Speer: an Artist Or a Monster?
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Hitler's Germania: Propaganda Writ in Stone
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else. -
Jürgen Habermas and the Third Reich Max Schiller Claremont Mckenna College
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2012 Jürgen Habermas and the Third Reich Max Schiller Claremont McKenna College Recommended Citation Schiller, Max, "Jürgen Habermas and the Third Reich" (2012). CMC Senior Theses. Paper 358. http://scholarship.claremont.edu/cmc_theses/358 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Introduction The formation and subsequent actions of the Nazi government left a devastating and indelible impact on Europe and the world. In the midst of general technological and social progress that has occurred in Europe since the Enlightenment, the Nazis represent one of the greatest social regressions that has occurred in the modern world. Despite the development of a generally more humanitarian and socially progressive conditions in the western world over the past several hundred years, the Nazis instigated one of the most diabolic and genocidal programs known to man. And they did so using modern technologies in an expression of what historian Jeffrey Herf calls “reactionary modernism.” The idea, according to Herf is that, “Before and after the Nazi seizure of power, an important current within conservative and subsequently Nazi ideology was a reconciliation between the antimodernist, romantic, and irrantionalist ideas present in German nationalism and the most obvious manifestation of means ...modern technology.” 1 Nazi crimes were so extreme and barbaric precisely because they incorporated modern technologies into a process that violated modern ethical standards. Nazi crimes in the context of contemporary notions of ethics are almost inconceivable. -
Modern History
MODERN HISTORY Albert Speer (1905 – 1981) Examine the degree to which Albert Speer was culpable in Hitler’s organization and implementation of crimes against humanity from 1937 to 1945. In the perspective of Israeli historian Omer Bartov1: “…our understanding of the Third Reich, revealing it as a consensual dictatorship whose popularity was rooted in…the profits of crimes against humanity on an unimaginable scale.” There is no doubt, based on the historical evidence, that Albert Speer2 (1905-1981) was intimately culpable, to some degree, in Nazi Germany’s appalling crimes against humanity from 1937 to 1945. At the Nuremberg Trials3 in 1945, Speer was convicted and sentenced to 20 years' imprisonment - largely on the basis of evidence showing his participation as Reich Minister for Production and Armaments, in the use of deportation and forced labour. The Court found Speer innocent on Counts One and Two; ‘planning, initiating and waging war of aggression’ and ‘crimes against peace’ respectively, and guilty on the counts of ‘war crimes’ and ‘crimes against humanity’. The charges which Speer faced at Nuremberg did not include reference to his earlier involvement, as Adolf Hitler’s (1889-1945) (Chief) First Architect of the Third Reich, and responsibility for re-planning Berlin in the ‘Germania’ project, which resulted in the forced removal of Jewish citizens from their homes in the city for the new Reich capital. Speer’s level of involvement in enslavement, the persecution of the Jews and his level of knowledge of the Holocaust remain subjects of historical debate. The unanswered question, as to which Speer was given the benefit of the doubt at Nuremberg, is whether he had any knowledge of Hitler’s initiated crimes against humanity and the awful fate that awaited Jews who were deported and ‘resettled’. -
Wagner in the "Cult of Art in Nazi Germany"
Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 2-1-2013 Wagner in the "Cult of Art in Nazi Germany" David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the History Commons Author Manuscript This is a pre-publication author manuscript of the final, published article. Recommended Citation Dennis, David B.. Wagner in the "Cult of Art in Nazi Germany". WWW2013: Wagner World Wide (marking the Wagner’s bicentennial) at the University of South Carolina, Columbia, SC, , : , 2013. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Conference Proceeding is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © David B. Dennis 2013 Richard Wagner in the “Cult of Art” of Nazi Germany A Paper for the Wagner Worldwide 2013 Conference University of South Carolina, Columbia, SC January 30-February 2, 2013 David B. Dennis Professor of History Loyola University Chicago In his book on aesthetics and Nazi politics, translated in 2004 as The Cult of Art in Nazi Germany, Eric Michaud, Director of Studies at the École des Hautes Études en Sciences Sociales in Paris, wrote that National Socialist attention to the arts was intended “to present the broken [German] Volk with an image of its ‘eternal Geist’ and to hold up to it a mirror capable of restoring to it the strength to love itself.” 1 I came upon this, among other ideas of Michaud, when preparing the conceptual framework for my own book, Inhumanities: Nazi Interpretations of Western Culture, just released by Cambridge University Press. -
