Culture in Dark Times

Informationen zum Autor Jost Hermand is Vilas Professor Emeritus at the University of Wisconsin, Madison and Honorary Professor at the Humboldt University in Berlin. He has been visiting professor at universities across the U.S. and Germany, is a fellow of the Vienna Academy, member of the Saxon Academy in Leipzig, and holds an honorary doctorate from the University of Kassel. Klappentext BETWEEN 1933 AND 1945 MEMBERS OF THREE GROUPS-THE Nazi fascists, Inner Emigration, and Exiles-fought with equal fervor over who could definitively claim to represent the authentically "great German culture," as it was culture that imparted real value to both the state and the individual. But when authorities made pronouncements about "culture" were they really talking about high art? This book analyzes the highly complex interconnections among the cultural-political concepts of these various ideological groups and asks why the most artistically ambitious art forms were viewed as politically important by all cultured (or even semi-cultured) Germans in the period from 1933 to 1945, with their ownership the object of a bitter struggle between key figures in the Nazi fascist regime, representatives of Inner Emigration, and Germans driven out of the Third Reich. Jost Hermand is Vilas Professor Emeritus at the University of Wisconsin, Madison and Honorary Professor at the Humboldt University in Berlin. He has been visiting professor at universities across the U.S. and Germany, is a fellow of the Vienna Academy, member of the Saxon Academy in Leipzig, and holds an honorary doctorate from the University of Kassel. Zusammenfassung This book analyzes the highly complex interconnections among the cultural-political concepts of various ideological groups and asks why the most artistically ambitious art forms were viewed as politically important by all cultured (or even semi-cultured) Germans in the period from 1933 to 1945... Inhaltsverzeichnis Preface Chapter 1. Three Claims to Cultural Representation Part I: Nazi Fascism Chapter 2. Cultural-Political Preconditions Chapter 3. Enemy Stereotypes Chapter 4. Stated Objectives Chapter 5. The Ideal of an « Eternally German » Culture Chapter 6. Approaches to Practical Implementation Chapter 7. Consequences for the Arts Architecture Painting and Sculpture Music Literature Theater Radio, Film, and the Press Chapter 8. Class-Specific Successes of National Socialist Cultural Policies Part II: Inner Emigration Chapter 9. Between Aversion and Accommodation Chapter 10. Forms of Artistic Expression Literature Painting and Sculpture Music Part III: Exile Chapter 11. Fragmentation of the German Exile Community Chapter 12. Places of Refuge Chapter 13. Possibilities for an Effective Antifascism Chapter 14. Consequences for the Arts Literature Theater Film Painting, Graphic Art, and Photomontage Music Chapter 15. Visions of a "Liberated" Culture in Post-Fascist Germany Selected Bibliography ...

Autorentext
Jost Hermand is Vilas Professor Emeritus at the University of Wisconsin, Madison and Honorary Professor at the Humboldt University in Berlin. He has been visiting professor at universities across the U.S. and Germany, is a fellow of the Vienna Academy, member of the Saxon Academy in Leipzig, and holds an honorary doctorate from the University of Kassel.

Klappentext
BETWEEN 1933 AND 1945 MEMBERS OF THREE GROUPS-THE Nazi fascists, Inner Emigration, and Exiles-fought with equal fervor over who could definitively claim to represent the authentically "great German culture," as it was culture that imparted real value to both the state and the individual. But when authorities made pronouncements about "culture" were they really talking about high art? This book analyzes the highly complex interconnections among the cultural-political concepts of these various ideological groups and asks why the most artistically ambitious art forms were viewed as politically important by all cultured (or even semi-cultured) Germans in the period from 1933 to 1945, with their ownership the object of a bitter struggle between key figures in the Nazi fascist regime, representatives of Inner Emigration, and Germans driven out of the Third Reich.


Jost Hermand is Vilas Professor Emeritus at the University of Wisconsin, Madison and Honorary Professor at the Humboldt University in Berlin. He has been visiting professor at universities across the U.S. and Germany, is a fellow of the Vienna Academy, member of the Saxon Academy in Leipzig, and holds an honorary doctorate from the University of Kassel.

Zusammenfassung
This book analyzes the highly complex interconnections among the cultural-political concepts of various ideological groups and asks why the most artistically ambitious art forms were viewed as politically important by all cultured (or even semi-cultured) Germans in the period from 1933 to 1945...

Inhalt
Preface Chapter 1. Three Claims to Cultural Representation Part I: Nazi Fascism Chapter 2. Cultural-Political Preconditions
Chapter 3. Enemy Stereotypes
Chapter 4. Stated Objectives
Chapter 5. The Ideal of an « Eternally German » Culture
Chapter 6. Approaches to Practical Implementation Chapter 7. Consequences for the Arts Architecture Painting and Sculpture Music Literature Theater Radio, Film, and the Press Chapter 8. Class-Specific Successes of National Socialist Cultural Policies Part II: Inner Emigration Chapter 9. Between Aversion and Accommodation Chapter 10. Forms of Artistic Expression Literature Painting and Sculpture Music Part III: Exile Chapter 11. Fragmentation of the German Exile Community
Chapter 12. Places of Refuge
Chapter 13. Possibilities for an Effective Antifascism Chapter 14. Consequences for the Arts Literature Theater Film Painting, Graphic Art, and Photomontage Music Chapter 15. Visions of a "Liberated" Culture in Post-Fascist Germany Selected Bibliography

#	Onlineshop	Preis CHF	Versand CHF	Total CHF
1	Seller	0.00	0.00	0.00