Dissertationen: „National socialism and art“

1

Frietsch, Elke. „"Kulturproblem Frau" Weiblichkeitsbilder in der Kunst des Nationalsozialismus /“. Köln : Böhlau, 2006. http://catalog.hathitrust.org/api/volumes/oclc/71712948.html.

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2

Smith, Dana. „The Jewish Kulturbund in Bavaria, 1934-1938 : art and Jewish self-representation under National Socialism“. Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/27224.

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This thesis has two foci: the development of a National Socialist anti- Jewish cultural policy and the processes of internal Jewish community cultural self-representations. At the most basic level it is an organisational history of the Jewish Kulturbund in Bavaria between 1934 and 1938. Ultimately, however, the thesis is about the people: the artists, how they employed certain mediums for specific uses and how these events were received. The Kulturbund was the lone state approved Jewish cultural organisation in Nazi Germany; it was, in other words, the only public space for Jewish cultural performance and consumption. Activity began in Berlin in the summer of 1933 and expanded to cities, towns and villages throughout the country. Unlike the majority of these early branches, however, the Jewish Kulturbund in Bavaria developed independently of Berlin's main offices. Bavarians maintained autonomous control of their cultural league until the autumn of 1935. Organised Bavarian Jewish cultural life was 'liquidated' upon official state orders after 9 November 1938. This thesis analyses the Kulturbund programme as an internal projection of willed identity for Bavarian Jews. Kulturbund events - particularly in the early seasons when National Socialist censorship was ill-defined and haphazardly enforced - reflected the ways its membership chose to stage their own understandings of what it meant, to them, to be 'Jewish'. It was a process of dissimilation and internal community building that helped its membership navigate their experiences of political persecution and social flux. What developed in the Bavarian programme from February 1934 until November 1938 was a representation of 'Jewishness' that was self-described as both religious- and heritage-based with a regional bent.

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3

Neidhart, Karin. „Nationalsozialistisches Gedankengut in der Schweiz : eine vergleichende Studie schweizerischer und deutscher Schulbücher zwischen 1900 und 1945 /“. Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb39271938t.

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4

Khut, Chiew-Lee. „Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich /“. Title page, abstract and table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

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5

Portevin, Jeanne-Marie. „L'art moderne à l'épreuve du nazisme : historiographie critique de sa réception ( 1945-2015)“. Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H029.

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Nombreux sont les ouvrages – et ce dans tous les domaines du savoir – qui traitent de l’Allemagne nationale-socialiste. Depuis 1947, et le livre d’Adolf Behne (Entartete Kunst), le sort des artistes dans le Troisième Reich suscite l’intérêt, si ce n’est la compassion, des historiens de l’art. Néanmoins, seuls les persécutés, ceux que le régime nazi avait taxé de "dégénérés", retiennent l’attention, célébrés comme autant de héros. Ce sont eux qui vont être appelés par les Alliés pour "décontaminer" un peuple tout entier corrompu par douze ans de dictature, et racheter la faute. C’est précisément l’histoire de cette image de l’artiste, tantôt qualifié de« dégénéré », tantôt d’ «émigré intérieur», que nous retraçons, de la fin de la Seconde Guerre mondiale à nos jours. Si les publications et expositions consacrées à l’art moderne à l’époque nazie sont nombreuses, jamais, en effet, le travail de mise en perspective des propos sur ce sujet n’avait été fait. Articulés en un récit cohérent, capable de rendre compte des changements d’appréciation sur le temps long du XXe siècle et du début du XXIe siècle, ces derniers rendent comptent des contradictions parfois manifestes d’une monographie à l’autre qu’il faut élucider, et permettent de mettre à jour des manières de penser et de voir, conditionnées par un horizon d’attente en constante mutation. Replacés dans un contexte politique et social, associés à des changements de mentalités, ces discours, problématisés et hiérarchisés,écrivent en filigranes une histoire de l’art au XXe siècle et nous obligent à réfléchir sur la place, le sens de l’art, et l’image de l’artiste
There are numerous publications in all areas of knowledge covering Nazi Germany. Since 1947 and the book by Adolf Behne (Entartete Kunst), the fate of the Artist in the Third Reich has sparked interest, even compassion, of Art Historians. Nevertheless, only those persecuted by the Nazi Regime, labelled « Degenerate », are celebrated as heroes. These artists would be the ones called on by the Allies to« decontaminate » and pay back the crimes of an entire nation corrupted by twelve years of dictatorship. It is precisely the evolution of the image of these artists, described as « degenerate » or sometimes « inner emigrants », that Iam retracing from the end of World War II until today. Despite a huge amount of publications and exhibitions about Modern Art from the Nazi era, the discourses on this subject have never been put into perspective.When presented chronologically and in a thorough manner, they show the evolution of how the subject was viewed between 1945 and 2015, conditioned by a constantly changing horizon of expectations. Seen in political and social context, these discourses create a 20th century history of Art and invite us to think about the meaning of the Art and the image of the artist