Marcus K. Billsonl/1 a Conversation with Albert Speer in the Summer Of
Marcus K. Billsonl/1 A Conversation with Albert Speer In the summer of 1942 a picture was taken of Albert Speer walking in stride with his Fuhrer through the pine-studded military headquarters at Vinnitsa in the Ukraine. In the picture Speer is wearing a simple uniform, unadorned except for the swastika armband. His knee boots have been so highly polished they reflect the sunlight. The summer cam paign against Russia had been going well, and Speer, as the recently ap pointed Reich Minister of Armaments and War Production, had flown far into occupied territory to report personally to Hitler on the state of the German war industrial effort. The report had been highly favorable. Production figures had begun to rise, and they would continue to in crease at an astounding rate. In the picture, Hitler is obviously pleased, but his look of ebullience contrasts sharply with the tension and anxiety on the face of his minister. Speer's arms are folded stiffly across his chest and his body is bent slightly forward to catch each of the FUhrer's words. This posture expresses the Minister's attentiveness, but it also betrays a mood of deep preoccupation. The look on his face is curiously ambivalent. Though steely, it conveys profound weariness and distrac tion. The picture hints that perhaps even then Speer suspected that Hitler's fervent hopes for colonizing the Ukraine were deluded dreams. As I drove to Speer's home in Heidelberg almost thirty-five years later, that picture kept returning to my mind. I wondered at the changes time and history had wrought on this man I was about to meet. -
Selling Or Telling? a Theory of Ruin Value Selling Or Telling? Paradoxes in Tourism, Culture and Heritage Pihl, Ole Verner
Aalborg Universitet Selling or telling? A theory of ruin value Selling or Telling? Paradoxes in tourism, culture and heritage Pihl, Ole Verner Published in: SELLING OR TELLING? Publication date: 2011 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Pihl, O. V. (2011). Selling or telling? A theory of ruin value: Selling or Telling? Paradoxes in tourism, culture and heritage. In SELLING OR TELLING? ATLAS. http://ebookbrowse.com/gdoc.php?id=120853982&url=38361760a176586bc07519a4ac7d0cc4 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: September 29, 2021 Selling or telling? : A theory of ruin value Abstract: To what extent can tourism be described as an agent of peace? Can war and conflict be reconciled through tourism? Why is the children’s memorial in Hiroshima so important and why is the Holocaust memorial in Berlin a reconciliating and fascinating monument? The post apocalyptic vision in our mainstream mass culture is a broad genre and is loaded with heavy, dramatic architecture and landscapes of destruction; most religions have these doomsday visions, and in the mass culture, we can experience the chill and fascination of an infinite number of possible apocalyptic scenarios. -
Hermann Göring Und Albert Speer Bei Den Nürnberger Prozessen
Hermann Göring und Albert Speer bei den Nürnberger Prozessen. Unterschiede und Gemeinsamkeiten ihrer Verteidigungsstrategien Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von: Bernhard RAUTZ am Institut für Geschichte Begutachter: Univ.- Dozent Dr. Martin Moll GRAZ, Juli 2015 Danksagung: Zunächst möchte ich mich an dieser Stelle bei meinen Eltern Kurt und Martha, sowie meiner Schwester Katrin Rautz bedanken, die mich während der Anfertigung dieser Diplomarbeit unterstützt und motiviert haben. Ganz besonders gilt dieser Dank Herrn Dr. Martin Moll, der mich bei der Erstellung der Arbeit betreut hat. Vielen Dank für die Geduld und die Mühen. 2 Inhaltsverzeichnis 1. Einleitung .............................................................................................................. 4 2. Abstract Deutsch/Englisch ................................................................................... 5 3. Forschungsfrage und Methode ............................................................................ 6 4. Allgemeiner Teil .................................................................................................... 7 a. Albert Speer ....................................................................................................... 7 b. Hermann Göring ............................................................................................. 17 c. Der Nürnberger Prozess ................................................................................ -
