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Nazi Germany and the Jews Ch 3.Pdf
AND THE o/ w VOLUME I The Years of Persecution, i933~i939 SAUL FRIEDLANDER HarperCollinsPííMí^ers 72 • THE YEARS OF PERSECUTION, 1933-1939 dependent upon a specific initial conception and a visible direction. Such a CHAPTER 3 conception can be right or wrong; it is the starting point for the attitude to be taken toward all manifestations and occurrences of life and thereby a compelling and obligatory rule for all action."'^'In other words a worldview as defined by Hitler was a quasi-religious framework encompassing imme Redemptive Anti-Semitism diate political goals. Nazism was no mere ideological discourse; it was a political religion commanding the total commitment owed to a religious faith."® The "visible direction" of a worldview implied the existence of "final goals" that, their general and hazy formulation notwithstanding, were sup posed to guide the elaboration and implementation of short-term plans. Before the fall of 1935 Hitler did not hint either in public or in private I what the final goal of his anti-Jewish policy might be. But much earlier, as On the afternoon of November 9,1918, Albert Ballin, the Jewish owner of a fledgling political agitator, he had defined the goal of a systematic anti- the Hamburg-Amerika shipping line, took his life. Germany had lost the Jewish policy in his notorious first pohtical text, the letter on the "Jewish war, and the Kaiser, who had befriended him and valued his advice, had question" addressed on September 16,1919, to one Adolf Gemlich. In the been compelled to abdicate and flee to Holland, while in Berlin a republic short term the Jews had to be deprived of their civil rights: "The final aim was proclaimed. -
Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
German Politics and the 'Jewish Question', 1914-1919
German Politics and the 'Jewish Question', 1914-1919 Lucia Juliette Linares Darwin College Dissertation submitted for the degree of Doctor of Philosophy August 2019 PREFACE I hereby declare that this dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the preface and specified in the text. It is not substantially the same as any other work that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other university or similar institution except as declared in the preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other university or similar institution except as declared in the preface and specified in the text. It does not exceed the prescribed word limit for the Faculty of History. All translations are my own unless specified in the text. i ABSTRACT German Politics and the 'Jewish Question', 1914-1919 Lucia Juliette Linares The First World War confronted German politicians with a range of unprecedented, vital questions in the spheres of domestic as well as foreign policy. As the fortunes of war shifted, so did borders, populations and national allegiances. In a period of acute and almost constant political crisis, the German government faced issues concerning citizenship, minority rights, religious identity, nationhood and statehood. My dissertation analyses these issues through the prism of the so-called 'Jewish Question'. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
MOZART Così FAN TUTTE Wolfgang Sawallisch
MOZART COSì FAN TUTTE Price · Fassbaender ∙ Grist Schreier · Brendel · Adam Wolfgang Sawallisch Bayerische Live Staatsoper ORFEO D' OR Live Recording 25. Februar 1978 BAYERISCHE STAATSOPER LIVE Unser Opernerbe ist nirgendwo in einer to theatrical spirit. Here are live perfor- so herausragenden Bühnentradition auf- mances captured in the heat of the pro- geführt worden wie an der Bayerischen methean forge – warts and all! Staatsoper München. Die Edition BAYE- Every Opera production is a prototype – RISCHE STAATSOPER LIVE liefert uns nicht an individual bespoke act of creative in- nur wertvolle historische Dokumente, son- terpretation resulting in that live experien- dern auch ein Gegenargument zu der ce we share. Here are some of those mo- Behauptung, Aufnahmen stellten für den ments preserved in aspic and re-ignit-ed Geist des Theaters eine Bedrohung dar. into life by the flame of technology. Let us Hier haben wir Aufführungen live, direkt aus treasure them and look forward to more der Glut der prometheischen Schmiede, riches that are promised from the