Relics of the Reich: the Buildings the Nazis Left Behind Free Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Relics of the Reich: the Buildings the Nazis Left Behind Free Ebook FREERELICS OF THE REICH: THE BUILDINGS THE NAZIS LEFT BEHIND EBOOK Colin Philpott | 240 pages | 23 Jun 2016 | Pen & Sword Books Ltd | 9781473844247 | English | South Yorkshire, United Kingdom Home - Relics of the Reich Part 1 - Introduction. The Bavarian capital of Munich held a special place in the Nazi pantheon Throughout the Third Reich period, Munich remained the spiritual capital of the Nazi movement, with headquarters buildings, museums to house the forms of artworks approved by Adolf Hitler, and shrines to the attempted Nazi putsch in November These sites were used as the scenes of lavish annual memorial ceremonies, and swearing-in ceremonies for Relics of the Reich: The Buildings the Nazis Left Behind SS members. MapQuest map link to Munich. The Munich coat of arms during the Third Reich period. Introduction - foundation of the Nazi Party in Munich, and sites associated with the early history of the Party and Adolf Hitler in Munich this page. Haus der Deutschen Kunst art museum 5. Other Third Reich buildings and sites in Munich, 6. Dachau Concentration Camp site. The Party had its offices here from 1 January until 31 October On the left is the location of Hitler's first office as Nazi Party leader. Later, the wall displayed eleven portraits and a large painting of Hitler. This building at one time housed the photographic studio of Heinrich Hoffmann, official photographer of Hitler. The entrance to the Party offices was in the rear courtyard seen on the right above. Julius Streicher rests his chin on his hands in front of the door. This came to be called simply the "Braunes Haus. The images at the bottom show the Braunes Haus decorated on 15 October left and in right. On the left, another view of the flag display. On the right, the Senatorensaalor Senators Hall. Nazi Party leadership was supposed to meet here, but in reality the hall was rarely used. Hitler meets with SA men and other Relics of the Reich: The Buildings the Nazis Left Behind in the basement casino of the Braunes Haus. On the right, Hitler is seen leaving the Braunes Haus - Relics of the Reich: The Buildings the Nazis Left Behind the ornamental iron swastikas on the door. The Braunes Haus was bombed and burned out in At the end of the war the shell remained, with one of the Ehrentempel seen behind it in this view. Munich City Museum. In the basement was excavated, and several period relics were discovered. There was talk of using the basement rooms as part of a Documentation Center about Nazism in Munich, but the ruins were later reburied. In this entire area was re-excavated and the basement remains were removed for construction of the Documentation Center museum, which opened in The building was badly bombed during the war, and the fire-damaged Festsaal was rebuilt somewhat differently from its ss appearance, but the plaque was located in the open area between these windows along the street side of the hall the right side, as you walk in. Changes have been minimal, although the name is now Osteria Italiana, and it is one of the best Italian restaurants in Munich. Above, Hitler visits the Osteria Bavaria in Below, Hitler dines with a guest in Relics of the Reich: The Buildings the Nazis Left Behind Osteria in earlier times. Hitler's favorite seating areas were the back room on the right as you walk inRelics of the Reich: The Buildings the Nazis Left Behind a table facing the front windows. National Archives, RG The building remains almost identical to when Hitler lived there. In Hitler rented, and later purchased largely with donated fundsa luxury apartment at Prinzregentenplatz 16 eventually, the Nazi Party owned the entire building. The apartment was furnished with furniture and decorations designed by Gerdy Troost, widow of architect Paul Ludwig Troost. It was in this apartment that Hitler's niece Geli Raubal, whom some say was the only woman he ever loved, reportedly committed suicide in Hitler's apartment was on the second floor above the ground level third floor, in American usage. This floor now houses the regional Police headquarters, and is not open to the public. On the left, Eva Braun's living room, after the American occupation. On the right is the bedroom of Eva's sister Gretl, complete with framed portrait of Eva and signed portrait of Hitler. Life Magazine, 28 May Continue to Part 2, the Beer Hall Putsch of Back to the Third Reich in Ruins homepage. Views inside the Braunes Haus. Above, Hitler at his desk in his office, and a view showing the portrait of Frederick the Great on Hitler's wall. Below left, a bust of Dietrich Eckart and a plaque honoring the dead of the November putsch attempt. On the right below is the flag display, with a statue of Otto von Bismarck. The last