Wolfgang Schneider-Fresenius Boeken

"[The author] details the combat history of the Tiger in the months following the Allies' invasion of France ... The Tiger might have bested most of its opponents in tank-on-tank combat, but the Germans' deteriorating situation in Normandy meant that the Tigers could not be deployed effectively and that losses could not be replaced. The surviving Tigers joined the battered German forces that escaped through the Falaise Gap in August 1944. Featuring orders of battle, tank inventories, maps, period photos, and then-and-now shots of terrain, [this book] vividly recreates the Tiger's battles from June to August 1944 and carefully assesses its tactical and operational performance"--Jacket.

Ultimate inside view of the blitzkrieg in World War IIDiagrams, maps, and schematics illustrate key principlesHundreds of rare photos show Panzers and crews in actionWolfgang Schneider has written the definitive account of German small-unit armor tactics. Using period training manuals, after-action reports, countless interviews with Panzer veterans, and his own experiences as an armor commander in the modern German Army, Schneider describes World War II Panzer tactics, coupling his narrative with scores of illustrations that highlight armor concepts. Schneider covers the major types of small-unit operational art-offensive and defensive-and also discusses road marches, reconnaissance, command and control, working with other arms of service, life in a tank, armor training, gunnery, and the future of armor. The book provides useful insight into armor tactics for both the layman and the armor enthusiast.

This book covers in detail the Tiger variants Elefant, Jagdtiger, and Sturmtiger.

There is an old phenomenon in theatre arts: Education! And there is a new tendency: theatre arts for the very young! The relationship to education is clear, but what about the profit for the arts? The world of children as a horizon of experiences? The role of music as a dramaturgical element? Is it needed to divide the performance in actors and spectators? Is there a special age for a successful reception? How much should theatre artists be confronted with the physical and psychological development of children? It seems that Theatre for Early Years is a work in progress. There are more and more examples on the stages of the world: In Europe, in the States, in Australia. A variety of different perspectives are included in this research in performing arts from birth to three. The authors are reflecting their work, their observations, their directorship – to discover a new audience, to accompany the new generation in aesthetics, to make the signs of the time transparent. And maybe the development of Theatre for Early Years is a new challenge to renew the language of theatre, to establish an art of simplicity for the complexity of theatre.

This is the second volume covering the use and variants of the King Tiger, in both photographs and text.

Nine playwrights for German children's theatre are included in this publication with one play each. They deal with topics of love, questions of identity and violence, but more importantly, they tell stories of children, young people and adults with definite social backgrounds or as generalised parables. All nine plays - different though they may be - make the social responsibility of German children's and young people's theatre clear, inasmuch as the young audience is taken seriously and life is reflected in an artistic and not a pedagogic way. The plays can be acted by two to eight actors, often with musicians. Most of the plays can be produced for children of 6 years and upwards. CONTENTS: Lilly Axster, „Violin Cello Double-Bass“. Horst Hawemann, „Empty Space - Chair Taken“. Rudolf Herfurtner, „The Forest, the Forge and the Dragon“. Günter Jankowia, "Jesper's Luck„. Gerd Knappe, “Whisperloud and Prettysmart„. Christian Martin, “Ciggie and Swiggie„. Manuel Schöbel, “Beanpole Really Really Wants To„. Friedrich Karl Waechter, “EXWYZED„. Ingeborg von Zadow, “Pompeenia".

In its more than three decades of history, the European Capital of Culture initiative has become an important instrument for cultural urban development. The EU cultural policy guidelines apply in all participating countries—but the design varies greatly from location to location. This volume reflects the approaches in 18 countries, inside and outside the EU, that have already hosted one or more Capitals of Culture. It conveys the assessments of scholars from various disciplines, and from those responsible for the programme on how art and culture deal with local and regional forms of transformation.

Are artists seismographs during processes of transformation? Is theatre a mirror of society? And how does it influence society offstage? To address these questions, this collection brings together analyses of cultural policy in post-apartheid South Africa and actors of the performing arts discussing political theatre and cultural activism. Case studies grant inside views of the State Theatre in Pretoria, the Market Theatre in Johannesburg and the Baxter Theatre in Cape Town, followed by a documentation of panel discussions on the Soweto Theatre. The texts collected here bring to the surface new faces and voices who advance the performing arts with their images and lexicons revolving around topics such as patriarchy, femicide and xenophobia.

The oldest Panzerregiment of the Wehrmacht has not yet been documented in the military literature. On 112 pages the creation of this unit is covered in an impressive photo review with the first years before the war, the campaign periods in the Sudeten, in Poland, Belgium, France, Russia, Greece, Italy and in Hungary. Included are detailed inventory tables, campaign maps and unit structure organigrams. The photo story also shows the different vehicle markings throughout the war. Almost all of the 300 photos taken from veteran albums are hitherto unpublished.

Culture is seen as a source for the development of society. Task of cultural policy is therefore to create and support structures that promote mobilization of creativity of the people and thus ensure welfare, innovation and pluralism. Such relationships have been discussed at the level of UNESCO for the past forty years. Within Germany and Europe as well as on the African continent experiences and initiatives are increasing in order to put discourse on cultural policies into practice. There is a need to provide a forum for the exchange of concepts and to identify the state of the art of theory and practice within the concepts of good governance and cultural policy. It is essential to clarify the role and the needed context of the arts, of art education and of individual artists in the development of society.