past of mitsamt ihren kleinen Unebenheiten und our distinguished company! Schwächen! Jede Operninszenierung ist eine Art Pro- Jamais les opéras de notre patrimoine totyp: ein individueller Akt kreativer Inter- n’ont trouvé une aussi éminente tradition pretation, dessen Ergebnis wir gemein- théâtrale qu’à Munich, à la « Bayerische sam live erleben. Einige solcher Augen- Staatsoper ». Cette série d’enregistrement blicke finden wir hier wie in Bernstein ein- en direct – BAYERISCHE STAATSOPER LIVE geschlossen und durch die Technik wie- – ne constitue pas seulement un docu- der zu neuem Leben entfacht. Hüten wir ment historique de valeur, mais s’oppose diesen Schatz, und freuen wir uns auf das, à l’affirmation selon laquelle les enregis- was aus der reichen Vergangenheit un- trements menaceraient l’esprit théâtral. -
Andréas Hallén's Letters to Hans
”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.” ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.”1 Andréas Hallén’s Letters to Hans Herrig. A Contribution to the Swedish-German Cultural Contacts in the Late Nineteenth Century Martin Knust It is beyond question that the composer Andréas Hallén (1846–1925) never stood in the front line of Swedish musical life. Nevertheless, the ways he composed and promoted his music have to be regarded as very advanced for his time. As this study reveals, Hallén’s work as a composer and music critic may have served as a model for the next generation of composers in Sweden. Moreover, his skills as an orchestra- tor as well as his cleverness in building up networks on the Continent can hardly be overestimated. Hallén turns out to have been quite a modern composer in that he took over the latest music technologies and adapted them to a certain music market. The study of Hallén and his work exposes certain musical and cultural developments that were characteristic for Sweden at the turn of the century. Documents that just recently became accessible to research indicate that it is time to re-evaluate Hallén’s role in Swedish musical life. Correspondence between opera composers and their librettists provides us with a wealth of details about the genesis of these interdisciplinary art works and sometimes even, like the correspondence Strauss–Hofmannsthal, about the essence of opera itself. In the case of the Swedish composer Andréas2 Hallén, his first opera Harald der Wiking was not only an interdisciplinary but also an international project because he worked together with the German dramatist Hans Herrig (1845–1892). -
380 XXXIX. Tonkünstler-Versammlung Basel
380 XXXIX. Tonkünstler-Versammlung Basel, [Karlsruhe], [11.] 12. – 15. Juni 1903 Festdirigenten: Hans Huber, Hermann Suter Festchor: Basler Gesangverein, Basler Liedertafel, Reveillechor der Basler Liedertafel Ens.: Orchester der Allgemeinen Musikgesellschaft Basel, verstärkt durch Mitglieder der Meininger Hofkapelle und des Orchestre symphonique de Lausanne sowie hiesige und auswärtige Künstler (110 Musiker) 1. Aufführung: Festvorstellung Karlsruhe, Großhzgl. Hoftheater, Donnerstag, 11. Juni Friedrich Klose: Das Märlein vom Fischer und seiner Frau, Oper 2. Aufführung: I. Konzert [auch: für Soli, Männerchor und Orchester ] Basel, Musiksaal, Freitag, 12. Juni, 19:00 Uhr 1. Émile Jaques-Dalcroze: Sancho, Comédie lyrique Vorspiel für Orchester 2. Friedrich Hegar: Männerchöre a cappella Ch.: Basler Liedertafel a) Das Märchen vom Mummelsee (Ms.) Text: C.A. Schnezler (≡) b) Walpurga op. 31 Text: Carl Spitteler ( ≡) 3. Ernest Bloch: Symphonie cis-Moll (Ms.) 1. 2. Largo 2. 3. Vivace 4. Max von Schillings: Das Hexenlied, mit begleitender Sol.: Ernst von Possart (Rez.) Musik für Orchester op. 15 Text: Ernst von Wildenbruch 5. Waldemar Pahnke: Concert für Violine und Orchester c- Sol.: Henri Marteau (V.) Moll (Ms.) 1. Moderato con moto 2. Allegro vivace ---- 6. Hans Huber: Caenis (die Verwandlung), für Männerchor, Sol.: Maria Cäcilia Philippi (A) Altsolo und Orchester op. 101 Ch.: Basler Liedertafel Text: Joseph Victor Widmann, nach einer antiken Sage (≡) 7. Gesänge für Bariton mit Orchester Sol.: Richard Koennecke (Bar.) a) Klaus Pringsheim: Venedig Text: Friedrich Nietzsche (≡) Oskar C. Posa: b) Tod in Aehren Text: Detlev von Liliencron (≡) c) „Mit Trommeln und Pfeifen“ (Ms.) Text: Detlev von Liliencron (≡) 8. Ernst Boehe: Aus Odysseus Fahrten, 4 Episoden für grosses Orchester gesetzt op. -