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6

French, Rebecca S. C. „The devil in disguise : a comparative study of Thomas Mann's "Doktor Faustus" (1947 and Klaus Mann's "Mephisto" (1936, focussing on the role of art as an allegory of the rise and fall of Nazi Germany /“. Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1634/.

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7

Gailus, Manfred. „Protestantismus und Nationalsozialismus : Studien zur nationalsozialistischen Durchdringung des protestantischen Sozialmilieus in Berlin /“. Köln : Böhlau Verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb38828797b.

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8

Stewart, Richard M. (Richard Matthew). „Intellectuals and National Socialism: The Cases of Jung, Heidegger, and Fischer“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279245/.

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This thesis discusses three intellectuals, each from a distinct academic background, and their relationship with National Socialism. Persons covered are Carl Gustav Jung, Martin Heidegger, and Eugen Fischer. This thesis aims at discovering something common and fundamental about the intellectuals' relationship to politics as such. The relationship each had with National Socialism is evaluated with an eye to their distinct academic backgrounds. The conclusion of this thesis is that intellectuals succumb all too easily to political and cultural extremism; none of these three scholars saw themselves as National Socialists, yet each through his anti-Semitism and willingness to cooperate assisted the regime.

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9

Higham, Jon. „The politics of memory in the Austrian province of Carinthia how distinctive are the collective memories of the three main political parties of Carinthia? /“. Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26086.

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10

Miller, Jennifer Anne. „The Politics of Nazi Art: The Portrayal of Women in Nazi Painting“. PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

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11

Brewin, Jennifer Ellen. „Navigating 'national form' and 'socialist content' in the Great Leader's homeland : Georgian painting and national politics under Stalin, 1921-39“. Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290266.

