NWR Magazine Spring 2019
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American Intelligence and the Question of Hitler's Death
American Intelligence and the Question of Hitler’s Death Undergraduate Research Thesis Presented in partial fulfillment of the requirements for graduation with honors research distinction in History in the Undergraduate colleges of The Ohio State University by Kelsey Mullen The Ohio State University November 2014 Project Advisor: Professor Alice Conklin, Department of History Project Mentor: Doctoral Candidate Sarah K. Douglas, Department of History American Intelligence and the Question of Hitler’s Death 2 Introduction The fall of Berlin marked the end of the European theatre of the Second World War. The Red Army ravaged the city and laid much of it to waste in the early days of May 1945. A large portion of Hitler’s inner circle, including the Führer himself, had been holed up in the Führerbunker underneath the old Reich Chancellery garden since January of 1945. Many top Nazi Party officials fled or attempted to flee the city ruins in the final moments before their destruction at the Russians’ hands. When the dust settled, the German army’s capitulation was complete. There were many unanswered questions for the Allies of World War II following the Nazi surrender. Invading Russian troops, despite recovering Hitler’s body, failed to disclose this fact to their Allies when the battle ended. In September of 1945, Dick White, the head of counter intelligence in the British zone of occupation, assigned a young scholar named Hugh Trevor- Roper to conduct an investigation into Hitler’s last days in order to refute the idea the Russians promoted and perpetuated that the Führer had escaped.1 Major Trevor-Roper began his investigation on September 18, 1945 and presented his conclusions to the international press on November 1, 1945. -
Guides to German Records Microfilmed at Alexandria, Va
GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA. No. 32. Records of the Reich Leader of the SS and Chief of the German Police (Part I) The National Archives National Archives and Records Service General Services Administration Washington: 1961 This finding aid has been prepared by the National Archives as part of its program of facilitating the use of records in its custody. The microfilm described in this guide may be consulted at the National Archives, where it is identified as RG 242, Microfilm Publication T175. To order microfilm, write to the Publications Sales Branch (NEPS), National Archives and Records Service (GSA), Washington, DC 20408. Some of the papers reproduced on the microfilm referred to in this and other guides of the same series may have been of private origin. The fact of their seizure is not believed to divest their original owners of any literary property rights in them. Anyone, therefore, who publishes them in whole or in part without permission of their authors may be held liable for infringement of such literary property rights. Library of Congress Catalog Card No. 58-9982 AMERICA! HISTORICAL ASSOCIATION COMMITTEE fOR THE STUDY OP WAR DOCUMENTS GUIDES TO GERMAN RECOBDS MICROFILMED AT ALEXAM)RIA, VA. No* 32» Records of the Reich Leader of the SS aad Chief of the German Police (HeiehsMhrer SS und Chef der Deutschen Polizei) 1) THE AMERICAN HISTORICAL ASSOCIATION (AHA) COMMITTEE FOR THE STUDY OF WAE DOCUMENTS GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA* This is part of a series of Guides prepared -
Curwen 2017 Course Brochure
Curwen Print Study Centre Curwen Print Study Centre Fine Art Registered Charity Number1048580 Print For more information Contact 892380 [email protected] Courses Curwen Print Study Centre Chilford Hall Linton CB21 4LE www.curwenprintstudy.co.uk 2017 INTRODUCTION Who we are The Curwen Print Study Centre was established as an educational Fine Art Printmaking charity in the late 1990s by Master Printer Stanley Jones MBE and local entrepreneur and art lover Sam Alper OBE. Since its formation, the Curwen Print Study Centre has established a reputation for excellence in its field. The adult course programme offers something for everyone, from those who are new to printmaking to those who have previous experience and are looking for advanced or Masterclass tuition. Open access is available to artists who have successfully completed the relevant course. We welcome artists of all abilities and all ages. Our highly successful education programme involves school students from Cambridgeshire, Essex, Norfolk, Suffolk, Berkshire, Buckinghamshire and Hertfordshire. The majority of schools re-book each year, encouraged by the higher grades that they subsequently achieve at GCSE, AVCE, IB, AS and A2. The content can be adapted to suit all ability levels, from the least able to the most talented students looking for enrichment and extension. Why choose Curwen? • Experienced tutors • Well-equipped, light and airy studio • Small class sizes • High level of individual support • Welcoming and friendly atmosphere • Tranquil location with plenty -
Peter White Bardfield Artist
