenden Ausschluss aus den Burschenschaften wegen der antisemitischen Entwicklung. Im Anschluss an das eingangs geschilderte Spannungsfeld zwischen Moderne und Faschismus, nähert sich die Ausstellungserzählung schließlich der Gegenwart an: Zwischen den Demonstrationen im Jahr 1965 gegen den antisemitischen Professor Taras Borodajkewycz und dem aufkommenden Antisemitismus innerhalb einzelner Gruppen der Neuen Linken um 1970 lernen wir eine der Öffentlichkeit unbekannte Sicht auf Wien und seine Universitäten in den Jahren zwischen 1945 und heute kennen. Kuratoren: Werner Hanak-Lettner
The Brian Setzer Orchestra was what got me into swing dancing, which has got me into all sorts of delightful trouble ever since. The Brian Setzer Orchestra alerted me to the existence of timeless cool, not because anybody called it cool but because it simply was. The memory of how many nights after finishing my homework when I pulled down my blinds (or forgot to, as my giggling mom and sisters attest) and cranked "Rock This Town" up to eleven on my Sony CD deck and practiced solo the kicks and turns that I knew, just knew, I'd someday do with someone else who recognized cool for what it really was.
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