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This thesis examines the interaction of Georgian painting and national politics in the first two decades of Soviet power in Georgia, 1921-1939, focussing in particular on the period following the consolidation of Stalin's power at the helm of the Communist Party in 1926-7. In the Stalin era, Georgians enjoyed special status among Soviet nations thanks to Georgia's prestige as the place of Stalin's birth. However, Georgians' advanced sense of their national sovereignty and initial hostility towards Bolshevik control following Georgia's Sovietisation in 1921 also resulted in Georgia's uniquely fraught relationship with Soviet power in Moscow in the decades that followed. In light of these circumstances, this thesis explores how and why the experience and activities of Georgian painters between 1926 and 1939 differed from those of other Soviet artists. One of its central arguments is that the experiences of Georgian artists and critics in this period not only differed significantly from those of artists and critics of other republics, but that the uniqueness of their experience was precipitated by a complex network of factors resulting from the interaction of various political imperatives and practical circumstances, including those relating to Soviet national politics. Chapter one of this thesis introduces the key institutions and individuals involved in producing, evaluating and setting the direction of Georgian painting in the 1920s and early 1930s. Chapters two and three show that artists and critics in Georgia as well as commentators in Moscow in the 1920s and 30s were actively engaged in efforts to interpret the Party's demand for 'national form' in Soviet culture and to suggest what that form might entail as regards Georgian painting. However, contradictions inherent in Soviet nationalities policy, which both demanded the active cultivation of cultural difference between Soviet nationalities and eagerly anticipated a time when national distinctions in all spheres would naturally disappear, made it impossible for an appropriate interpretation of 'national form' to be identified. Chapter three, moreover, demonstrates how frequent shifts in Soviet cultural and nationalities policies presented Moscow institutions with a range of practical challenges which ultimately prevented them from reflecting in their exhibitions and publications the contemporary artistic activity taking place in the republics of the Caucasus and Central Asia. A key finding of chapters four and five concerns the uniquely significant role that Lavrenty Beria, Stalin's ruthless deputy and the head of the Georgian and Transcaucasian Party organisations, played in differentiating Georgian painters' experiences from those of Soviet artists of other nationalities. Beginning in 1934, Beria employed Georgian painters to produce an exhibition of monumental paintings, opening at the Tretyakov Gallery in Moscow in 1937, depicting episodes from his own falsified history of Stalin's role in the revolutionary movement in Transcaucasia. As this thesis shows, the production of the exhibition introduced an unprecedented degree of direct Party supervision over Georgian painting as Beria personally critiqued works by Georgian painters produced on prescribed narrative subjects in a centralised collective studio. As well as representing a major contribution to Stalin's personality cult, the exhibition, which conferred on Georgian painters special responsibility for representing Stalin and his activities, was also a public statement of the special status that the Georgians were now to enjoy, second only to that of the Russians. However, this special status involved both special privileges and special responsibilities. Georgians would enjoy special access to opportunities in Moscow and a special degree of autonomy in local governance, but in return they were required to lead the way in declaring allegiance to the Stalin regime. Chapter six returns to the debate about 'national form' in Georgian painting by examining how the pre-Revolutionary self-taught Georgian painter, Niko Pirosmani, was discussed by cultural commentators in Georgia and Moscow in the 1920s and 30s as a source informing a Soviet or Soviet Georgian canon of painting. It shows that, in addition to presenting views on the suitability of Pirosmani's painting either in terms of its formal or class content, commentators perpetuated and developed a cult of Pirosmani steeped in stereotypes of a Georgian 'national character.' Further, the establishment of this cult during the late 1920s and early 1930s seems to have been a primary reason for the painter's subsequent canonisation in the second half of the 1930s as a 'Great Tradition' of Soviet Georgian culture. It helped to articulate a version of Georgian national identity that was at once familiar and gratifying for Georgians and useful for the Soviet regime. The combined impression of cultural sovereignty embodied in this and other 'Great Traditions' of Soviet Georgian culture and the special status articulated through the 1937 exhibition allowed Georgian nationalism to be aligned, for a time, with support for Stalin and the Soviet regime.

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12

Michaud, Eric. „Une construction de l'éternité : l'image et le temps du national-socialisme“. Paris 1, 1995. http://www.theses.fr/1995PA010757.