PeterPeter WhiteWhite BardfieldBardfield ArtistArtist A POSTHUMOUS EXHIBITION OF THE WORK OF PETER WHITE CURATED BY SARA HAYES & ANNE WHITE INTRODUCTION BY ANNE WHITE, PETER’S DAUGHTER THE BARDFIELD COMMUNITY Back in the UK, Peter took up a position as Head of Art at Saffron Walden’s Friends PETER WHITE - BORN 25/03/1929 - DIED 09/08/2016 School, 1958 - 1959, following which he became involved in the creative community of Great Bardfi eld. He lived there and assisted the print maker Michael Rothenstein. Peter White was my father. He lectured part time and did his art work at home, so he was a very He then went on to work for artist Edward Bawden, 1961 - 1963 assisting in print ‘present’ father. I remember being in his studio making and mural painting. Richard remembers that Edward found Peter to be an in the cottage in Felsted. There would be lino cut excellent printmaker, trained to Michael’s exacting standards. He joined Edward at a time chippings on the fl oor, the smell or turpentine, a when he was working on huge linocuts of Brighton Pier and Liverpool Street station that box of stained glass shards in the corner and a were so large they had to be printed on the fl oor by stamping on them. He formed great home brewed elderberry wine fermenting in the friendships with Michael and Edward. He also knew the weaver Marianne Straub, artists airing cupboard. Bernard Cheese and Sheila Robinson, Walter Hoyle, Stanley Clifford-Smith and Joan Glass. I never asked dad why he chose to be an artist Friendships with Edward and his son Richard (who became a colleague at Braintree college - it was just what he was. -
Fabricating the Death of Adolf Hitler Part 1
Introduction: Debunking the bunker legend any people are broadly familiar with the official narrative of Adolf Hitler's "last days", which was revisited on our cinema screens only recently in the form of the German film Do w n f a l l (Der Untergang, 2004). What they do not know is Mthat the official narrative is a political fiction—and that the revulsion it inspires is the result of deliberate planning. The little that most As the war reached its dreadful conclusion, Churchill and the British government set out to ensure that history never repeated itself—that there would be no resurgence of German of us think we know nationalism—by dictating how history would view the ultra-nationalistic Third Reich down to the very last detail. The narrative was to be so unedifying as to permanently tarnish the about the regime's prestige in the eyes of even its most ardent supporters. At no stage was historical truth a consideration. Neither the British nor the Americans showed genuine interest in circumstances of Hitler's fate. Their on l y interest lay in assigning to the movement's leader the most ignoble exit from the historical stage as possible. In this sense, the consignment of Hitler's charred Hitler's demise corpse to a rubbish-strewn bomb crater functioned as a metaphor for the consignment of the comes to us Hitler regime itself to the dustbin of history. In the foreword to Hitler's Death (2005), an anthology of documents from the Russian courtesy of British state archives designed to buttress the official narrative of the German leader's fate, historian Andrew Roberts avers: "Part of the reason why Germany has been such a successful, MI6 agent Hugh pacific, liberal democracy for the past sixty years is precisely because of the way that Hitler met his end in the manner described in mesmerising detail in this book. -
British Figurative Painters of the 20Th Century Whose Development Can Be Adequately Discussed Without Reference to Sickert's Subject-Matter Or Innovative Techniques
• Question from last week • Where is the Fry Art Gallery that has Eric Ravilious Tea at Furlongs (1939)? The Fry Art Gallery is an art gallery in Saffron Walden, Essex that is best known for its displays of work by the Great Bardfield Artists, including Edward Bawden and Eric Ravilious. The Great Bardfield Artists were a community of artists living in Great Bardfield, north west Essex. They were diverse in style but shared a love for figurative art, making the group distinct from the better known St Ives School of artists in St Ives, Cornwall, who, after the war, were chiefly dominated by abstractionists. • Figurative art runs as a theme through all British art. The extremes of modernism—Fauvism, Dada, Surrealism and even abstraction—never took hold in Britain but there was a continued interest in the human body, psychological insights and representing the full range of emotions. This means that most of the artists we have dealt with have been figurative, that is not abstract, artists. • This means it has been difficult to choose a small number of artists to represent the tradition and I have selected painters who stayed with the figurative tradition throughout their lives with the exception of Victor Pasmore as I use his work to create a link with British art of the 1950s and 60s. 1 Notes • Figurative art is a term used to describe paintings and sculptures that are derived from real objects. Figurative art is therefore representational. Note that human figures are often shown in figurative art but the term does not mean figures painting. -
Images of the German Soldier (1985-2008)
