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Leo Strauss's connection with Martin Heidegger and Carl Schmitt suggests a troubling proximity to National Socialism but a serious critique of Strauss must begin with F. H. Jacobi. While writing his dissertation on this apparently Christian opponent of the Enlightenment, Strauss discovered the tactical principles that would characterize his lifework: writing between the lines, a faith-based critique of rationalism, the deliberate secularization of religious language for irreligious purposes, and an "all or nothing" antagonism to middling solutions. Especially the latter is distinctive of his Zionist writings in the 1920s where Strauss engaged in an ongoing polemic against Cultural Zionism, attacking it first from an orthodox, and then from an atheist's perspective. In his last Zionist article (1929), Strauss mentions "the Machiavellian Zionism of a Nordau that would not fear to use the traditional hope for a Messiah as dynamite." By the time of his "change of orientation," National Socialism was being led by a nihilistic "Messiah" while Strauss had already radicalized Schmitt's "political theology" and Heidegger's deconstruction of the ontological Tradition. Central to Strauss's advance beyond the smartest Nazis is his "Second Cave" in which he claimed modern thought is imprisoned: only by escaping Revelation can we recover "natural ignorance." By using pseudo-Platonic imagery to illustrate what anti-Semites called "Jewification," Strauss attempted to annihilate the common ground, celebrated by Hermann Cohen, between Judaism and Platonism. Unlike those who attacked Plato for devaluing nature at the expense of the transcendent Idea, the émigré Strauss effectively employed a new "Plato" who was no more a Platonist than Nietzsche or Heidegger had been. Central to Strauss's "Platonic political philosophy" is the mysterious protagonist of Plato's Laws whom Strauss accurately recognized as the kind of Socrates whose fear of death would have caused him to flee the hemlock. Any reader who recognizes the unbridgeable gap between the real Socrates and Plato’s Athenian Stranger will understand why “the German Stranger” is the principal theoretician of an atheistic re-enactment of religion, of which genus National Socialism is an ultra-modern species.
A moving and unsettling exploration of a young man's formative years in a country still struggling with its past As a Jew in postwar Germany, Yascha Mounk felt like a foreigner in his own country. When he mentioned that he is Jewish, some made anti-Semitic jokes or talked about the superiority of the Aryan race. Others, sincerely hoping to atone for the country's past, fawned over him with a forced friendliness he found just as alienating. Vivid and fascinating, Stranger in My Own Country traces the contours of Jewish life in a country still struggling with the legacy of the Third Reich and portrays those who, inevitably, continue to live in its shadow. Marshaling an extraordinary range of material into a lively narrative, Mounk surveys his countrymen's responses to "the Jewish question." Examining history, the story of his family, and his own childhood, he shows that anti-Semitism and far-right extremism have long coexisted with self-conscious philo-Semitism in postwar Germany. But of late a new kind of resentment against Jews has come out in the open. Unnoticed by much of the outside world, the desire for a "finish line" that would spell a definitive end to the country's obsession with the past is feeding an emphasis on German victimhood. Mounk shows how, from the government's pursuit of a less "apologetic" foreign policy to the way the country's idea of the Volk makes life difficult for its immigrant communities, a troubled nationalism is shaping Germany's future.
Insightful look at the interactions between German and migrant Jewish writers and the creative spectrum of Jewish identity
A Stranger to Myself: The Inhumanity of War, Russia 1941-44 is the haunting memoir of a young German soldier on the Russian front during World War II. Willy Peter Reese was only twenty years old when he found himself marching through Russia with orders to take no prisoners. Three years later he was dead. Bearing witness to--and participating in--the atrocities of war, Reese recorded his reflections in his diary, leaving behind an intelligent, touching, and illuminating perspective on life on the eastern front. He documented the carnage perpetrated by both sides, the destruction which was exacerbated by the young soldiers' hunger, frostbite, exhaustion, and their daily struggle to survive. And he wrestled with his own sins, with the realization that what he and his fellow soldiers had done to civilians and enemies alike was unforgivable, with his growing awareness of the Nazi policies toward Jews, and with his deep disillusionment with himself and his fellow men. An international sensation, A Stranger to Myself is an unforgettable account of men at war.
