Suchergebnisse

""What are we to make of those cultural figures, many with significant international reputations, who tried to find accommodation with the Nazi regime?" Jonathan Petropoulos asks in this exploration of some of the most acute moral questions of the Third Reich. In his nuanced analysis of prominent German artists, architects, composers, film directors, painters, and writers who rejected exile, choosing instead to stay during Germany's darkest period, Petropoulos shows how individuals variously dealt with the regime's public opposition to modern art. His findings explode the myth that all modern artists were anti-Nazi and all Nazis anti-modernist. Artists Under Hitler closely examines cases of artists who failed in their attempts to find accommodation with the Nazi regime (Walter Gropius, Paul Hindemith, Gottfried Benn, Ernst Barlach, Emil Nolde) as well as others whose desire for official acceptance was realized (Richard Strauss, Gustaf Gründgens, Leni Riefenstahl, Arno Breker, Albert Speer). Collectively these ten figures illuminate the complex cultural history of Nazi Germany, while individually they provide haunting portraits of people facing excruciating choices and grave moral questions"--

The interconnectedness of the nobility: strategies to preserve privilege through the Great War -- The Princes Von Hessen during the Weimar Republic: tribulations, the high life, and Fascist flirtations -- Nazi high society: making Hitler "Salonfähig" and helping the Nazis to power -- A place in the Reich: princely careers in the Nazi state -- Roles in an increasingly radical regime -- Miscalculation and misfortune -- Postwar justice: denazification and (partial) dispossession -- Rebuilding a life: Schloss Fasanerie, financial viability, and burdens of the past -- Understanding German princes in the twentieth century.

The link between Hitler's Third Reich and European royalty has gone largely unexplored due to the secrecy surrounding royal families. Now, in Royals and the Reich, Jonathan Petropoulos uses unprecedented access to royal archives to tell the fascinating story of the Princes of Hesse and the important role they played in the Nazi regime. Princes Philipp and Christoph von Hessen-Kassel, great-grandsons of Queen Victoria of England, had been humiliated by defeat in WWI and, like much of the German aristocracy, feared the social unrest wrought by the ineffectual Weimar Republic.

This article discusses art dealers who trafficked in looted art during the Third Reich and how they re-established networks and continued their trade in the postwar period. I argue that these dealers worked within a series of overlapping networks. A primary network was centered in Munich, with dealers such as Dr. Bruno Lohse (Göring's art agent in Paris during the war); Maria Almas Dietrich, Karl Haberstock, Walter Andreas Hofer, and Adolf Wüster. These individuals worked closely with colleagues in Austria, Switzerland, and Liechtenstein (states contiguous with Bavaria) in the postwar years. Many of the individuals in outer appendages of the networks had not been complicit in the Nazis' plundering program, yet they trafficked in looted works and formed dealer networks that extended to Paris, London, and New York. Both the recently discovered Gurlitt cache – over 1400 pictures located in Munich, Salzburg, and Kornwestheim – and the annotated Weinmüller auction catalogues help illuminate aspects of these networks. Art dealers played a key role in the looting operations during the Third Reich and in the transfer of non-restituted objects in the postwar period. The current generation of the profession may be the key to advancing our understanding of a still incomplete history.

Why German cultural studies? -- What is German cultural studies? -- Who practices German cultural studies? -- What was "German" in the past? -- What is "German" now? -- How do we mediate the German case to the public? -- Teaching German cultural studies -- Tools.