Soldiering On: Images of the German Soldier (1985-2008) DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kevin Alan Richards Graduate Program in Germanic Languages and Literatures The Ohio State University 2012 Dissertation Committee: Professor John E. Davidson, Advisor Professor Anna Grotans Professor Katra Byram Copyright by Kevin Alan Richards 2012 Abstract The criminal legacy of National Socialism cast a shadow of perpetration and collaboration upon the post-war image of the German soldier. These negative associations impeded Helmut Kohl’s policy to normalize the state use of the military in the mid-eighties, which prompted a politically driven public relations campaign to revise the image of the German soldier. This influx of new narratives produced a dynamic interplay between political rhetoric and literature that informed and challenged the intuitive representations of the German soldier that anchor positions of German national identity in public culture. This study traces that interplay via the positioning of those representations in relation to prototypes of villains, victims, and heroes in varying rescue narrative accounts in three genre of written culture in Germany since 1985: that is, since the overt attempts to change the function of the Bundeswehr in the context of (West) German normalization began to succeed. These genre are (1) security publications (and their political and academic legitimizations), (2) popular fantasy literature, and (3) texts in the tradition of the Vergangenheitsbewältigung. I find that the accounts presented in the government’s White Papers and by Kohl, Nolte, and Hillgruber in the mid-1980s gathered momentum over the course of three decades and dislodged the dominant association of the German soldier with the villainy of National Socialism. -
Supper in Nurenburg
SUPPER IN NÛRNBURG by Bernhard Stenholm (translated by Iwan Morelius) Some years ago I got in touch with the Swedish actor/author Bernhard Stenholm, living in Stockholm. He was a great admirer of Dennis Wheatley and Bernhard had a complete collection of all his books in Swedish editions. He phoned me as I was then the founder and publisher of DAST-MAGAZINE and asked me if we could have a talk about Dennis. We met in Berhard’s home in Stockholm and then he showed me a play he had written about Dennis and which he had hoped to be shown on TV later on. But it did not fall out that way and that night Bernhard gave me and my DAST permission to publish this play five years after his death. Now (February 1989) more than five years have passed since Bernhard died, and when I moved to Spain I found the manuscript I got from him. I´m sure that it could be of interest to all DAST-Members to know about this fascinating play. So here it is and a Great Thank You, Berhard, wherever you are, for a fine job. This PLAY was first published in DAST-MAGAZINE issue No. 2 1989, but I read it again this year (2010) and wrote an email to Charles Beck asking him if he thought a translation would be of interest to our DW-fans. He said yes, and here it is. SUPPER IN NÛRNBURG – SCENE ONE 1. You see Westminster Bridge with the Houses of Parliament and Big Ben. -
Hanna Reitsch. Ein Deutsches Fliegerleben
Hanna Reitsch. Ein deutsches Fliegerleben. Armin Preuß Reihe knapp + klar, Heft 11; Grundlagenverlag © 1995. Hier nachgedruckt mit freundlicher Genehmigung des Copyright-Inhabers. Hanna Reitsch. Diese digitalisierte Version © 1999 by The Scriptorium. Ein deutsches Druckversion 2016 gesetzt vom Hilfsbibliothekar, Fliegerleben. alle externen Verweise im Text führen zu den Quellen im Netz. Armin Preuß Inhalt: 1. Vorschau... 2. Ein Mädel wird Segelfliegerin 3. Als Segelfliegerin auf Auslandsexpedition 4. Einfliegerin für Zivil- und Militärmaschinen 5. Flüge in Amerika und Nordafrika 6. Proben mit dem Lastensegler 7. Mit Ritter von Greim in Rußland 8. Der Plan Selbstopfereinsatz 9. Mit Sonderauftrag nach Berlin 10. Die letzten Tage 11. Nachwort Teil 1: Vorschau... Sechsundzwanzigster April 1945. Die von der roten Armee eingeschlossene Reichshauptstadt ist nach unzähligen alliierten Bombenangriffen und unter dem rasenden Trommelfeuer russischer Batterien nur noch ein rauchendes Trümmerfeld. Inmitten dieses Höllenspuks landet plötzlich wie ein im Sturm verirrter Vogel dicht vor dem Brandenburger Tor ein durch starken Erdbeschuß durchlöcherter Fieseler Storch. Eine kleine, schmächtige Frau entsteigt der Maschine. Unter großer Mühe gelingt es ihr, einen verwundeten, halb bewußtlosen Generaloberst der Luftwaffe aus dem Flugzeug zu zerren. Hinter aufgetürmten Betonbrocken suchen sie Schutz vor dem feindlichen Feuer. Stunden scheinen inmitten des sie umgebenden Grauens zu vergehen, bis endlich ein einsames deutsches Fahrzeug auftaucht und die beiden verlorenen Gestalten aufnimmt. Unter den Einschlägen der sowjetischen Artillerie fahren sie ihrem befohlenen Ziel entgegen: zur Meldung bei Hitler im Führerbunker der Reichskanzlei... Teil 2: Ein Mädel wird Segelfliegerin Hanna Reitschs Heimatort war das malerische Hirschberg in Schlesien, eingebettet zwischen dem nahen Riesengebirge und den Bober-Katzbach-Bergen. Ihr Vater war Augenarzt, ein sanfter, künstlerisch begabter Mensch und leidenschaftlicher Cellospieler. -