reported location of the famous Blutfahne Blood Flag of the putsch was in the Braunes Haus. Hitler makes a commemorative speech in the Festsaal on 24 February ? The photo on the right appears to have been taken on the same date, although it appeared in an English edition of Hitler's book Mein Kampf that was published in Standing in the background, holding the Blutfahneis Jakob Grimminger. Under new management Below, GIs from the 45th Infantry Division tour the famous site. This was Hitler's residence from 26 May until he joined the army in August At left is an early view, and in the center is a Third Reich period view when the building bore a commemorative plaque I have read that this plaque still exists, in the building's basement. Hitler's room was on the upper floor, the room with the half-open window in the period views above. The view above reportedly took place around this fireplace in Hitler's office area. The view below took place in the adjoining living area, near the windows overlooking Prinzregentenplatz. Hitler waves to admirers in Prinzregentenplatz from one of the windows at the front of the apartment. National Archives, RG On the left, Hitler's office area in his Prinzregentenplatz apartment, after the American occupation in May On the right, the janitor Herr Schissler and his wife. The Relics of the Reich: The Buildings the Nazis Left Behind photo on the right shows war correspondent and photographer Lee Miller enjoying a bath in this tub in liberated Munich on 30 Aprilthe day Hitler committed suicide in Berlin. Lee Miller Archives. An air raid shelter with reinforced walls and metal bunker doors was installed in the basement of Hitler's apartment building. Hitler's mistress Eva Braun was provided with a small house in the fashionable Bogenhausen district, not too far from Hitler's Prinzregentenplatz apartment. Eva's younger sister Gretl also lived in the house. This house served as their primary residence when Hitler was at the front during the war, or otherwise not living in his home on the Obersalzberg. The period views seen here show the back of the house, which is not visible from the street. Foliage obscures much of the house view today. Thanks to Steve Whitehorn for this info and the photos at bottom. This page is divided into six main parts: 1. Reich - Wiktionary Das Regierungsviertel. Hitler's Bunker and Chancellery has its separate entry. Zetkin, who was Jewish, spent four decades as a Social Democrat and became an internationally recognised feminist, but after joined the Communist Party and denounced the Weimar Republic. The new authorities declared that the street leading from eastern Berlin to the Reichstag could not Relics of the Reich: The Buildings the Nazis Left Behind named after an opponent of parliamentary democracy as leftists and feminists organised marches in protest. Ladd Ghosts of Berlin. Wilhelmstrasse, site of the Third Reich's most important ministries and embassies. Apart from the Air Ministry, all the major public buildings along the Wilhelmstrasse were destroyed by Allied bombing during and early The Wilhelmstrasse as far south as the Zimmerstrasse was in the Soviet Zone of occupation, and apart from clearing the rubble from the street little was done to reconstruct the area until the founding of the Relics of the Reich: The Buildings the Nazis Left Behind in The communist DDR regime regarded the former government precinct as a relic of Prussian and Nazi militarism and imperialism, and had all the ruins of the government buildings demolished in the early s. In the late s there were almost no buildings at all along the Wilhelmstrasse from Unter den Linden to the Leipziger Strasse. In the s, apartment blocks were built along this section of the street. Relics of the Reich: The Buildings the Nazis Left Behind by Carl Vohl inthe building used to be the liaison office of the Prussian king and the kaiser to the government, housing the Privy Civil Cabinet of the Prussian king and German Emperor. From to the president of the Prussian Council of State and future West German chancellor Konrad Adenauer, used this as his apartment whilst serving as a Centre Party politician and chief mayor of Cologne. Upon taking power, this is where Hitler put Ribbentrop's office and the Nazis' liaison office, both under the authority of deputy Fuhrer Rudolf Hess who was made responsible for ensuring that all laws, statutes, regulations, promotions and so forth conformed to National Socialist ideology. Subsequently the building served as British embassy until its destruction in the Second World War. Originally this was the site of a palace built in and obtained by King Friedrich Wilhelm III of Prussia and had been the residence of the Hohenzollern princes until the revolution in It had been bombed during the war, after which the office became the Federal Ministry for Food, Agriculture and Forests under the communist authorities.