Cr^Ltxj
THE NAZI BLOOD PURGE OF 1934 APPRCWBD": \r H M^jor Professor 7 lOLi Minor Professor •n p-Kairman of the DeparCTieflat. of History / cr^LtxJ~<2^ Dean oiTKe Graduate School IV Burkholder, Vaughn, The Nazi Blood Purge of 1934. Master of Arts, History, August, 1972, 147 pp., appendix, bibliography, 160 titles. This thesis deals with the problem of determining the reasons behind the purge conducted by various high officials in the Nazi regime on June 30-July 2, 1934. Adolf Hitler, Hermann Goring, SS leader Heinrich Himmler, and others used the purge to eliminate a sizable and influential segment of the SA leadership, under the pretext that this group was planning a coup against the Hitler regime. Also eliminated during the purge were sundry political opponents and personal rivals. Therefore, to explain Hitler's actions, one must determine whether or not there was a planned putsch against him at that time. Although party and official government documents relating to the purge were ordered destroyed by Hermann GcTring, certain materials in this category were used. Especially helpful were the Nuremberg trial records; Documents on British Foreign Policy, 1919-1939; Documents on German Foreign Policy, 1918-1945; and Foreign Relations of the United States, Diplomatic Papers, 1934. Also, first-hand accounts, contem- porary reports and essays, and analytical reports of a /1J-14 secondary nature were used in researching this topic. Many memoirs, written by people in a position to observe these events, were used as well as the reports of the American, British, and French ambassadors in the German capital. -
Sie Kamen Aus Dem „Stahlhelm“ Frühe Kampfgenossen Hitlers, Die Früh in Den Widerstand Gingen
Sie kamen aus dem „Stahlhelm“ Frühe Kampfgenossen Hitlers, die früh in den Widerstand gingen Ekkehard Klausa Kürzlich beschloss die Stadt Neuss, eine Straße nach ihrem ehemaligen Landrat Fer- dinand von Lüninck zu benennen, der 1944 als Widerstandskämpfer in Berlin- Plötzensee hingerichtet wurde. Die Fraktion „Die Linke“ im Stadtrat protestierte: Lüninck habe in der Weimarer Republik gegen die parlamentarische Demokratie, gegen das gleiche Wahlrecht sowie gegen Juden und Liberale gehetzt. Als vom NS- Regime eingesetzter Oberpräsident von Westfalen habe er sich an der Unterdrückung Andersdenkender beteiligt. Das ist wohl wahr. Lüninck war ein prominentes Mitglied des rechtsextremen „Stahlhelm, Bund der Frontsoldaten“. Vier Jahre lang war er Landesführer in Westfa- len und Mitglied des Bundesvorstandes. Er war nicht der einzige Stahlhelmer, der am Ende Widerstand gegen die Gewaltherrschaft leistete und sein Leben verlor. Die so gegensätzliche Verbindung Stahlhelm und Widerstand ist weder Zufall noch Einzel- fall, sondern der nationalkonservative Widerstand stammte weitgehend aus dem mili- taristischen, radikal antidemokratischen, antiliberalen, antimarxistischen sowieso und auch antisemitischen Milieu. Der kompromisslose Kampf gegen das Weimarer „Sys- tem“ der „Novemberverbrecher“ war das Panier, und in diesem Kampf waren die späteren Widerständler aus dem Stahlhelm sehr viel erfolgreicher als im Widerstand. Wir wollen uns mit der Frage beschäftigen, wann sich ihre Wege von denen des NS-Regimes trennten, wann sie das Unheil erkannten und welche Konsequenzen sie daraus gezogen haben. Das Interesse an dieser Frage ist ein doppeltes: Zum einen hat jeder Widerstandskämpfer als Individuum ein gedenkendes Interesse verdient. Zum anderen mag ein Vergleich der Lebenswege der Stahlhelmer im Widerstand typische mentale Strukturen des nationalkonservativen Widerstands sichtbar machen, sozusa- gen eine ideologische Krankheitsgeschichte und ihre Therapiechancen. -
Hitlers Pläne Für Berlin
Eingang zur Ausstellung Hitlers Pläne für Berlin: MYTHOS GERMANIA Bahnhof Gesundbrunnen Ticketverkauf MYTHOS GERMANIA VISION UND VERBRECHEN MYTHOS GERMANIA KRIEGSBUNKER ALS STADTDEKORATION AUSSTELLUNG IM UNTERGRUND IHR BESUCH VISION UND VERBRECHEN NS-PLANUNGEN FÜR DIE FRIEDENSZEIT GEHEIME RÄUME IM U-BAHNHOF GESUNDBRUNNEN ÖFFNUNGSZEITEN – TICKETS Im Auftrag Hitlers plante der Architekt Albert Speer seit Der von Deutschland 1939 begonnene Zweite Weltkrieg 39 Stufen führen nach unten in geheimnisvolle verborgene Öffnungszeiten 2020 1936 eine Zukunftsstadt mit breiten Straßenachsen und riesi- stoppte den radikalen Umbau Berlins zur »Welthauptstadt Räume, die erst vor einigen Jahren unter dem Gesundbrunnen Sa + So 11 – 17 Uhr (letzter Einlass 16 Uhr). gen Monumentalgebäuden im bestehenden Berlin. Nahe des Germania«. Generalbauinspektor Albert Speer plante nun für wiederentdeckt wurden. Durch eine unscheinbare grüne Tür 22. – 26. Dez 2020 und 1. Jan 2021 geschlossen Reichstags war eine 320 Meter hohe Kuppelhalle für Veran- die Zeit nach dem