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Le national-socialisme, defini par hitler comme "la dictature du genie", fondait son autorite sur le prestige de l'art d'une part, sur la structure de l'incarnation chretienne de l'autre. Dans chacun de ces deux modeles, le regime visait le processus capable de mener de l'"idee" a la "forme" (gestalt), de donner corps et realite au volksgeist, a l'esprit, au dieu ou au genie du peuple allemand la communaute du peuple devait trouver son identite et son salut par son "travail createur", dont le nazisme attendait les meilleures "performances" (leistungen) : un travail assimile a l'activite artistique, sous la direction d'un fuhrer qui se presentait a la fois comme le christ allemand et comme l'artiste de l'allemagne. Dirige par un artiste, ce travail etait anime par le concept classique de l'art : l'idee devait se realiser dans la forme et l'intentioin etre conservee dans toute sa purete jusqu'a sa realisation finale. Dirige par le christ allemand a la tere de la communaute mystique d'un peuple au travail, la realisation de l'idee dans la forme etait le processus par lequel l'esprit du peuple devait se former son corps et s'y incarner dans toute sa purete. Le nazisme fusionnait ces deux modeles de l'art et du christianisme pour leur performativite exemplaire. Ce fut donc le "travail createur" et ses leistungen, ses performances et realisations, qui donnerent consistance au mythe d'une race "aryenne" naturellement superieure, dessinant ses contours, la detachant de son fond parasite pour qu'elle apparut enfin sans melange. Mais la foi en la puissance du mythe s'etayait sur une double operation sur le temps historique : la rememoration des succes passes et l'anticipation des succes a venir. Rassembler les trois dimensions du temps dans une region du succes et de la performance "aryenne" : tel fut l'enjeu de cette construction de l'eternite
National socialism, defined by hitler as "the dictatorship of genius", based ist authority on the prestige of art on the one hand, on the structure of the christian incarnation on the other. In each of these two patterns, the regime aimed at the process able to lead from the "idea" to the "from" (gestalt), to give substance and reality to the volksgeist, the soul, the god or the genius of the german people. The community of the people had to find its identity and its salvation by its "creative work", from which nazism expected the best "achievements" (leistungen) : a work classed as an artistic activity, under the direction of a fuhrer who presented himself both as the german christ and the artist of germany. Directed by an artist, this work was sustained by the classical conception of art : the idea had to materialize into the form and the intention had to be kept in its very purity until its final materialization. Directed by the german christ at the head of the mystic community of a people at work, the materialization of the idea into form was the process through which the soul of the people had to shape and embodied itself in its very purity. Nazism merged these two patterns of art and christianity for their exemplary performative nature. Thus the "creative work" and its leistungen, is achievements ane embodiments gave substance to the myth of a naturally superior "aryan" race while delimiting its outline and detaching it from its parasite background in order to make it finally appear, unalloyed. But the faith in the power of the myth was supported by a double action operated on historical time : the recollection of past successes and the anticipation of future successes. What was at stazke in this construction of eternity was the merging of the three dimensions of times in the religion of success and "aryan" achievement

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13

Prölss-Kammerer, Anja. „DieTapisserie im Nationalsozialismus : Propaganda, Repräsentation und Produktion, Facetten eines Kunsthandwerks im "Dritten Reich /“. Hildesheim : G. Olms, 2000. http://catalogue.bnf.fr/ark:/12148/cb38966187w.

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14

Meckel, Anne. „Animation-Agitation : Frauendarstellungen auf der "Grossen deutschen Kunstausstellung" in München 1937-1944 /“. Weinheim : Deutscher Studien Verl, 1993. http://catalogue.bnf.fr/ark:/12148/cb37509644n.

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15

Wagner, Andreas. „"Machtergreifung" in Sachsen : NSDAP und staatliche Verwaltung 1930-1935 /“. Köln : Böhlau Verl, 2004. http://catalogue.bnf.fr/ark:/12148/cb392232955.

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16

Ketter, Helena. „Zum Bild der Frau in der Malerei des Nationalsozialismus : Eine Analyse von Kunstzeitschriften aus der Zeit des Nationalsozialismus /“. Münster : Lit, 2002. http://catalogue.bnf.fr/ark:/12148/cb389555479.

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17

Wang, Yang. „Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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18

Holmes, Kim R. „The NSDAP and the crisis of agrarian conservatism in lower Bavaria : national socialism and the peasants' road to modernity /“. New York : Garland, 1991. http://catalogue.bnf.fr/ark:/12148/cb370176497.

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19

Heinzelmann, Markus. „Die Landschaftsmalerei der Neuen Sachlichkeit und ihre Rezeption zur Zeit des Nationalsozialismus /“. Frankfurt am Main : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb39164580v.

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20

Einhaus, Carola. „Zwangssterilisation in Bonn (1934-1945) : die medizinischen Sachverständigen vor dem Erbgesundheitsgericht /“. Köln : Böhlau, 2006. http://catalogue.bnf.fr/ark:/12148/cb40149426f.

