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American culture has been one of the most controversial exports of the United States: greeted with enthusiasm by some, with hostility by others. Yet, few societies escape its influence. However, not all changes should be interpreted simply as "Americanization." The shaping of the postwar world has been much more complex than this term implies as is shown in this volume that explores the links between Americanization and modernity in Western Europe and Japan. In considering the impact of products and images ranging from movies and music to fashion and architecture, a multi-disciplinary group of contributors asks how American culture has been employed internationally in the articulation of postwar identities - be they national or subnational,socially sanctioned or socially transgressive. Their essays on France, Italy, Germany and Japan move beyond the simple paradigms of colonization and democratic modernization, yet retain a sensitivity to the asymmetries in the postwar power relationships between these countries and the United States. An extensive introduction historically locates changing interpretations of American influences abroad and suggests the problems and promises of "Americanization" as an analytical tool. Its comparative focus and interdisciplinary scope will appeal to a wide range of students and scholars of cold war and post-cold war history.
American culture has been one of the most controversial exports of the United States: greeted with enthusiasm by some, with hostility by others. Yet, few societies escape its influence. However, not all changes should be interpreted simply as "Americanization." The shaping of the postwar world has been much more complex than this term implies as is shown in this volume that explores the links between Americanization and modernity in Western Europe and Japan. In considering the impact of products and images ranging from movies and music to fashion and architecture, a multi-disciplinary group of contributors asks how American culture has been employed internationally in the articulation of postwar identities - be they national or subnational, socially sanctioned or socially transgressive. Their essays on France, Italy, Germany and Japan move beyond the simple paradigms of colonization and democratic modernization, yet retain a sensitivity to the asymmetries in the postwar power relationships between these countries and the United States. An extensive introduction historically locates changing interpretations of American influences abroad and suggests the problems and promises of "Americanization" as an analytical tool. Its comparative focus and interdisciplinary scope will appeal to a wide range of students and scholars of cold war and post-cold war history.
Historians of the stabilization phase of Weimar Germany tend to identify German recovery after the First World War with the struggle to revise reparations and control hyperinflation. Focusing primarily on economic aspects is not sufficient, however, the author argues; the financial burden of recovery was only one of several major causes of reaction against the republic. Drawing on material from major German cities, he is able to trace the emergence of strong local activism and of comprehensive and functional policies of recovery on the municipal level which enjoyed broad political backing. Ironically, these same programs that created consensus also contained the potential for destabilization: they unleashed intense debate over the needs of the consumersand the purpose and extent of public spending, and with that of government intervention more generally, which accelerated the fragmentation of bourgeois politics, leading to the final destruction of the Weimar Republic.
This text explores how cultural life in the former German Democratic Republic (GDR) was strictly controlled by the ruling party, the SED, through attempts to dictate the way people spent their free time. It shows how people's cultural life in the GDR developed a dynamic of its own.
The account of the author’s life, spent between Europe and America, is at the same time an account of his generation, one that came of age between the two World Wars. Recalling not only circumstances of his own situation but that of his friends, the author shows how this generation faced a reality that seemed fragmented, and in their shared thirst for knowledge and commitment to ideas they searched for cohesiveness among the glittering, holistic ideologies and movements of the twenties and thirties. The author’s scholarly work on the German Resistance to Hitler revealed to him those who maintained dignity and courage in times of peril and despair, which became for him a life’s pursuit. This work is unique in its thorough inclusion of the postwar decades and its perspective from a historian eager to rescue the “other” Germany—the Germany of the righteous rather than the Holocaust murderers.
In 1949 Bavaria was not only the largest and best known but also the poorest, most agricultural, and most industrially backward region of Germany. It was further its most politically conservative region. The largest political party in Bavaria was the Christian Social Union (CSU), an extremely conservative, even reactionary, regional party. In the ensuing twenty years, the leaders of the CSU's small liberal wing (in particular Franz Josef Strauss, long-time party chair and the most colorful and polarizing politician in postwar Germany) broke with the anti-industrial traditions of Bavarian Catholic politics and made themselves useful to industry. With tactical brilliance the politicians pursued their individual political ambitions, rather than a coherent modernization strategy, which, by 1969, had turned Bavaria into a prosperous Land, the center of Germany's new aerospace, defense, and energy industries, with a disproportionate share of its research institutes.
"This volume explores the tension between mass death and individual loss by linking long-term patterns of mourning, burial, and grief with the short-term cataclysmic violence unleashed by two world wars. How various "cultures of death" shaped the broader historical relationship between the living and the dead in modern Germany is the main concern of this book. It contributes to a history of death in Germany that does not begin and end with the Third Reich."--BOOK JACKET.
By looking at state-sponsored memory projects, such as memorials, commemorations, and historical museums, this book reveals that the East German communist regime obsessively monitored and attempted to control public representations of the past to legitimize its rule. It demonstrates that the regime’s approach to memory politics was not stagnant, but rather evolved over time to meet different demands and potential threats to its legitimacy. Ultimately the party found it increasingly difficult to control the public portrayal of the past, and some dissidents were able to turn the party’s memory politics against the state to challenge its claims of moral authority.
Aby Warburg (1866-1929), founder of the Warburg Institute, was one of the most influential cultural historians of the twentieth century. Focusing on the period 1896-1918, this is the first in-depth, book-length study of his response to German political, social and cultural modernism. It analyses Warburg's response to the effects of these phenomena through a study of his involvement with the creation of some of the most important public artworks in Germany. Using a wide array of archival sources, including many of his unpublished working papers and much of his correspondence, the author demonstrates that Warburg's thinking on contemporary art was the product of two important influences: his engagement with Hamburg's civic affairs and his affinity with influential reform movements seeking a greater role for the middle classes in the political, social and cultural leadership of the nation. Thus a lively picture of Hamburg's cultural life emerges as it responded to artistic modernism, animated by private initiative and public discourse, and charged with debate.
In the context of a shifting domestic and international status quo that was evolving in the decades following World War II, French audiences used jazz as a means of negotiating a wide range of issues that were pressing to them and to their fellow citizens. Despite the fact that jazz was fundamentally linked to the multicultural through its origins in the hands of African-American musicians, happenings within the French jazz public reflected much about France’s postwar society. In the minds of many, jazz was connected to youth culture, but instead of challenging traditional gender expectations, the music tended to reinforce long-held stereotypes. French critics, musicians, and fans contended with the reality of American superpower strength and often strove to elevate their own country’s stature in relation to the United States by finding fault with American consumer society and foreign policy aims. Jazz audiences used this music to condemn American racism and to support the American civil rights movement, expressing strong reservations about the American way of life. French musicians lobbied to create professional opportunities for themselves, and some went so far as to create a union that endorsed preferential treatment for French nationals. As France became more ethnically and religiously diverse due immigration from Africa, Asia, and the Caribbean, French jazz critics and fans noted the insidious appearance of racism in their own country and had to contend with how their own citizens would address the changing demographics of the nation, even if they continued to insist that racism was more prevalent in the United States. As independence movements brought an end to the French empire, jazz enthusiasts from both former colonies and France had to reenvision their relationship to jazz and to the music’s international audiences. In these postwar decades, the French were working to preserve a distinct national identity in the face of weakened global authority, most forcefully represented by decolonization and American hegemony. Through this originally African American music, French listeners, commentators, and musicians participated in a process that both challenged and reinforced ideas about their own culture and nation.