Recommended publications
  • German History Reflected
    The Detlev Rohwedder Building German history reflected GFE = 1/2 Formathöhe The Detlev Rohwedder Building German history reflected Contents 3 Introduction 44 Reunification and Change 46 The euphoria of unity 4 The Reich Aviation Ministry 48 A tainted place 50 The Treuhandanstalt 6 Inception 53 The architecture of reunification 10 The nerve centre of power 56 In conversation with 14 Courage to resist: the Rote Kapelle Hans-Michael Meyer-Sebastian 18 Architecture under the Nazis 58 The Federal Ministry of Finance 22 The House of Ministries 60 A living place today 24 The changing face of a colossus 64 Experiencing and creating history 28 The government clashes with the people 66 How do you feel about working in this building? 32 Socialist aspirations meet social reality 69 A stroll along Wilhelmstrasse 34 Isolation and separation 36 Escape from the state 38 New paths and a dead-end 72 Chronicle of the Detlev Rohwedder Building 40 Architecture after the war – 77 Further reading a building is transformed 79 Imprint 42 In conversation with Jürgen Dröse 2 Contents Introduction The Detlev Rohwedder Building, home to Germany’s the House of Ministries, foreshadowing the country- Federal Ministry of Finance since 1999, bears wide uprising on 17 June. Eight years later, the Berlin witness to the upheavals of recent German history Wall began to cast its shadow just a few steps away. like almost no other structure. After reunification, the Treuhandanstalt, the body Constructed as the Reich Aviation Ministry, the charged with the GDR’s financial liquidation, moved vast site was the nerve centre of power under into the building.
    [Show full text]
  • Quantifying Hitler's Salon: Patrick J. Jung
    Quantifying Hitler’s Salon: A Statistical Analysis of Subjects at the Great German Art Exhibition, 1937-1944 Patrick J. Jung Department of Humanities, Social Science, and Communication Milwaukee School of Engineering Milwaukee, Wisconsin 53202, USA Email: [email protected] Abstract: In recent decades, scholars have reassessed earlier historical interpretations that argued German art produced during the Nazi era was little more than kitsch. This reassessment has occurred in part due to the increased accessibility to the various sources required to thoroughly research Nazi-era art. The availability of the artistic oeuvre of the Third Reich has been enhanced by the 2012 launch of the online database Grosse deutsche Kunstausstellung, 1937-1944. This database makes possible a quantitative analysis of the artworks exhibited at Adolf Hitler’s annual art exhibition, the Grosse deutsche Kunstausstellung (Great German Art Exhibition), from 1937 to 1944. Tabulating the information found in this database indicates that landscapes and related works constituted the dominant subject category. Portraits, nudes, and depictions of animals were also significant, but overtly political art was uncommon. The subjects of Nazi-era art reflected the racial ideology of the Third Reich, but several subject categories remain largely unexamined in this respect. This essay provides statistical evidence that supports many of the scholarly interpretations concerning these subject categories and suggests new directions for future research. Keywords: Third Reich, Nazi-era art, Great German Art Exhibition, Adolf Hitler Introduction: Reassessing Nazi-Era Art Prior to the 1970s, art historians generally dismissed Nazi-era art as mere kitsch and the product of a dictatorship that had suppressed modernist styles.