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21

Kaffanke, Eva-Maria. „Der deutsche Heiland : Christusdarstellungen um 1900 im Kontext der völkischen Bewegung“. Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb390196506.

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22

Erdmann-Rajski, Katja. „Gret Palucca : Tanz und Zeiterfahrung in Deutschland im 20. Jahrhundert : Weimarer Republik, Nationalsozialismus, Deutsche Demokratische Republik /“. Hildesheim ; Zürich ; New York : G. Olms, 2000. http://catalogue.bnf.fr/ark:/12148/cb376889202.

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23

Nyburg, Anna. „Hardly a trace left of Danube or spree? : a contribution to the study of art book publishing and illustrated book production in Britain by German-speaking exiles from National Socialism“. Thesis, Imperial College London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506044.

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24

Tomberger, Corinna. „Das Gegendenkmal : Avantgardekunst, Geschichtspolitik und Geschlecht in der bundesdeutschen Erinnerungskultur“. Bielefeld Transcript-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2960449&prov=M&dokv̲ar=1&doke̲xt=htm.

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25

Rizzo, Susanna Grazia. „From paradise lost to promised land Christianity and the rise of West Papuan nationalism /“. Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050127.105650/index.html.

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26

Iivonen, Jyrki. „Independence or incorporation ? : the idea of Poland's national self-determination and independence within the Russian and Soviet socialism from 1870s to the 1920s /“. Helsinki : Finnish institute of international affairs, 1990. http://catalogue.bnf.fr/ark:/12148/cb355004319.

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27

Miller, Aaron Michael. „The Duality of the Hitler Youth: Ideological Indoctrination and Premilitary Education“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955087/.

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This thesis examines the National Socialists' ultimate designs for Germany's youth, conveniently organized within the Hitlerjugend. Prevailing scholarship portrays the Hitler Youth as a place for ideological indoctrination and activities akin to the modern Boy Scouts. Furthermore, it often implies that the Hitler Youth was paramilitary but always lacks support for this claim. These claims are not incorrect, but in regard to the paramilitary nature of the organization, they do not delve nearly deeply enough. The National Socialists ultimately desired to consolidate their control over the nation and to prepare the nation for a future war. Therefore, they needed to simultaneously indoctrinate German youth, securing the future existence of National Socialism but also ensuring that German youth carry out their orders and defend Germany, and train the youth in premilitary skills, deliberately attempting to increase the quality of the Wehrmacht and furnish it with a massive, trained reserve in case of war. This paper relies on published training manuals, translated propaganda, memoirs of former Hitler Youth members and secondary literature to examine the form and extent of the ideological indoctrination and premilitary training--which included the general Hitler Youth, special Hitler Youth subdivisions, military preparedness camps akin to boot camp, and elaborate war games which tested the youths' military knowledge. This thesis clearly demonstrates that the National Socialists desired to train the youth in skills that assisted them later in the Wehrmacht and reveals the process implemented by the National Socialists to instill these abilities in Germany's impressionable youth.

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28

Foster, Emmanuelle. „Les artistes peintres et graveurs allemands en exil à Paris : 1933-1939“. Paris 1, 1991. http://www.theses.fr/1991PA010527.

