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Fractured Biographies
A physical chemist (Fritz Haber), a photographer (Josef Breitenbach), a cabaret artist (Georg Kreisler), two writers (Otto Alscher and Albin Stuebs), a pioneering scholar in Irish-German studies (John Hennig) and a Celtic philologist (Julius Pokorny) are the focus of this volume. What they have in common is a biography fractured by the Nazis’ rise to power in 1933. Six were forced into exile; the life of the seventh, the Romanian-German writer Otto Alscher, shows that even the biography of a Nazi sympathiser could be dislocated by the years of dictatorship. As the previously unpublished letters which are reproduced here show, Fritz Haber, a Nobel prize winner, spent ‘his last lonely mont...
Socialist Modern
This book explores the ways in which modernity shaped the relationship between socialist state and society in East Germany. The reunification of Germany in 1989 may have put an end to the experiment in East German communism, but its historical assessment is far from over. Where most of the literature over the past two decades has been driven by the desire to uncover the relationship between power and resistance, complicity and consent, more recent scholarship has tended to concentrate on the everyday history of East German citizens. experience of life in East Germany, with a particular view toward addressing the question: what did modernity mean for East German state and society? As such, th...
The Visual Arts in Germany, 1890-1937
This work provides an introduction to the visual arts in Germany from the early years of German unification to World War II. The study is an analysis of painting, sculpture, graphic art, design, film and photography in relation to a wider set of cultural and social issues that were specific to German modernism. It concentrates on the ways in which the production and reception of art interacted with and was affected by responses to unification, conflict between left and right political factions, gender concerns, contemporary philosophical and religious ideas, the growth of cities, and the increasing important of mass culture.
Art, Culture, and Media Under the Third Reich
Art, Culture, and Media Under the Third Reich explores the ways in which the Nazis used art and media to portray their country as the champion of Kultur and civilization. Rather than focusing strictly on the role of the arts in state-supported propaganda, this volume contributes to Holocaust studies by revealing how multiple domains of cultural activity served to conceptually dehumanize Jews and other groups. Contributors address nearly every facet of the arts and mass media under the Third Reich—efforts to define degenerate music and art; the promotion of race hatred through film and public assemblies; views of the racially ideal garden and landscape; race as portrayed in popular literatu...
Identity and Image
This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of t...
Work and Play
Publisher description
The Arts in Nazi Germany
"Culture and the arts played a central role in the ideology and propaganda of National Socialism from the early years of the movement until the last months of the Third Reich in 1945 ... This volume's essays explore these and other aspects of the arts and cultural life under National Socialism ..."--Cover.
The Book of Hours and the Body
This book explores our corporeal connections to the past by considering what three theoretical approaches - somaesthetics, posthumanism, and the uncanny - may reveal about both premodern and postmodern terms of embodiment. It takes as its point of departure a selection of fifteenth-century northern European Books of Hours - evocative objects designed at once to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, and imaginative pages not only enables a window into relationships among bodies, images, and things in the past but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture. In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body.
‘I didn’t want to float; I wanted to belong to something’
This volume fills an important gap in research on the refugees from Nazism who settled in Britain, by giving a full and wide-ranging account of the organizations that they established. The contributions cover these organizations chronologically, from those that did not outlast the war to those still active today, and in terms of their function, as cultural or religious institutions, as historical resources for the study of Nazism and the refugees, or as all-purpose representative refugee associations. Any scholar or student working in this field needs to have an understanding of the organizations that were and are so characteristic of the refugee community.
Art of Suppression
One thinks of the arts in Nazi Germany as struggling in an oppressive system, yet evidence has repeatedly shown that conditions were far more favourable than we assume. Potter conducts a historiography of Nazi arts, examining writings from the last seven decades to demonstrate how historical, moral, and intellectual conditions have sustained a distorted characterization of cultural life in the Third Reich. Showing how past research has revealed the decentralized nature of Nazi arts policies, Potter argues that the insulation of academic disciplines allowed outdated presumptions about Nazi micromanagement of the arts to persist.