University of New South Wales 2005 UNIVERSITY of NEW SOUTH WALES Thesis/Project Report Sheet
BÜRGERTUM OHNE RAUM: German Liberalism and Imperialism, 1848-1884, 1918-1943. Matthew P Fitzpatrick A thesis submitted for the Degree of Doctor of Philosophy University of New South Wales 2005 UNIVERSITY OF NEW SOUTH WALES Thesis/Project Report Sheet Surname or Family name: Fitzpatrick First name: Matthew Other name/s: Peter Abbreviation for degree as given in the University calendar: PhD. School: History Faculty: Arts Title: Bürgertum Ohne Raum: German Liberalism and Imperialism 1848-1884, 1918-1943. Abstract This thesis situates the emergence of German imperialist theory and praxis during the nineteenth century within the context of the ascendancy of German liberalism. It also contends that imperialism was an integral part of a liberal sense of German national identity. It is divided into an introduction, four parts and a set of conclusions. The introduction is a methodological and theoretical orientation. It offers an historiographical overview and places the thesis within the broader historiographical context. It also discusses the utility of post-colonial theory and various theories of nationalism and nation-building. Part One examines the emergence of expansionism within liberal circles prior to and during the period of 1848/ 49. It examines the consolidation of expansionist theory and political practice, particularly as exemplified in the Frankfurt National Assembly and the works of Friedrich List. Part Two examines the persistence of imperialist theorising and praxis in the post-revolutionary era. It scrutinises the role of liberal associations, civil society, the press and the private sector in maintaining expansionist energies up until the 1884 decision to establish state-protected colonies. Part Three focuses on the cultural transmission of imperialist values through the sciences, media and fiction. -
Bernard Coutaz Carlos Sandúa Las Músicas Del Agua La ONE Republicana Natalie Dessay Peter Donohoe Lado Ataneli Gaspard De La N
REVISTA DE MÚSICA Año XXIII - Nº 228 - Marzo 2008 - 6,50 € DOSIER Las músicas del agua ENCUENTROS ROLA Bernard Coutaz ND Carlos Sandúa C O ACTUALIDAD R V E IL Natalie Dessay A L N A Peter Donohoe D ZÓN Lado Ataneli O EM REPORTAJE OCIONES La ONE republicana Año XXIII - Nº 228 Marzo 2008 REFERENCIAS Gaspard de la nuit de Ravel INTERIORPORTADA FILM:SCHERZO 22/2/08 18:37 Página 1 1-16 FILM:SCHERZO 22/2/08 17:36 Página 1 AÑO XXIII - Nº 228 - Marzo 2008 - 6,50 € 2 OPINIÓN DOSIER Las músicas del agua CON NOMBRE José Luis Carles PROPIO y Cristina Palmese 113 6 Natalie Dessay Rafael Banús Irusta ENCUENTROS 8 Peter Donohoe Bernard Coutaz Bruno Serrou Emili Blasco 126 10 Lado Ataneli Carlos Sandúa Pablo J. Vayón Barbara Röder 132 12 AGENDA REPORTAJE La Orquesta Nacional 18 ACTUALIDAD Republicana NACIONAL Enrique Lacomba y Gúzman Urrero Peña 136 46 ACTUALIDAD INTERNACIONAL EDUCACIÓN Pedro Sarmiento 140 60 ENTREVISTA JAZZ Rolando Villazón Pablo Sanz 142 Juan Antonio Llorente LIBROS 144 64 Discos del mes LA GUÍA 146 65 SCHERZO DISCOS CONTRAPUNTO Norman Lebrecht 152 Sumario Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Rafael Díaz Gómez, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Joaquín García, José Antonio García y García, Carmen Dolores García González, Juan García-Rico, José Guerrero Martín, Federico Hernández, Fernando Herrero, Bernd Hoppe, Paul Korenhof, Enrique Lacomba, Antonio Lasierra, Norman -
Gender and Colonial Politics After the Versailles Treaty
Wildenthal, L. (2010). Gender and Colonial Politics after the Versailles Treaty. In Kathleen Canning, Kerstin Barndt, and Kristin McGuire (Eds.), Weimar Publics/ Weimar Subjects. Rethinking the Political Culture of Germany in the 1920s (pp. 339-359). New York: Berghahn. Gender and Colonial Politics after the Versailles Treaty Lora Wildenthal In November 1918, the revolutionary government of republican Germany proclaimed the political enfranchisement of women. In June 1919, Article 119 of the Versailles Treaty announced the disenfranchisement of German men and women as colonizers. These were tremendous changes for German women and for the colonialist movement. Yet colonialist women's activism changed surprisingly little, and the Weimar Republic proved to be a time of vitality for the colonialist movement. The specific manner in which