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Since publication of the first edition in 1982, David Williamson's The Third Reich has become established as one of the most successful books in the Seminar Studies in History series. The author draws on up-to-date scholarship to guide students through the maze of historical controversies concerning the Third Reich and to offer a comprehensive analysis of the key issues of the period. In a clear and accessible manner, the new edition provides chapters that:introduce readers to the historiography of the Third Reichanalyse the reasons for Hitler's rise to powerlook at how the Nazi regime conso

No documentation of National Socialism can be undertaken without the explicit recognition that the ""German Renaissance"" promised by the Nazis culminated in unprecedented horror-World War II and the genocide of European Jewry. With The Third Reich Sourcebook, editors Anson Rabinbach and Sander L. Gilman present a comprehensive collection of newly translated documents drawn from wide-ranging primary sources, documenting both the official and unofficial cultures of National Socialist Germany from its inception to its defeat and collapse in 1945. Framed with introductions and annotations by the

Music is one of the most powerful entities in the universe. It has the ability to speak to the deepest part of the human psyche. Because of this ability, music can be used in countless ways to bring about the desired effects of anyone from a televangelist attempting to elicit an emotional response from an audience to a business professional endeavoring to sell more of his products to a dictator scheming to change the course of history. As has been clearly demonstrated throughout the history of civilization, music has been a driving force in the development of culture, society, and religion, and this was no exception in Adolf Hitler's Third Reich. Music had a direct impact on the character and beliefs of Hitler himself, and those beliefs and views affected the policies that he implemented during his reign of horror. His beliefs in the greatness and purity of the Aryan race were directly displayed in his policies regarding art and entertainment. The government of the Third Reich implemented strict policies on 'acceptable' music, composers and performers, and they also made extensive use of music in the media, public life of the individual citizen, and the Hitler Youth movement. Music played a prominent role in the rise of Nazi politics and culture in Germany and was used extensively by the party in propaganda and indoctrination of the entire country.

Music played a prominent role in the rise of Nazi culture in Germany and was used extensively in propaganda and indoctrination of the entire country; the Nazi party brought music and politics together and sought to shape their ideal culture by elevating their ideas of pure music to the highest status and outlawing what they defined as inferior. This study addresses Hitler's specific views on music and explores several of the factors and individuals that contributed to his views. His views were directly inferred into the core of the Nazi party. Hitler himself was an artist and felt that art and music were a vital part of life and culture. He was deeply influenced by Wagner's views as well as his music, and Hitler saw many parallels between Wagner's conception of Germany and the stories which the composer used in his operas. This study also explores how the Nazis used music to spread their propaganda, what was considered to be "pure" music, and the impact which the idea of "pure" art had on Jewish musicians and composers. The party made significant use of music to strengthen their political events and indoctrinate the individual citizen. Not only was the actual music used to portray Nazi ideology, but Nazi doctrine played a significant role in the fate of Jewish composers and performers. Many Jewish musicians lost their jobs and found themselves banned from mainstream cultural and musical organizations. Arnold Schoenberg is the prime example of the effect of the Nazi ideology on the music and perception of a Jewish composer, while Wagner is the perfect example of the response to a composer who met the Nazi criteria of pure Aryanism. This study attempts to examine these historical facts in an effort to promote a better understanding of the cultural aspects of the Third Reich in the hopes that the informed individual will ensure that such views will never again permeate government and society.

"Women in the Third Reich takes a fresh and critical look at the work of recent experts on the social history of the Third Reich and, in particular, highlights the role of women as actors on the historical stage." "Included is a critical discussion of the legacy of the Nazi regime for women and the women's movement in post-1945 Germany." "A variety of previously unavailable primary sources (including party records, newspaper articles and women's testimonies and memories) are used, making Women in the Third Reich essential reading for anyone interested in the social history of Nazi and post-war Germany."--BOOK JACKET