    [Show full text]
  • Newsletter 17.2 Summer 2002
    The Getty Conservation Institute Newsletter ■ Volume 17, Number 2 2002 Conservation The Getty The J. Paul Getty Trust Barry Munitz President and Chief Executive Officer Conservation Stephen D. Rountree Executive Vice President and Chief Operating Officer Institute Newsletter The Getty Conservation Institute Timothy P. Whalen Director Jeanne Marie Teutonico Associate Director, Field Projects and Conservation Science Volume 17 , Number 2 2002 Kathleen Gaines Assistant Director, Administration Luke Gilliland-Swetland Head of Information Resources Kristin Kelly Head of Public Programs & Communications François LeBlanc Head of Field Projects Jeanne Marie Teutonico Chief Scientist (acting) Conservation, The Getty Conservation Institute Newsletter Jeffrey Levin Editor Angela Escobar Assistant Editor Joe Molloy Graphic Designer Color West Lithography Inc. Lithography The Getty Conservation Institute (GCI) works internationally to advance conservation and to enhance and encourage the preservation and understanding of the visual arts in all of their dimensions— objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research; education and training; field projects; and the dissemination of the results of both its work and the work of others in the field. In all its endeavors, the Institute is committed to addressing unanswered questions and to promoting the highest possible standards of conservation practice. The GCI is a program of the J. Paul Getty Trust, an international cultural and philanthropic organization devoted to the visual arts and the humanities that includes an art museum as well as programs for education, scholarship, and conservation. Conservation, The Getty Conservation Institute Newsletter, is distributed free of charge three times per year, to professionals in conservation and related fields and to members of the public concerned about conservation.
    [Show full text]
  • Bulletin of the GHI Washington Supplement 2 (2005)
    Bulletin of the GHI Washington Supplement 2 (2005) Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online- Publikationsplattform der Max Weber Stiftung – Stiftung Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. “GERMANIC”STRUCTURE VERSUS “AMERICAN” TEXTURE IN GERMAN HIGH-RISE BUILDING Adrian von Buttlar A few weeks after the unification of the two Germanies, the Frankfurter Allgemeine Zeitung published a supplement which presented architectural visions for Germany’s future capital sketched by international star- architects. Most imagined a new scale, a skyline represented by sky- scrapers. But, in reality, the “master plan” for Berlin developed over the last decade aims instead at the reconstruction of the city’s historic (sev- enteenth- to nineteenth-century) ground plan and restricts the height of new buildings to the traditional measure of twenty-two meters. Since reunification, only a few modest-scale high-rise buildings have been built, on the Potsdamer Platz. A few more are to be added here and there, to keep up a little
    [Show full text]
  • 4. the Nazis Take Power
    4. The Nazis Take Power Anyone who interprets National Socialism as merely a political movement knows almost nothing about it. It is more than a religion. It is the determination to create the new man. ADOLF HITLER OVERVIEW Within weeks of taking office, Adolf Hitler was altering German life. Within a year, Joseph Goebbels, one of his top aides, could boast: The revolution that we have made is a total revolution. It encompasses every aspect of public life from the bottom up… We have replaced individuality with collective racial consciousness and the individual with the community… We must develop the organizations in which every individual’s entire life will be regulated by the Volk community, as represented by the Party. There is no longer arbitrary will. There are no longer any free realms in which the individual belongs to himself… The time of personal happiness is over.1 How did Hitler do it? How did he destroy the Weimar Republic and replace it with a totalitarian government – one that controls every part of a person’s life? Many people have pointed out that he did not destroy democracy all at once. Instead, he moved gradually, with one seemingly small compromise leading to another and yet another. By the time many were aware of the danger, they were isolated and alone. This chapter details those steps. It also explores why few Germans protested the loss of their freedom and many even applauded the changes the Nazis brought to the nation. Historian Fritz Stern offers one answer. “The great appeal of National Socialism – and perhaps of every totalitarian dictatorship in this century – was the promise of absolute authority.
