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Moeller conveys the complicated story of how West Germans recast the past after the Second World War. He demonstrates the 'selective remembering' that took place among West Germans during the postwar years: in particular, they remembered crimes committed against Germans.
This volume presents a comprehensive, multifaceted picture both of the destructive dynamic of the Nazi leadership and of the attitudes and behavior of ordinary Germans as the persecution of the Jews spiraled into total genocide.
Examining the consequences of the removal of some 15 million Germans from Central and Eastern Europe after World War II, this text explores the impact of this human influx on the political development of West Germany, where more than half of those expelled settled, and analyses the consequences for Germany's foreign policy throughout the Cold War.
Memory is a subject that recently has attracted many scholars and readers not only in the general historical sciences, but also in the special field of art history. However, in this book, in which more than 130 papers given at the XXIXth International Congress of the History of Art (Amsterdam) 1996 have been compiled, Memory is also juxtaposed to its counterpart, Oblivion, thus generating extra excitement in the exchange of ideas. The papers are presented in eleven sections, each of which is devoted to a different aspect of memory and oblivion, ranging from purely material aspects of preservation, to social phenomena with regard to art collecting, from the memory of the art historian to workshop practices, from art in antiquity, to the newest media, from Buddhist iconography to the Berlin Wall. The book addresses readers in the field of history, history of art and psychology.
This book analyzes postwar literary works on large area bombings of German cities both in the context of trauma theory and questions of guilt and shame about Germany's Nazi past, embedding the recent debate surrounding the air war of World War II and its influence on German culture in a broader historical, societal, and psychological context.
What does the unification of Germany really mean? In their stimulating exploration of that question, Andrei S. Markovits and Simon Reich sketch diametrically different interpretations than are frequently offered by commentators. One is that Germany, well aware of the Holocaust, has been 'Europeanized' and is now prepared to serve as the capitalist and democratic locomotive that powers Europe. The other is that the proclivities behind Auschwitz have been suppressed rather than obliterated from the German psyche. Germany's liberal democracy was imposed by the allied victors, according to this view, and will one day dissolve, revealing the old expansionist tendencies to try to 'Germanize' all of Europe. Markovits and Reich argue that benign contemporary assessments of Germany's postwar democracy, combined with admiration for the country's economic achievements, contribute to German influence far greater than military might was able to achieve. Yet, at the same time, some Germans have internalized liberal and pacifist principles and now see their nation as powerless, simply a larger Switzerland. As a result, while the Germans have enormous influence and latitude, they have not taken responsibility for leadership. The prime reason for this gap beween ideology and structure, Markovits and Reich suggest, lies in the politics of collective memory.
The re-emergence of the issue of wartime suffering to the fore of German public discourse represents the greatest shift in German memory culture since the Historikerstreit of the 1980s. The (international) attention and debates triggered by, for example, W.G. Sebald’s Luftkrieg und Literatur, Günter Grass’s Im Krebsgang, Jörg Friedrich’s Der Brand testify to a change in focus away from the victims of National Socialism to the traumatic experience of the ‘perpetrator collective’ and its legacies. The volume brings together German, English and Israeli literary and film scholars and historians addressing issues surrounding the representation of German wartime suffering from the immediate post-war period to the present in literature, film and public commemorative discourse. Split into four sections, the volume discusses the representation of Germans as victims in post-war literature and film, the current memory politics of the Bund der Vertriebenen, the public commemoration of the air raids on Hamburg and Dresden and their representation in film, photography, historiography and literature, the impact and reception of W.G. Sebald’s Luftkrieg und Literatur, the representation of flight and expulsion in contemporary writing, the problem of empathy in representations of Germans as victims and the representation of suffering and National Socialism in Oliver Hirschbiegel’s film Der Untergang.