What did it feel like to be an openly Jewish soldier fighting alongside German troops in WWII? Could a Jewish nurse work safely in a field hospital operating theater under the supervision of German army doctors? Several hundred members of Finland’s tiny Jewish community found themselves in absurd situations like this, yet not a single one was harmed by the Germans or deported to concentration or extermination camps. In fact, Finland was the only European country fighting on either side in WWII that lost not a single Jewish citizen to the Nazi’s “Final Solution.” Strangers in a Stranger Land explores the unique dilemma of Finland’s Jews in the form of a meticulously researched novel. Where did these immigrant Jews—the last in Europe to achieve citizenship status—come from? What was life like from their arrival in Finland in the early nineteenth century to the time when their grandchildren perversely found themselves on “the wrong side” of WWII? And how could young lovers plan for the future when not only their enemies but also their country’s allies threatened their very existence? Seven years researching Finland’s National Archives plus numerous in-depth interviews with surviving Finnish Jewish war veterans provide the background for a narrative exploration of love, friendship, and commitment but also uncertainty and terror under circumstances that were unique in the annals of “The Good War.” The novel’s protagonists—Benjamin, David and Rachel—adopt varying survival strategies as they struggle with involvement in a brutal conflict and questions posed by their dual loyalty as Finnish citizens and Zionists committed to the creation of a Jewish homeland. Tensions mount as the three young adults painfully work through a relationship love triangle and try to fulfill their commitments as both Jews and Finns while their country desperately seeks to extricate itself from an unwinnable war.
Two titans of 20th-century thought, Hannah Arendt and Martin Heidegger, are explored in depth: their lives, loves, ideas, and politics.
In this compact and tightly argued essay, the author maintains that the French Third Republic - and European history during this period in general - can only be understood if particular attention is paid to the special relationship that existed between France and Germany. The experience of the French people was so intimately related to that of its closest neighbor that a bilateral perspective becomes unavoidable. Without the unifying theme of Germany's crucial role in acting upon and within the French Republic, this story would become a much more random tale of events. After 1870, an autonomous national history of France is no longer possible.
Brothers and Strangers traces the history of German Jewish attitudes, policies, and stereotypical images toward Eastern European Jews, demonstrating the ways in which the historic rupture between Eastern and Western Jewry developed as a function of modernism and its imperatives. By the 1880s, most German Jews had inherited and used such negative images to symbolize rejection of their own ghetto past and to emphasize the contrast between modern “enlightened” Jewry and its “half-Asian” counterpart. Moreover, stereotypes of the ghetto and the Eastern Jew figured prominently in the growth and disposition of German anti-Semitism. Not everyone shared these negative preconceptions, however, and over the years a competing post-liberal image emerged of the Ostjude as cultural hero. Brothers and Strangers examines the genesis, development, and consequences of these changing forces in their often complex cultural, political, and intellectual contexts.
Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst Lubitsch, Fred Zinnemann, Billy Wilder, and Fritz Lang, these multicultural, multilingual writers and directors betrayed distinct cultural sensibilities in their art. Gerd Gemünden focuses on Edgar G. Ulmer’s The Black Cat (1934), William Dieterle’s The Life of Emile Zola (1937), Ernst Lubitsch’s To Be or Not to Be (1942), Bertold Brecht and Fritz Lang’s Hangmen Also Die (1943), Fred Zinneman’s Act of Violence (1948), and Peter Lorre’s Der Verlorene (1951), engaging with issues of realism, auteurism, and genre while tracing the relationship between film and history, Hollywood politics and censorship, and exile and (re)migration.