    [Show full text]
  • Summarischer Projektbericht Inklusive Literaturliste Und Aufstellung Der Gesichteten Archivalien
    Rekonstruktion des „Führerbau-Diebstahls“ Ende April 1945 und Recherchen zum Verbleib der Objekte Summarischer Projektbericht Dieser Bericht gibt die wesentlichen Inhalte des Abschlussberichts wieder, der am 3. Juli 2018 an das Deutsche Zentrum Kulturgutverluste geschickt wurde (https://provenienzforschung.commsy.net/commsy.php?cid=1753334&mod=material&fct=detail&iid =1776685&search_path=true / Registrierung notwendig). Der inhaltliche Stand ist damit jener vom 30. Juni 2018. Der Bericht wurde erstellt von Dr. Meike Hopp und Leonhard Weidinger. 30.06.2018/08.05.2019 1 Eckdaten zum Projekt Projektmitarbeiter/innen: PD Dr. Christian Fuhrmeister Dr. Johannes Griebel Dr. Meike Hopp (bis 31.12.2016) Dr. Stephan Klingen Sophie Kriegenhofer, M.A. Sarah Wagner (Deutsches Kunstarchiv im Germanischen Nationalmuseum Nürnberg) Dipl.-Ing. Janine Schmitt Mag. Leonhard Weidinger (seit 01.01.2017) Projektförderung Arbeitsstelle für Provenienzforschung, Berlin (2014) Deutsches Zentrum Kulturgutverluste, Magdeburg (2015–2018) Projektablauf: Projektphase 1 Beantragt: 2 Jahre Projektlaufzeit, 01.10.2014 – 30.09.2016 Bewilligt: 1 Jahr Projektlaufzeit, 01.10.2014 – 30.09.2015 Kostenneutrale Verlängerung bis 31.03.2016 Verlängerung bis 31.12.2016 Tatsächliche Projektlaufzeit: 1 Jahr, 01.10.2014–31.12.2016: Projektphase 2 Beantragt /bewilligt: 1 Jahr Projektlaufzeit, 01.01.2017 – 31.12.2017 Kostenneutrale Verlängerung bis 31.03.2018 Tatsächliche Projektlaufzeit: 1 Jahr, 01.01.2017–31.03.2018 Gesamt Tatsächliche Projektlaufzeit: 2 Jahre, 01.01.2014–31.03.2018 30.06.2018/08.05.2019 Summarischer Bericht zum Projekt »Führerbau-Diebstahl« 2 Ausgangsfragen und Zielsetzungen des Projektes Ziel des Projektes war die Rekonstruktion des »Führerbau-Diebstahls« Ende April 1945 und die Erarbeitung eines Überblicks zu Herkunft, Verbleib und Schicksal der Objekte.
    [Show full text]
  • Geschichten Im K O N F L I K T Histories I N C O N F L I
    HAUSDER KUNST Haus der Kunst Prinzregentenstraße 1 80538 München +49 89 21127 113 Geschichten im mail @ hausderkunst.de www.hausderkunst.de Konflikt Öffnungszeiten Haus der Kunst: Mo - So 10 - 20 Uhr / Do 10 - 22 Uhr Histories Öffnungszeiten Sammlung Goetz im Haus der Kunst: Fr - So 10 - 20 Uhr in Conflict Opening hours Haus der Kunst: Mo - Su 10 am - 8 pm / Thurs 10 am - 10 pm Opening hours Goetz Collection at Haus der Kunst: Fr - Su 10 am - 8 pm STRETCHYOUR VIEW Geschichten im Konflikt: Histories in Conflict: Das Haus der Kunst und der Haus der Kunst and the ideologische Gebrauch von Kunst Ideological Use of Art 1937 — 1955 1937 — 1955 during this period included “The Blue Rider” (1949), Mit dieser Ausstellung erinnert das Haus der Kunst an die Rückkehr der Moderne an den Ort, an dem Hitlers With this exhibition, Haus der Kunst commemorates “Painters at the Bauhaus” (1950), Max Beckmann (1951), den 75. Jahrestag seiner Eröffnung im Sommer 1937. Säuberungsfeldzug gegen die Avantgarde seinen Anfang the 75th anniversary of its opening in the summer Frank Lloyd Wright (1952), Wassily Kandinsky, and Dieses Datum bietet den Ausgangspunkt für die Frage genommen hatte. Zu den wichtigsten Ausstellungen of 1937. This date serves as the basis for the exam- Paul Klee (1954), as well as the Picasso retrospective nach der eigenen Vergangenheit, das Nachdenken in dieser Reihe gehörten „Der Blaue Reiter“ (1949), ination of its own past and the contemplation about in 1955. über den komplexen historischen Prozess, der das Haus „Die Maler am Bauhaus“ (1950), Max Beckmann (1951), the complex historical processes that produced Haus der Kunst in seiner heutigen Form hervorgebracht hat.
