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While Mein Kampf is about Adolf Hitler's struggle, Unser Kampf focuses on the victims' efforts to come to terms with the Holocaust -- the genuine struggle survivors face, as they fight to understand what it means to have outlasted the Shoah , and the struggle endured by those who didn't live through the Holocaust but contend, daily, with its horrendous legacy. In the fifty poems of Unser Kampf, Louis Daniel Brodsky bravely portrays these victims of the Nazis' genocidal fury, in all their confusion, desperation, and poignancy, with whom every one of us can identify and empathize, making it clear that their struggle is indeed ours.
Unser Kampf was inspired by true stories of life early in Hitler’s Germany, which were told to author Stephen W. Adams by a friend who was very young when her family and their friends lived them. Fritz and Val are friends. Sigi and Trina are sisters. With their love of family, country, freedom, common sense human rights, and Christian values these young people soon find that they have opened the door to mystery, love intrigue, hope, danger, opportunity, and even the chance to help others. Through exploring the references noted in the book, you will undoubtedly recognize similarities to today and ask yourself, “What would I have done then? “and “What can I do now?”
The unpublished followup to Hitler's autobiography never published during the dictator's lifetime includes details of his vision for a foreign policy based on continual aggression that would inevitably result in a confrontation with the United States, which he saw as a major stumbling block to his plans.
Were those who worked in the theatres of the Third Reich willing participants in the Nazi propaganda machine or artists independent of official ideology? To what extent did composers such as Richard Strauss and Carl Orff follow Nazi dogma? How did famous directors such as Gustaf Grüdgens and Jürgen Fehling react to the new regime? Why were Shakespeare and George Bernard Shaw among the most performed dramatists of the time? And why did the Nazis sanction Jewish theatre? This is the first book in English about theater in the entire Nazi period. The book is based on contemporary press reports, research in German archives, and interviews with surviving playwrights, actors, and musicians.
The book is a new, revisionist account of Sixties protest movements in West Germany. It challenges established narratives centring male intellectuals by foregrounding families, private lives, women, and old people. Worked from a wealth of new archival sources, the book argues that '1968' was just as much about gender conflict as it was about generational conflict--even if the former was often erased from public memory. The narrative follows three generations of Germans living in the provincial town of Bonn through the turbulent years of the late 1960s. It offers a genuine social history of the period, decentring the story of West Germany's 68 socially, geographically, and generationally. The five chapters cover the Shah of Iran's visit to Bonn and Berlin, the role of the Nazi past in framing generational differences, experiences of old people around '1968', the female dimension of the protests, and the sexual revolution. The book situates the West German case within the global and West European Sixties and engages with recent controversies on the role of female '68ers, the origins of new feminist movements, and the sexual revolution. Originally published in German in 2018 by C. H. Beck (titled Das andere Achtundsechzig: Gesellschaftsgeschichte einer Revolte, 978-3406719714), it has been translated into English by Rachel Ward.
In the past decade philosophers and political theorists have increasingly pondered the role of religion in a modern secular society, and of the possible value of religion as a resource for contemporary thinking. The global resurgence of a new religious politics – graphically symbolised by 9/11 - has added a new urgency to this project; how is religion to be integrated, and if necessary contested, in such a time? As this study shows, the desire to integrate religion into a ‘progressive’ politics is not new. Providing a comprehensive analysis of the Common Wealth movement, this work seeks to bring together for the first time the religious and political commitments of four of the leading thinkers in the movement, bringing to light the significance of the relationships between them. This study examines at four interwar British radicals – the philosopher John Macmurray, the novelist and sexual theorist Kenneth Ingram, the Science Fiction writer Olaf Stapledon, and the Liberal M.P. Richard Acland – and examines their attempts to develop a socialism that whilst defending the achievements of the secular age was also sensitive to the virtues of religious traditions. Thus it considers Macmurray’s attempt to draw on the seemingly antagonistic traditions of Marxism and Christianity, Ingram’s long struggle to develop a Christian response to ‘deviant’ sexual behaviour, Stapledon’s exploration of a non-Christian religious spirit, and Acland’s journey from liberal atheist to Christian socialist. It then follows the activities of all four in the radical political movement founded by Acland in the midst of the Second World War, Common Wealth, particularly focusing on the positions they took in the serious battles over the function of religion that convulsed the leadership of this body. This work will be of great interest to scholars of political theory, religious studies, social and political thought.
Through a close reading of novels by Ulrike Kolb, Irmtraud Morgner, Emine Sevgi Özdamar, Bernhard Schlink, Peter Schneider, and Uwe Timm, this book traces the cultural memory of the 1960s student movement in German fiction, revealing layers of remembering and forgetting that go beyond conventional boundaries of time and space. These novels engage this contestation by constructing a palimpsest of memories that reshape readers’ understanding of the 1960s with respect to the end of the Cold War, the legacy of the Third Reich, and the Holocaust. Topographically, these novels refute assertions that East Germans were isolated from the political upheaval that took place in the late 1960s and 1970s. Through their aesthetic appropriations and subversions, these multicultural contributions challenge conventional understandings of German identity and at the same time lay down claims of belonging within a German society that is more openly diverse than ever before.