propagierten »Endsieg«. Ein Frieden im Sin- geht es in zwei vergessene Zwischenebenen unter dem Bahn- Sonderöffnungszeiten siehe www.berliner-unterwelten.de. staltungen mit bis zu 180.000 Teilnehmern vorgesehen. ne der Nationalsozialisten hätte die Möglichkeit eröffnet, die hof Gesundbrunnen. Sie wurden nach ihrer Entdeckung durch Tickets besetzten Länder auch für den Bau von »Germania« auszu- den Berliner Unterwelten e.V. zugänglich gemacht und von 2011 Ticketverkauf online über unseren Partner oder Die 1937 offiziell begonnene »Neugestaltung der Reichshaupt- beuten. bis 2014 für Ausstellungszwecke hergerichtet. Die große Stahl- in unserem Ticket- und Buchshop, Brunnenstraße 105, stadt« berücksichtigte das aggressive Expansionsstreben des beton-Halle der Ausstellung dient als Stützbauwerk für den 13355 Berlin (neben dem südlichen Eingang des Regimes. -
City of Displacement: on the Unsteadiness of Berlin Sites and Sights1
WEIMARPOLIS, Multi-disciplinary Journal of Urban Theory and Practice Vol. 1, Issue 2, pp. 53-64, ISSN 1869-1692 City of Displacement: On the unsteadiness of Berlin sites and sights1 Marc Schalenberg Helsinki Collegium for Advanced Studies Email: [email protected] Abstract This essay starts from the observation that the city of Berlin, throughout the 20th century, has been particularly prone to shift buildings in their entirety or in parts to other sites. These shiftings have to be seen against their specific backgrounds, such as war destruction, technological refurbishment, myth making, symbolic or memory politics by the respective political regime, resuming the “spirit” or name of a place for reasons of identification or marketing. But beyond those, the disposition to translocate can be understood as symptomatic in a city whose narratives, images and practices have been explicitly oriented towards the “new”, “unsteady” and “shiftable”. Attempts to remove material objects – not less than their meanings – are to be found in completely diverse political and cultural contexts. It seems an interesting challenge, therefore, to transcend the level of individual instances of displacements and try to test some concepts recently suggested in Urban Studies, like “habitus” or “intrinsic logic” for Berlin. Zusammenfassung Der Beitrag geht von der in Berlin vor allem im 20. Jahrhundert auffallenden Bereitschaft aus, Bauwerke oder Teile von ihnen an andere Orte der Stadt zu versetzen. Jenseits der konkreten Hintergründe (z.B. Kriegszerstörung, technische Modernisierung, „Mythenbildung“, Symbol- und Erinnerungspolitik des jeweiligen politischen Regimes, Anknüpfen an den „Geist“ eines Ortes bzw. Namens aus identifikatorischen oder kommerziellen Gründen) wird diese Disposition als symptomatisch verstanden für eine Stadt, deren Narrative, (Selbst-) Bilder und Praktiken stark am „Neuen“, „Unsteten“ und „Verrückbaren“ orientiert waren und sind. -
1 SYLLABUS for HIS 2721 Cities at War: Berlin Summer, 2018 Instructor
1 SYLLABUS for HIS 2721 Cities at War: Berlin Summer, 2018 Instructor: Brian M. Cohen; Program Director: Christie Herbert; Support Specialist: Andy Donahue Course Description This 3-credit course explores the experiences and memories of the people and culture of urban centers during times of war. Students will directly engage with the physical, social, cultural, and historical artifacts of the city under exploration, and thus, social and cultural, as well as military, histories will be studied. Students begin their examination of a city at war with an overview of the key historical and cultural features of the city under review, including the rise to power of the wartime government and the methods the political leadership utilizes to expand and consolidate power. Students continue their urban exploration by identifying the different groups of city inhabitants and exploring their experiences during wartime. Students conclude their study of cities at war with a critical examination of the process of reconstruction, historical memory/memorializing, and the inherent controversy of historical memory as the city rebuilds in a post-war era. Students are assessed throughout the course on their ability to actively engage and participate in the daily class activities as well as at the end of each of the three modules through a primary source analysis, critical analysis paper, and visual presentation. Upper division students will also lead a class discussion, critically respond to a reading, and complete additional historical thinking components for each assessment that demonstrate appropriate depth and analysis. Specifically, the Berlin at War study abroad course centers on that capital city’s history during WWII, from both German and Allied perspectives, though emphasis is placed on the “everyday” experiences of the diverse groups of Berlin citizens under Nazi rule and during wartime.