    [Show full text]
  • Open Emily Dice SHC Thesis 2013
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ART HISTORY THE BERGHOF AND THE DISCOURSE OF DOMESTICITY IN HITLER’S ARCHITECTURE EMILY A. DICE SPRING 2013 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Art History with honors in Art History Reviewed and approved* by the following: Craig Zabel Head of the Department of Art History Associate Professor of Art History Thesis Supervisor Brian A. Curran Professor of Art History Honors Adviser Charlotte M. Houghton Associate Professor of Art History Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT Adolf Hitler had a lifelong fascination with art and architecture. After rising to power in Germany, he pursued his desires to turn the country into an Aryan cultural center. Strict rules were developed to control the production of art and architecture in Germany under Hitler’s command. The Nazi party encouraged styles of neoclassicism and German nationalism while condemning all things modern; yet, despite his criticism of modern architecture, Hitler used many modern elements in the construction of his private home in the Bavarian Alps, the Berghof. This thesis explores the link between the architectural styles of Hitler’s Berghof and International Style architecture—specifically Mies van der Rohe’s Tugendhat House. Although several notable differences between the two buildings exist, remarkable similarities come to the forefront after careful study. Few authors have investigated this topic; however
    [Show full text]
  • (The Four Elements) by Adolf Ziegler
    BAYERISCHE STAATSGEMÄLDESAMMLUNGEN PRESSEINFORMATION DIE VIER ELEMENTE (THE FOUR ELEMENTS) BY ADOLF ZIEGLER RESEARCH PROJECT ON “TRANSFERS FROM STATE PROPERTY” Authors: Johannes Gramlich, research assistant in provenance research, and Jochen Meister, head of visitor services and art education Adolf Ziegler (1892–1959), The Four Elements, before 1937, oil on canvas, central panel 171,3 x 110,5 cm, right panel 172.3 x 86 cm, left panel 171,5 x 86 cm, Modern Art Collection in the Pinakothek der Moderne (© Sibylle Forster, Bavarian State Painting Collections) In the 1950s and 1960s especially, the Bavarian State Painting Collections acquired around 900 art objects which until 1945 had belonged to high-ranking organisations and functionaries and functionaries of the Nazi Party—including works from the personal collections of Adolph Hitler, Hermann Göring, Heinrich Hoffmann and the Party Chancellery. Since 2013 the Bavarian State Painting Collections have been researching the provenance of these objects in the research project “Transfers from State Property” (Überweisungen aus Staatsbesitz”), currently handled by Johannes Gramlich and Sophie Kriegenhofer. There is good reason to suspect that many of these works were looted from their previous owners by the Nazis. However, this is not the case for all of the art objects in these holdings. More than 200 of the works were created by contemporary artists under National Socialism. They conformed to National Socialist taste and the reigning views of art, and were mainly acquired by Nazi functionaries at commercial exhibitions. Adolf Ziegler’s triptych The Four Elements belongs to this group; it was reproduced millions of times during the Nazi regime, and is one of the best-known works of National Socialist artistic production.
    [Show full text]
  • From Weimar to Nuremberg: a Historical Case Study of Twenty-Two Einsatzgruppen Officers
    FROM WEIMAR TO NUREMBERG: A HISTORICAL CASE STUDY OF TWENTY-TWO EINSATZGRUPPEN OFFICERS A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Master of Arts James L. Taylor November 2006 This thesis entitled FROM WEIMAR TO NUREMBERG: A HISTORICAL CASE STUDY OF TWENTY-TWO EINSATZGRUPPEN OFFICERS by JAMES L. TAYLOR has been approved for the Department of History and the College of Arts and Sciences by Norman J. W. Goda Professor of History Benjamin M. Ogles Dean, College of Arts and Sciences Abstract TAYLOR, JAMES L., M.A., November 2006, Modern European History FROM WEIMAR TO NUREMBERG: A HISTORICAL CASE STUDY OF TWENTY- TWO EINSATZGRUPPEN OFFICERS (134 pp.) Director of Thesis: Norman J. W. Goda This is an examination of the motives of twenty-two perpetrators of the Jewish Holocaust. Each served as an officer of the Einsatzgruppen, mobile killing units which beginning in June 1941, carried out mass executions of Jews in the German-occupied portion of the Soviet Union. Following World War II the subjects of this study were tried before a U.S. Military Tribunal as part of the thirteen Nuremberg Trials, and this study is based on the records of their trial, known as Case IX or more commonly as the Einsatzgruppen Trial. From these records the thesis concludes that the twenty-two men were shaped politically by their experiences during the Weimar Era (1919-1932), and that as perpetrators of the Holocaust their actions were informed primarily by the tenets of Nazism, particularly anti-Semitism.
