Synonyms for tannert or Related words with tannert

hellmer              stadlober              wiesinger              lettinger              golser              gostner              maresch              immler              golz              taillepierre              pollmann              oelze              rockenschaub              patzak              estermann              ofner              schneidewind              aschenbrenner              bengsch              reschke              picht              unterkircher              ferstl              thomalla              seebacher              dworzak              trinkler              hallhuber              leinberger              rommer              fleschen              junkermann              heldmann              danneberg              reher              mahrer              schorn              michailow              kargl              zenkner              nemetz              homuth              clasen              behle              goedicke              freiwald              kempter              makuch              hubschmid              queck             

Examples of "tannert"
Tannert, Pielow, Berlin Art Scene, 2013, ISBN 978-3938100998
Louis Tannert (ca.1833–ca.1909), who has also been referred to as W. L. Tannert, was a painter from Germany who had a significant career as art educator and curator in South Australia.
This season was notable for the participation of Yannick Neuville, younger brother of World Rally Championship winning driver Thierry Neuville. The title was won by German Julius Tannert and Luxembourger co-driver Jennifer Thielen. Tannert won 6 of the 8 rallies to be held in 2015, finishing 113 points clear of their next best competitors. Samuli Vuorisalo finished as runner-up, while Yannick Neuville finished third with a win at Rallye Vogelsberg. Jacob Madsen was the only other winner, winning the Ostsee Rallye.
Tannert retired in 1892 and the two schools were reunited as the School of Design and Painting with Gill in charge. The syllabus was broadened with additional subjects, including china painting, under Rosa C. Fiveash.
Charles Hill retired in 1881 and the Board of Governors decided to re-form the School into a School of Design and a School of Painting, and after recruitment for a replacement in England fell through, it was decided to appoint only one master in the first instance, and Eugene von Guerard of Melbourne recommended Louis Tannert, who started in October 1881, as head of the School of Design, later head of the School of Painting. H. P. Gill was appointed in London in 1882 as head of the School of Design. In 1887 G. A. Reynolds was brought in as first assistant; in 1891 he transferred to the Education Department.
"Speak" is a first-person, diary-like narrative. Written in the voice of Melinda Sordino, it features lists, subheadings, spaces between paragraphs and script-like dialogue. The fragmented style mimics Melinda's trauma. The choppy sentences and blank spaces on the pages relate to Melinda's fascination with Cubism. According to Chris McGee and DeTora, Anderson's writing style allows the reader to see how Melinda struggles with "producing the standard, cohesive narrative" expected in a teen novel. Melinda's distracted narrative reiterates the idea that "no one really wants to hear what you have to say". In her article, ""Like Falling Up into a Storybook"", Barbara Tannert-Smith says, By disrupting the present with flashbacks of the past, Anderson further illustrates the structure of trauma. Anderson organizes the plot around the four quarters of Melinda's freshman year, starting the story in the middle of Melinda's struggle. Anderson superimposed the fragmented trauma plot-line upon this linear high school narrative, making the narrative more believable.
"Speak" is a "New York Times" Best-Seller. The novel received several awards and honors, including the 2000 Golden Kite Award and the 2000 ALA Best Books For Young Adults. "Speak" gained critical acclaim for its portrayal of the trauma caused by rape. Barbara Tannert-Smith, author of ""Like Falling Up Into a Storybook: Trauma and Intertextual Repetition in Laurie Halse Anderson's Speak."", claims the story's ability to speak the reader's language brought about its commercial success. "Publishers Weekly" says, "Speak's" "overall gritty realism and Melinda's hard-won metamorphosis will leave readers touched and inspired". Ned Vizzini, for the New York Times, calls it "different", "a grittily realistic portrait of sexual violence in high school." Author Don Latham calls "Speak" "painful, smart, and darkly comic".
"Speak" is written for young adults and high school students. Labeled a problem novel, it centers on a weak character who gains the strength to overcome her past, through narrative events and adult guidance. The rape troubles Melinda as she struggles with wanting to repress the memory of the event, while simultaneously desiring to speak about it. Barbara Tannert-Smith calls "Speak" a trauma narrative. Janet Alsup specifies it as a "rape story". The novel allows readers to identify with Melinda's suffering. Lisa DeTora considers "Speak" a coming-of-age novel, telling Melinda's "quest to claim a voice and identity". "Booklist" calls "Speak" an empowerment novel. But, according to Chris McGee, Melinda is more than a victim. Melinda gains power from being silent as much as speaking. McGee considers "Speak" a confessional narrative; adults in Melinda's life constantly demand a "confession" from her.
Throughout "Speak", Anderson represents Melinda's trauma and recovery symbolically. Barbara Tannert-Smith refers to "Speak" as a "postmodern revisionary fairy tale" for its use of fairy tale imagery. She sees Merryweather High School as the "ideal fairy tale domain", featuring easily categorized characters—a witchy mother, a shape-shifting best friend, a beastly rapist. Mirrors, traditional fairy tale tools, signify Melinda's struggle with her shattered identity. After being raped, Melinda does not recognize herself in her reflection. Disgusted by what she sees, Melinda avoids mirrors. According to Don Latham, Melinda's aversion to her reflection illustrates acknowledgement of her fragmented identity. In fact, the only mirror Melinda can "see herself" in, is the three-way mirror in the dressing room. Rather than giving the illusion of a unified self, the three-way mirror reflects Melinda's shattered self. Likewise, Melinda is fascinated by Cubism, because it represents what is beyond the surface. Melinda uses art to express her voice. Her post-traumatic artwork illustrates her pain. The trees symbolize Melinda's growth. The walls of Melinda's closet are covered in her tree sketches, creating a metaphorical forest in which she hides from reliving her trauma. According to Don Latham, the closets in the story symbolize Melinda's queer coping strategies. Melinda uses the closet to conceal the truth.
In April 1887 the South Australian Society of Artists, largely associated with the old South Australian School of Design (the school underwent a bewildering succession of names and functions over the next hundred years), was formed with the express purpose of securing an exhibition space for local artists in the Jubilee Exhibition, held later that year. A. Abrahams, James Ashton, J. W. Billiatt, A. S. Broad, H. Clayton, J. L. Davidson, F. W. Davis, S. V. Fizey, Leonard D. Garlick, H. D. Gell, W. K. Gold, E. Govett, George Greer, J. Hammer, G. C. Hawker, C. Hill, P. Hoare, John Hood, W. R. Hunt, James Irving, A. L. Jessop, W. J. Kennedy, T. H. Lyons, A. MacCormac, M. H. Madge, A. Marval, A. Molten, D. Murray, Poole, R. Rees, Reid, G. A. Reynolds, H. Scott, J. Shakespeare, S. J. Skipper, S. Solomon, W. J. Sowden, L. Tannert, W. Wadham, Samuel Way, W. A. E. West-Erskine, J. White and W. Wivell were among its members, and quickly merged with the Society of Arts, having accomplished its ends.