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Cette recherche porte sur l'exil à Paris des plasticiens allemands qui quittèrent l’Allemagne hitlérienne entre 1933 et 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . Ces artistes sont, pour la plupart, les représentants des grands courants esthétiques qui avaient consacré le renom international de l'art allemand sous la république de Weimar. L'exil représente un tournant dans leur biographie, parfois, une rupture dans leurs carrières. Leur rapport au monde s'en trouve modifie. Certains artistes développent pendant ces années un art à contenu politique, expression d'une résistance au fascisme, empruntant souvent une forme réaliste (Heinz Kiwitz, Heinz Lohmar). Les peintres de l'abstraction, eux, s'engagent autrement, en continuant précisément de peindre dans la direction qui leur a valu d'être pourchassés par le nazisme. L'art allemand en exil devient alors lieu de résistance. Telles sont les œuvres à contenu militant, mais aussi les œuvres non politiques, portraits, paysages urbains, qui opposent une vision humaniste à l'esthétique nazie du "sang et sol" ; cet art figuratif est le fruit d'une résistance ; mais l'art abstrait, banni d’Allemagne, par son exigence absolue de liberté n'est-il pas également expression d'une résistance ? En quoi s'impose-t-il encore comme élément subversif dans les années 30 ? Telles sont les interrogations auxquelles cette thèse tente de répondre
The subject of this thesis is the parisian exile of german artists who fled nazi Germany between 1933 and 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . In the vast majority, these were artists representative of the esthetic movements that had been responsable for the international renown of german art during the weimar republic. This exile meant a major change in the life of these artists and sometimes a complete rupture in their career. Their "weltanschauung" was radically altered. During this period, some artists developed an art with consciously political overtones in order to express their opposition to fascism. This art often took a realistic form (Heinz Kiwitz, Heinz Lohmar). Abstract painters continued in the style that had led to their being banned by the nazis. This was another form from "moral" engagement and of opposition to fasciom. German art in exile thus becomes a sector of resistance. Whether is the consciously political art or not, portraits or urban landscapes, thes works of art stand for a humanist conviction which contradicts the nazi esthetic "blut und boden". Figurative art is, in this context, the fruit of resistance. But abstract art also, (forbidden in nazi Germany) with its obvious expression of a total artistic liberty

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29

Kunze, Hans Henning. „Restitution "entarteter Kunst" : Sachenrecht und internationales Privatrecht /“. Berlin [u.a.] : de Gruyter, 2000. http://www.gbv.de/dms/sbb-berlin/319367886.pdf.

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30

Launay, Isabelle. „A la recherche d'une danse moderne : étude sur les écrits de Rudolf Laban et de Mary Wigman“. Paris 8, 1994. http://www.theses.fr/1994PA080874.

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L'objet de cette thèse est l'étude de la notion de "danse moderne" à travers les textes de deux de ses fondateurs, Rudolf Laban et de Mary Wigman. L'introduction critique d'abord la présentation linéaire, progressive et déterministe de l'histoire de la danse habituellement proposée par les historiens de la danse. Elle envisage le désir de modernité en danse comme un combat pour une danse du présent. Dans deux chapitres successivement consacrés à Laban et Wigman sont analysés, d'une part, leur rapport au passé et aux héritages chorégraphiques, et d'autre part, leur perception de la vie moderne. Les modalités de leur expérience du mouvement (leur technique d'improvisation et de composition) et leur vision du corps font l'objet d'une troisième préoccupation. Enfin sont présentées les difficultés qu'ils rencontrèrent dans la transmission de cette expérience et dans l'élaboration de leurs spectacles sur les scènes de leur temps. Une conclusion compare leurs points de vue et s'attache à montrer la modernité de leurs écrits
This thesis examines the concept of "modern dance" through the texts of Rudolf Laban and Mary Wigman. The introduction critiques the linear, progressive and deterministic presentation of the history of modern dance usually proposed by the historians of dance, and considers Laban and Wigman's desire for modernity as a struggle for a dance of the present. Chapter one opens with an exploration of Laban's relationships to the past and to the choreographic heritage as well as his perception of the modern life. It then analyzes the modes of Laban's experimentation; in particular, his technique of improvisation and composition. A discussion of the artist's vision of the body follows. In closing, the chapter presents the difficulties that Laban encountered in the transmission of his dance-experience both within his school and in performances. Chapter two is a corresponding treatment of the above topics with regard to Wigman. The conclusion compares the two artists' points of view, defines their oppositions, and attempts to shows the modernity of their writings

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31

Koontz, Christopher N. (Christopher Noel). „The Cultural Politics of Baldur von Schirach, 1925-1940“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278546/.

