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Arminius the Liberator deals with the complex modern reception of Arminius the Cheruscan, commonly called Hermann. Arminius inflicted one of their most devastating defeats on the Romans in the year 9 A.D. by annihilating three legions under the command of Quintilius Varus in the Battle of the Teutoburg Forest, as it is generally if inaccurately called. This book traces the origin of the Arminius myth in antiquity and its political, artistic, and popular developments since the nineteenth century. The book's central themes are the nationalist use and abuse of history and historical myth in Germany, especially during the Weimar Republic and National Socialism, the reactions to a discredited ideology involving Arminius in post-war Europe, and revivals of his myth in the United States. Special emphasis is on the representation of Arminius in visual media since the 1960s: from painting and theater to cinema, television, and computer animation.
In this study of the criticism of the most idiosyncratic voice of the German Sturm und Drang, the authors try to explain why critics have so often failed to come to terms with Lenz's refusal to encourage the middle class and to cater to its tastes. While many of the first reviewers found Lenz's work liberating, after his death the consensus of critics - when they gave him any attention at all - was that his works were second-rate or worse, and Goethe's negative comments were often used to support this verdict. This volume traces Lenz's reception from the earliest reviews through to New Criticism, Lenz's "rediscovery," and the changes in focus after the 1992 Lenz bicentennial.
Jay W. Baird demonstrates how poets and writers responded enthusiastically to Hitler's summons to artists to create a cultural revolution commensurate with the political radicalism of the new state.
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.
although Hans Urs von Balthasar’s earliest publication is from 1925, and although he was a mature forty years old in 1945, there is a deficiency in the secondary literature regarding his early literature, its historical backgrounds and non-theological sources. In this study Balthasar is presented in relation to the various contexts in which he was both drawing upon and responding to from the 1920s to the 1940s. The major contexts analyzed here are the broad central European Germanophone cultural context, the Germanophone Catholic cultural context, the German studies context, the French Catholic renewal literature and theology of the early 20th-century, the popular journal Stimmen der Zeit, Neo-Scholasticism, early 20th-century French Catholic culture, Swiss fascism, National Socialist literature, the Renouveau Catholique, the George-Kreis and many others. Balthasar’s early anti-Semitism and some of the problematic aspects of his early work are also addressed in this study. His understanding of the modern age, his relationships with some key intellectual figures and his later reflections on his early work are also introduced. The book offers a comprehensive study of Balthasar’s early intellectual development.
The Nazi Worker is the second in a three-volume project on the figure of the worker and, by extension, questions of class in twentieth-century German culture. It is based on extensive research in the archives and informed by recent debates on the politics of emotion, the end of class, and the future of work. In seven chapters, the book reconstructs the processes by which National Socialism appropriated aspects of working-class culture and socialist politics and translated class-based identifications into the racialized communitarianism of Volksgemeinschaft (folk community). Arbeitertum (workerdom), the operative term within these processes of appropriation, not only established a discursive framework for integrating proletarian legacies into the cult of the German worker. As a social imaginary, workerdom also modelled the work-related emotions (e.g., joy, pride) essential to the culture of work promoted by the German Labor Front. The contribution of images and stories in creating these new social imaginaries will be reconstructed through highly contextualized readings of the debates about workerdom, Nazi movement novels, worker’s poetry, workers’ sculpture, as well as industrial painting, photography, film, and design.
This book is the first survey in English of literature and film in Nazi Germany. It treats not only works sympathetic to National Socialism, but also works of the so-called Inner Emigration, of the resistance, and those written in prisons and concentration camps. Much of this literature is not easily accessible in German, and not available at all in English translation. Historical and ideological context is provided in chapters covering influential works of the time such as Alfred Rosenberg's The Myth of the Twentieth Century and Houston Stewart Chamberlain's The Foundations of the Nineteenth Century. Schoeps also analyzes Nazi cultural policies, fascist histories of literature, and the role of German studies and Germanists in the Nazi movement. A major section of the book is devoted to film, then a relatively new medium of communication whose propaganda value was clearly recognized by Goebbels, the minister for propaganda and president of the Reich's Chamber of Culture. One of the most interesting areas of research in recent years is the relationship between Hitler's cultural commissars, in particular Goebbels, and the literature and film production of the Nazi years. This book is based on the revised and expanded second German edition, Literatur im Dritten Reich (1933-1945), but has again been revised and expanded, especially the chapter on film and Nazi policies toward the film industry. The chapter on cultural policies has also been expanded to include Himmler's efforts to meddle in this area. New also are sections dealing with Jewish entertainers in concentration camps (for example, Kurt Gerron) and activities of the Jewish Cultural League. Karl-Heinz Schoeps is professor of German at the University of Illinois at Urbana-Champaign.
The Second World War went beyond previous military conflicts. It was not only about specific geographical gains or economic goals, but also about the brutal and lasting reshaping of Europe as a whole. Theatre in Europe Under German Occupation explores the part that theatre played in the Nazi war effort. Using a case-study approach, it illustrates the crucial and heavily subsidised role of theatre as a cultural extension of the military machine, key to Nazi Germany’s total war doctrine. Covering theatres in Oslo, Riga, Lille, Lodz, Krakau, Warsaw, Prague, The Hague and Kiev, Anselm Heinrich looks at the history and context of their operation; the wider political, cultural and propagandistic implications in view of their function in wartime; and their legacies. Theatre in Europe Under German Occupation focuses for the first time on Nazi Germany’s attempts to control and shape the cultural sector in occupied territories, shedding new light on the importance of theatre for the regime’s military and political goals.
Between 1933 and 1945, National Socialists enacted a focused effort to propagandize children’s literature by distorting existing German values and traditions with the aim of creating a homogenous “folk community.” A vast censorship committee in Berlin oversaw the publication, revision, and distribution of books and textbooks for young readers, exercising its control over library and bookstore content as well as over new manuscripts, so as to redirect the cultural consumption of the nation’s children. In particular, the Nazis emphasized Nordic myths and legends with a focus on the fighting spirit of the saga heroes, their community loyalty, and a fierce spirit of revenge—elements that were then applied to the concepts of loyalty to and sacrifice for the Führer and the fatherland. They also tolerated select popular series, even though these were meant to be replaced by modern Hitler Youth camping stories. In this important book, first published in 1984 and now back in print, Christa Kamenetsky demonstrates how Nazis used children’s literature to selectively shape a “Nordic Germanic” worldview that was intended to strengthen the German folk community, the Führer, and the fatherland by imposing a racial perspective on mankind. Their efforts corroded the last remnants of the Weimar Republic’s liberal education, while promoting an enthusiastic following for Hitler.