    [Show full text]
  • Visualizing FASCISM This Page Intentionally Left Blank Julia Adeney Thomas and Geoff Eley, Editors
    Visualizing FASCISM This page intentionally left blank Julia Adeney Thomas and Geoff Eley, Editors Visualizing FASCISM The Twentieth- Century Rise of the Global Right Duke University Press | Durham and London | 2020 © 2020 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Julienne Alexander / Cover designed by Matthew Tauch Typeset in Minion Pro and Haettenschweiler by Copperline Books Library of Congress Cataloging-in-Publication Data Names: Eley, Geoff, [date] editor. | Thomas, Julia Adeney, [date] editor. Title: Visualizing fascism : the twentieth-century rise of the global right / Geoff Eley and Julia Adeney Thomas, editors. Description: Durham : Duke University Press, 2020. | Includes bibliographical references and index. Identifiers:lccn 2019023964 (print) lccn 2019023965 (ebook) isbn 9781478003120 (hardback : acid-free paper) isbn 9781478003762 (paperback : acid-free paper) isbn 9781478004387 (ebook) Subjects: lcsh: Fascism—History—20th century. | Fascism and culture. | Fascist aesthetics. Classification:lcc jc481 .v57 2020 (print) | lcc jc481 (ebook) | ddc 704.9/49320533—dc23 lc record available at https://lccn.loc.gov/2019023964 lc ebook record available at https://lccn.loc.gov/2019023965 Cover art: Thomas Hart Benton, The Sowers. © 2019 T. H. and R. P. Benton Testamentary Trusts / UMB Bank Trustee / Licensed by vaga at Artists Rights Society (ARS), NY. This publication is made possible in part by support from the Institute for Scholarship in the Liberal Arts, College of Arts and Letters, University of Notre Dame. CONTENTS ■ Introduction: A Portable Concept of Fascism 1 Julia Adeney Thomas 1 Subjects of a New Visual Order: Fascist Media in 1930s China 21 Maggie Clinton 2 Fascism Carved in Stone: Monuments to Loyal Spirits in Wartime Manchukuo 44 Paul D.
    [Show full text]
  • Unsettled Germans: the Reception and Resettlement of East German Refugees in West Germany, 1949-1961
    UNSETTLED GERMANS: THE RECEPTION AND RESETTLEMENT OF EAST GERMAN REFUGEES IN WEST GERMANY, 1949-1961 By Eric H. Limbach A DISSERTATION submitted to Michigan State University, in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY History 2011 ABSTRACT UNSETTLED GERMANS: THE RECEPTION AND RESETTLEMENT OF EAST GERMAN REFUGEES IN WEST GERMANY, 1949-1961 By Eric H. Limbach This study focuses on the migration of East German refugees into West Berlin and West Germany between the establishment of the GDR and FRG in 1949 and the construction of the Berlin Wall in 1961, an influx that, over the course of twelve years, totaled more than three million individuals. While the newcomers were physically indistinguishable and, apart from a few regional differences, shared a common language, culture and religious background with those already residing in West Germany, the presence of these refugees, like that of many other groups of migrants, was still considered a significant danger to the public order – a perception that was deeply rooted in the historical context of migration in Germany. In response to the influx, the Federal Republic and West Berlin established a comprehensive registration process for refugees, which attempted to determine whether refugees had a valid reason for their flight, and set up temporary camps to accommodate those awaiting resettlement in West Germany. Longer-term solutions included the creation of new employment opportunities and the construction of adequate (and permanent) housing in West German cities. However, these efforts required the cooperation of organizations and agencies at several levels of government, and disagreements among the West German Länder, West Berlin, and the Federal Government had a significant impact on the reception process.
    [Show full text]