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Full Description
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.
Contents
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