Newsletter36
In this Issue Both the Society website and the Museum website have been re- Highlights and Happenings: launched. Tony Morton, a member of the Support Committee, has Chairman 1 made an excellent job of bringing both sites up-to-date. Lf you Curator's Column: Roman resident legs it to the Museum 1/2 have not yet visited these sites, do have a look. There is now Wallace takes the Biscuit: Carolyn Wingfield 2/3 current information on the Society‘s affairs and the Museum site is Natural Sciences : Sarah Kenyon 3 full of interesting information. As a result of suggestions made by Human History Collections: Leah Mellors 3 the Support Committee, the Donation Box has been moved to a Internship experiences 4 more prominent position in the entrance hall. Try flushing your Object of the Month: Leah Mellors 4/5 money to hear the audible thank you! Exhibition 5 Museum Outreach News: Gemma Tully 5/6 The new Development Committee has met twice and is making Store Move Surprises: Richard Priestley 6 progress in setting up the framework for the plans for the re- Museum Society News From the Treasurer 6/7 development of the Museum buildings. The Committee spent Membership 7 some time visiting all the back rooms of the Museum and looking Reports on Talks and Events 7/l0 at the proposed site. We hope to have a Design Brief to consider at our next meeting This is however a long-term project so do not Dates of future Events - see Noticeboard enclosed expect builders on site just yet! Highlights and Happenings The spring series of talks is now complete and two visits have just From the Chairman been published by Carol Law and Heather Salvidge. -
Cornelius Ryan Collection of World War II Papers, Mahn Center for Archives and Special Collections, Ohio University
Cornelius Ryan Collection of World War II Papers, Mahn Center for Archives and Special Collections, Ohio University The Last Battle Inventory List First published by Simon & Schuster in 1966. The Last Battle has been translated into Arabic, Chinese, Czech, Danish, Dutch, Finnish, French, German, Hebrew, Hungarian, Icelandic, Italian, Japanese, Latvian, Norwegian, Persian, Polish, Portuguese, Romanian, Serbo-Croatian, Slovenian, Spanish, and Swedish. Table of Contents Cornelius Ryan Collection of World War II Papers, Mahn Center for Archives and Special Collections, Ohio University ..... 1 Initial Research ................................................................................................................................................................... 2 Allied Political and Military Leadership ............................................................................................................................... 6 American Forces .............................................................................................................................................................. 10 French Forced Labor ........................................................................................................................................................ 29 German Civilians ............................................................................................................................................................... 30 German Forces ................................................................................................................................................................ -
Hanna Reitsch Proposed to Hitler and Göring to Create an All Ladies Fighter Squadron Against the American-British Air Forces' Wholesale Bombing of Germany
Fig. 208. In the eye of the beholder, interestingly enough, the Swastika forms a Christian Cross with the four points stretched out as well the symbol of the European Union. Fig. 209. Please note (above) - it's the youthful Hanna in this 1936 Olympics Games poster, with Leni Riefenstahl standing behind the Fuhrer, photographing, while Hitler regarded the public with his famous Roman arm salute. Fig. 210. Reitsch (right) is on a Luftwaffe poster dated 1946, with a futuristic model of the Messerschmitt fighter she piloted as a test pilot. In 1943, after the Allies began to step-up their devastating around-the-clock bombing campaign over Germany's cities, the Nazi aviatrix Flugkapitän Hanna Reitsch proposed to Hitler and Göring to create an all ladies fighter squadron against the American-British air forces' wholesale bombing of Germany. She wore her Iron Crosses proudly and wrote her memoirs, Fliegen, mein Leben (1951), which were translated in 1954 as Flying is My Life. In this book she presents herself as a patriot, and makes no moral judgments about Hitler and Nazi Germany. Some call it "an exercise in selective memory, rationalization, and denial". Many ask: was she a Nazi to the end, or just a proud woman? We don't know? . perhaps both! Fig. 211. Luftwaffe Pilot-Observer Badge with Diamonds, this badge belonged to Hermann Göring, and was part of Eric Campion Collection. The lady was a test pilot in the German Air force, Flug-Kapitänin Hanna Reitsch, who flew everything from a V-1 to giant bombers, recognized as the rocket-propelled Messerschmitt Me 163 Komet test pilot for the Air force.