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Although the three conspicuous cultures of Berlin in the twentieth century—Weimar, Nazi, and Cold War—are well documented, little is known about the years between the fall of the Third Reich and the beginning of the Cold War. In a Cold Crater is the history of this volatile postwar moment, when the capital of the world's recently defeated public enemy assumed great emotional and symbolic meaning. This is a story not of major intellectual and cultural achievements (for there were none in those years), but of enormous hopes and plans that failed. It is the story of members of the once famous volcano-dancing Berlin intelligentsia, torn apart by Nazism and exile, now re-encountering one another. Those who had stayed in Berlin in 1933 crawled out of the rubble, while many of the exiles returned with the Allied armies as members of the various cultural and re-educational units. All of them were eager to rebuild a neo-Weimar republic of letters, arts, and thought. Some were highly qualified and serious. Many were classic opportunists. A few came close to being clowns. After three years of "carnival," recreated by Schivelbusch in all its sound and fury, they were driven from the stage by the Cold War. As Berlin once again becomes the German capital, Schivelbusch's masterful cultural history is certain to captivate historians and general readers alike. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1999.
This musicologist’s exploration of classical music culture in post-WWII Berlin evokes the power of music in the face of trauma and tragedy. As the seat of Hitler's government, Berlin was the most frequently targeted German city for Allied bombing during World War II. Air raids shelled celebrated monuments and reduced much of the city to rubble. After the war's end, this apocalyptic landscape captured the imagination of artists, filmmakers, and writers, who used the ruins to engage with themes of alienation, disillusionment, and moral ambiguity. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe. Anderton reveals how rubble functioned as a literal, figurative, psychological, and sonic element by examining the resonances of trauma heard in the German musical repertoire after 1945. With detailed explorations of reconstituted orchestral ensembles, opera companies, and radio stations, as well as analyses of performances and compositions that were beyond the reach of the Allied occupiers, Anderton demonstrates how German musicians worked through, cleared away, or built over the debris and devastation of the war.
The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to ‘dismantle the dream factory’ of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a ‘women’s cinema’ emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.
In the long-awaited follow-up to her Pulitzer Prize-winning Gulag, acclaimed journalist Anne Applebaum delivers a groundbreaking history of how Communism took over Eastern Europe after World War II and transformed in frightening fashion the individuals who came under its sway. At the end of World War II, the Soviet Union to its surprise and delight found itself in control of a huge swath of territory in Eastern Europe. Stalin and his secret police set out to convert a dozen radically different countries to Communism, a completely new political and moral system. In Iron Curtain, Pulitzer Prize-winning journalist Anne Applebaum describes how the Communist regimes of Eastern Europe were created and what daily life was like once they were complete. She draws on newly opened East European archives, interviews, and personal accounts translated for the first time to portray in devastating detail the dilemmas faced by millions of individuals trying to adjust to a way of life that challenged their every belief and took away everything they had accumulated. Today the Soviet Bloc is a lost civilization, one whose cruelty, paranoia, bizarre morality, and strange aesthetics Applebaum captures in the electrifying pages of Iron Curtain.
As the seat of Hitler's government, Berlin was the most frequently targeted city in Germany for Allied bombing campaigns during World War II. Air raids shelled celebrated monuments, left homes uninhabitable, and reduced much of the city to nothing but rubble. After the war's end, this apocalyptic landscape captured the imagination of artists, filmmakers, and writers, who used the ruins to engage with themes of alienation, disillusionment, and moral ambiguity. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe. Anderton reveals how rubble functioned as a literal, figurative, psychological, and sonic element by examining the resonances of trauma heard in the German musical repertoire after 1945. With detailed explorations of reconstituted orchestral ensembles, opera companies, and radio stations, as well as analyses of performances and compositions that were beyond the reach of the Allied occupiers, Anderton demonstrates how German musicians worked through, cleared away, or built over the debris and devastation of the war.
How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? The final book in a critically acclaimed trilogy that includes Different Drummers (OUP 1992) and The Twisted Muse (OUP 1997), this is a detailed study of the often interrelated careers of eight outstanding German composers who lived and worked amid the dictatorship of the Third Reich: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. Noted historian Michael H. Kater weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime -- and if so, whether this is evident in their music. He also considers the degrees to which the Nazis poetically, socially, economically, and aesthetically succeeded in their treatment of these individuals, whose lives and compositions represent diverse responses to totalitarianism.
The political control of music in the Third Reich has been analysed from several perspectives, and with ever increasing sophistication. However, music in Germany after 1945 has not received anything like the same treatment. Rather, there is an assumption that two separate musical cultures emerged in East and West alongside the division of Germany into two states with differing economic and political systems. There is a widely accepted view of music in West Germany as 'free', and in the East subject to party control. Toby Thacker challenges these assumptions, asking how and why music was controlled in Germany under Allied Occupation from 1945-1949, and in the early years of 'semi-sovereignty' between 1949 and 1955. The 're-education' of Germany after the Hitler years was a unique historical experiment and the place of music within this is explored here for the first time. While emphasizing political, economic and broader social structures that influenced the production and reception of different musical forms, the book is informed by a sense of human agency, and explores the role of salient individuals in the reconstruction of music in post-war Germany. The focus is not restricted to any one kind of music, but concentrates on those aspects of music, professional and amateur, live and recorded, which appeared to be the mostly highly charged politically to contemporaries. Particular attention is given to 'denazification' and to the introduction of international music. Thacker traces the development of a divide between Communist and liberal-democratic understandings of the place of music in society. The contested celebrations of the Bach Year in 1950 are used to highlight the role of music in the broader cultural confrontation between East and West. Thacker examines the ways in which central governments in East and West Germany sought to control and influence music through mechanisms of censorship and positive support. The book will therefore be of interest not only
In the years following World War II the health and well-being of the nation was of primary concern to the British government. The essays in this collection examine the relationship between health and stress in post-war Britain through a series of carefully connected case studies.