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32

Voigt, Vanessa-Maria. „Kunsthändler und Sammler der Moderne im Nationalsozialismus : die Sammlung Sprengel 1934 bis 1945 /“. Berlin : Reimer, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016088396&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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33

Jakobi, Carsten. „Der kleine Sieg über den Antisemitismus : Darstellung und Deutung der nationalsozialistischen Judenverfolgung im deutschsprachigen Zeitstück des Exils 1933-1945 /“. Tübingen : M. Niemeyer, 2005. http://catalogue.bnf.fr/ark:/12148/cb399347162.

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34

Haken, Boris von. „Der Reichsdramaturg : Rainer Schlösser und die Musiktheater-Politik in der NS-Zeit /“. Hamburg : Von Bockel, 2007. http://catalogue.bnf.fr/ark:/12148/cb41078753h.

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35

Bent, George R. „Austrian National Socialism and the Anschluss“. Oberlin College Honors Theses / OhioLINK, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1357673930.

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36

Klopffleisch, Richard. „Lieder der Hitlerjugend : eine psychologische Studie an ausgewählten Beispielen /“. Frankfurt am Main ; Bern ; Paris : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb369586591.

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37

Roberge, Marc-André. „Die Musik(1901-44) la transformation d'un périodique à travers trois périodes de l'histoire allemande /“. Ann Arbor (Mich.) : UMI, 1988. http://catalogue.bnf.fr/ark:/12148/cb40036207h.

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38

Cook, Andrew V. „Marxist historiography and the problem of National Socialism /“. Title page and introduction only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arc7681.pdf.

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39

Hallam, Huw. „Political sound : National Socialism and its musical afterlive“. Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/political-sound(32adb915-a688-45b5-9107-e110e54d7f7f).html.

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This thesis examines the political significance of music (and sonic expression more broadly) in National Socialist Germany and the shadow cast by it over subsequent music history. I argue that sonic expression in the Third Reich held much greater political significance than has elsewhere been recognized, featuring as a prominent component of the Reich’s sovereign command structure. The thesis attempts to shed light on this intercourse between the musical and the political at a theoretical level and to trace its impact on various developments in post-1945 sonic arts practices. Part I explores ways in which sonic expression was manipulated as part of the National Socialist regime’s articulation of sovereignty. It reframes Walter Benjamin's phrase ‘aestheticization of politics’ in relation to various forms of sonic (often vocal) activity in the Third Reich. It then analyses the National Socialist radio broadcasting system as a unique, technical and bureaucratic medium of sovereign command. This gives new insight into the place of sonic expression and music in modernity and raises questions about the quality of the relationship between music and political power and how that relationship might be modulated through creative practice. Part II then considers the musical ‘afterlives’ of this meeting of politics and sonic expression. It explores how different sonic arts practices have subsequently (since 1945) rethought and reworked the political form of sonic expression, guided by theexperience of National Socialism. Chapter Four analyses work by Luigi Nono and Bernd-Alois Zimmermann in relation to language and historical testimony. Chapter Five explores Karlheinz Stockhausen’s and Christina Kubisch’s engagements with technology. Finally, Chapter Six examines Mauricio Kagel’s treatment of the musical ‘work’ form’s temporal implications. Together, these analyses reveal the outline of an historically transformative approach to critical, politically self-reflexive music making.

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40

Hancock, Eleanor. „The national socialist leadership and total war 1941-5 /“. New York : St. Martin's press, 1991. http://catalogue.bnf.fr/ark:/12148/cb374707263.

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Texte remanié de: doctoral th.--Australian national university, 1988. Titre de soutenance : Mobilizing for total war : the national socialist leadership and social and labour prerequisites for intensifying the German war effort, 1941-1945.
Titre de couv. "National socialism leadership and total war 1941-45" Notes bibliogr. Bibliogr. Index.

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41

Kunz, C. „The history of National Socialism in Herne, 1925-1949“. Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384677.