German decolonization took place profoundly shaped interwar colonialist activism. It took place at the hands of other colonial powers and at the end of the first "total" war. The fact that other imperial metropoles forced Germany to relinquish its colonies, and not colonial subjects (many of whom had tried and failed to drive Germans from their lands in previous years), meant that German colonialists focused their criticisms on those powers. When German colonialists demanded that the Versailles Treaty be revised so that they could once again rule over Africans and others, they were expressing not only a racist claim to rule over supposed inferiors but also a reproach to the Entente powers for betraying fellow white colonizers. The specific German experience of decolonization affected how Germans viewed their former colonial subjects. In other cases of decolonization, bitter wars of national liberation dismantled fantasies of affection between colonizer and colonized. -
Památník Zpěvačky Marty Procházkové, Manželky Ludevíta Procházky 3 a R T I C U L I
1 »Má milá, přemilá – já jsem tulácký pták, který si nedá jakživ předpisovat notu své písničky – tíhnu jen, sama nevím kam – nejspíše tam kde není pro mne zimy... Ale A cosi přece jen má na mne vliv: tiše neodbytně mne po- R nouká, navádí a napomíná: ›Melodii milá holka – jen ať T to má melodii…‹« JANA VOJTĚŠKOVÁ 1 Gabriela Preissová: Z povídky Rozmaryja (Praha) I C méno zpěvačky Marty Procházkové, rozené Reisingero- U vé (1849-1903), upadlo po smrti jejího manžela Dr. Lu- devíta Procházky v roce 1888 téměř v zapomenutí. In- Památník zpěvačky Marty L Jtenzívní deset let trvající kariéra na prknech převážně I německých operních scén nestačila k tomu, aby se Mar- Procházkové, manželky ta Procházková trvale zapsala do dějin pěveckého umění. Ludevíta Procházky Dnes není její jméno uvedeno ani v několikasvazkovém slovníku zpěváků Großes Sängerlexikon2 ani v Hudebním divadle v českých zemích (Osobnosti 19. století).3 Motto, které je předesláno tomuto článku, vepsala ja- ko poslední zápis do památníku Marty Procházkové Ga- briela Preissová. A jistě se ptáte, co měly tyto dvě ženy The Album of Marta Procházková, the společného. Nevíme, zda spisovatelka Gabriela Preissová znala pěvkyni Martu Procházkovou za jejího života, spíše wife of Ludevít Procházka nikoli. Jistě jí ale o ní vyprávěla její snacha Milka Preis- The article is dedicated to singer Martha Procházková, sová, rozená Procházková, neteř Marty a Ludevíta Pro- born Reisinger (1849-1903), the wife of Ludevít Procház- cházkových. V roce 1932 – dvacet jedna let po smrti zpě- ka (1837-1888); her name is not mentioned in today’s vačky – jí Milka pravděpodobně ukázala památník Marty dictionaries of the 19th-century opera singers. -
Der Deutsche Militarismus Ist Nicht Tot Er Riecht Nur Streng
Der deutsche Militarismus ist nicht tot er riecht nur streng Analysen zur Militarisierung der bundesdeutschen Gesellschaft Kommission „Neofaschismus“ der Vereinigung der Verfolgten des Naziregimes- Bund der Antifaschistinnen und Antifaschisten (VVN-BdA) in NRW und Hartmut Meyer Archiv Wie kommt der Militarismus in die Köpfe? Seite 1 Titelseite: Karikatur von George Grosz Neonazi Burschenschafter der Libertas &Bundeswehr& Alte Herren beim Heldengedenken am 1933 eingeweihten „Ehrenmal“ in Aachen visdP. Kurt Heiler Aachen Gestaltung: Andrej Hunko Druck :UWZ -Schnelldruck GmbH Münster Seite 2 Wie kommt der Militarismus in die Köpfe? Inhaltsverzeichnis Einleitung Seite 5 Winfried Wolf Neue Aufrüstung, wachsende Kriegsgefahr und Militärisch-Industrieller Komplex Seite 6 Die Zäsur von 1989/90 - Charakter der Rüstungsindustrie und des MIK - MIK und kapitalistische Produktion - Einfluss des MIK-Militärpolitik und Veränderung des weltweiten MIK - Neue Militarisierung der Gesellschaft Kurt Heiler Panzer zu verkaufen - Fregatte gefällig - Die Zeitschriften des MIK Seite 10 „Soldat und Technik“ - „Wehrtechnik“ - BDI nimmersatt - 2 Karrieren: A. Schnez und D. Wellershoff- Rüstungsexporte Gerd Deumlich Bundeswehr und Neonazismus Seite 16 Im Panzerschrank - von Geburt an rechtslastig - Bewunderung für die Kriegsgeneration - Marschziel Kriegstüchtigkeit - den 20. Juli zum „Symbol“ gemacht - das Hauptverbrechen des Faschismus war der Krieg - den gleichen Feind im Visier - Kämpfer oder Wohltäter der Menschheit? Fabian Virchow „Deutsch wählen heißt Frieden