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42

Haeberlin, Andrew Jarausch Konrad Hugo. „Politicizing education German teachers face National Socialism, 1930-1932 /“. Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2327.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History." Discipline: History; Department/School: History.

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43

Bowden, Robin L. „Diagnosing Nazism U.S. perceptions of National Socialism, 1920-1933 /“. [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1247588433.

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Thesis (Ph.D.)--Kent State University, 2009-07-14.
Title from PDF t.p. (viewed March 5, 2010). Advisor: Mary Ann Heiss. Keywords: Foreign Relations; United States; Germany; Weimar Republic; Hitler, Adolf; National Socialism; Nazis; U.S. State Department; Houghton, Alanson; Schurman, Jacob Gould; Sackett, Frederic; Murphy, Robert; Smith, Truman; 1920s; 1930s; Interwar Period; America. Includes bibliographical references (p. 318-335).

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44

Heinrich, Horst-Alfred. „Politische Affinität zwischen geographischer Forschung und dem Faschismus im Spiegel der Fachzeitschriften : ein Beitrag zur Geschichte der Geographie in Deutschland von 1920 bis 1945 /“. Giessen : Selbstverl. des Geographischen Instituts der Justus Liebig-Universität Giessen, 1991. http://catalogue.bnf.fr/ark:/12148/cb37018554s.

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45

Karlsson, Ingemar. „Historien som biologiskt öde : om perspektivförskjutningar inom mellankrigstidens tyska historieskrivning /“. Göteborg : Univ, 1989. http://catalogue.bnf.fr/ark:/12148/cb37620105s.

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46

Breiding, Birgit. „Die Braunen Schwestern : Ideologie, Struktur, Funktion einer nationasozialistischen Elite /“. Stuttgart : in Kommission bei F. Steiner, 1998. http://catalogue.bnf.fr/ark:/12148/cb371204977.

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47

Maxwell, Rachel Elizabeth. „Aeschylus and National Socialism: Lothar Müthel's Orestie as Nazi Propaganda“. BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6020.

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This thesis analyzes the text, stage design, and historical context of Lothar Müthel's production of Aeschylus's Oresteia trilogy in 1936, which was sponsored by the National Socialist government during a broader publicity campaign during the Summer Olympics of 1936. The third play, Eumenides (Die Versöhnung in German) has democratic undertones, and therefore seems incompatible with Nazi ideology at first glance. There are three ways in which the Nazis made Müthel's adaptation of Die Versöhnung compatible. First, in the context of the Olympics, the Nazis attempted to draw a connection or relationship between modern German and ancient Greek culture, implying themselves to be successors to ancient Greece. Second, through Ulrich von Wilamowitz-Moellendorff's interpretations of the Greek word δίκη (justice), a central concept in the Oresteia, the Nazis were able to emphasize the progression of a state from a savage, chaotic period to a new, better civilization, an idea that particularly appeals to Nazi narrative owing to their own recent history with the Weimar Republic. Third, the Nazis shifted focus from the institution of the Areopagus to the role of Athena and interpreted her to be a Germanic goddess. Müthel's adaptation is a good case study in how, through appropriation, a political movement can interpret a text to fit their ideology.

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48

Pohlmann, Friedrich. „Ideologie und Terror im Nationalsozialismus /“. Pfaffenweiler : Centaurus-Verlagsgesellschaft, 1992. http://catalogue.bnf.fr/ark:/12148/cb37017722g.

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49

Lööw, Heléne. „Hakkorset och Wasakärven : en studie av nationalsocialismen i Sverige 1924-1950 /“. Göteborg : H. Lööw : Historiska institutionen i Göteborg, 1990. http://catalogue.bnf.fr/ark:/12148/cb37598837j.

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50

Östling, Johan. „Nazismens sensmoral : svenska erfarenheter i andra världskrigets efterdyning /“. Stockholm : Atlantis, 2008. http://catalogue.bnf.fr/ark:/12148/cb41410253n.

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Dissertationen zum Thema „National socialism and art“

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