Why Did Arno Breker Decide to Collaborate with the Nazi Cultural Programme?: Nazi Propaganda in Germany 1939-45 (Paperback)
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Essay from the year 2011 in the subject History Europe - Germany - National Socialism, World War II, grade: 72.0%, Durham University, language: English, abstract: According to Jonathan Petropoulos, Arno Breker was arguably the artist most admired by the Nazi leaders and most celebrated by the Nazi regime. As such, Arno Breker does not represent a simple cog in the National Socialist cultural machine, but rather occupies a position of almost unrivalled prominence and esteem in the cultural history of the Third Reich. Importantly, within recent academic analysis of art and culture under the National Socialist regime, there has been an ostensible recognition among historians and art historians alike that our manner of approaching figures such as Breker must be altered significantly. Culture, and especially art occupied a position of unique significance in Nazi Germany, and the cultural policies of National Socialism worked to aestheticize politics and ideology. Indeed, Taylor and van der Will argue that under Adolf Hitler, Fascism came to represent a form of government which depended on such aestheticized politics, whereby the cultural programme was transmogrified into the 'aesthetics of political symbolism'. It is within this vital framework of understanding that one must approach the multifarious motives for Arno Breker's acquiescence with the Nazi regime after 1936-7. Although Breker possessed a truly impressive artistic pedigree prior to his ascent to fame in Nazi Germany, he did choose to continue his career, arguably in a different artistic style and approach, under the Nazis. It is in this decision that historians claim can be found Arno Breker's ultimate undoing as an artist. The palpable changes evident in the sculptor's artistic style raise the issue, as elucidated by Alan E. Steinweis, of the distinction between artists' 'passive compliance' and 'active collaboration' with the regime's cultural policies. However, the case of Arno Breker raises problems beyond Steinweis' significant, but simultaneously constricted, scope of approach. The very motivations for his collaboration are overshadowed by the politically-dictated culture of which he became an indispensable part. One must question to what extent Arno Breker was transformed under National Socialism from a sculptor and an 'artist' into a purely political artist functioning to propagandize the ideological tenets of the Nazi regime. 2018. 20 S. 210 mm Versandfertig in 3-5 Tagen, Softcover, Neuware, offene Rechnung (Vorkasse vorbehalten).

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Nazi Propaganda in Germany 1939-45, eBooks, eBook Download (PDF), 1. Auflage, Essay from the year 2011 in the subject History Europe - Germany - National Socialism, World War II, grade: 72.0%, Durham University, language: English, abstract: According to Jonathan Petropoulos, Arno Breker was arguably the artist most admired by the Nazi leaders and most celebrated by the Nazi regime. As such, Arno Breker does not represent a simple cog in the National Socialist cultural machine, but rather occupies a position of almost unrivalled prominence and esteem in the cultural history of the Third Reich. Importantly, within recent academic analysis of art and culture under the National Socialist regime, there has been an ostensible recognition among historians and art historians alike that our manner of approaching figures such as Breker must be altered significantly. Culture, and especially art occupied a position of unique significance in Nazi Germany, and the cultural policies of National Socialism worked to aestheticize politics and ideology. Indeed, Taylor and van der Will argue that under Adolf Hitler, Fascism came to represent a form of government which depended on such aestheticized politics, whereby the cultural programme was transmogrified into the ‘aesthetics of political symbolism’. It is within this vital framework of understanding that one must approach the multifarious motives for Arno Breker’s acquiescence with the Nazi regime after 1936-7. Although Breker possessed a truly impressive artistic pedigree prior to his ascent to fame in Nazi Germany, he did choose to continue his career, arguably in a different artistic style and approach, under the Nazis. It is in this decision that historians claim can be found Arno Breker’s ultimate undoing as an artist. The palpable changes evident in the sculptor’s artistic style raise the issue, as elucidated by Alan E. Steinweis, of the distinction between artists’ ‘passive compliance’ and ‘active collaboration’ with the regime’s cultural policies. However, the case of Arno Breker raises problems beyond Steinweis’ significant, but simultaneously constricted, scope of approach. The very motivations for his collaboration are overshadowed by the politically-dictated culture of which he became an indispensable part. One must question to what extent Arno Breker was transformed under National Socialism from a sculptor and an ‘artist’ into a purely political artist functioning to propagandize the ideological tenets of the Nazi regime.

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Von Händler/Antiquariat, Ria Christie Collections [59718070], Uxbridge, United Kingdom.
PRINT ON DEMAND Book; New; Publication Year 2017; Not Signed; Fast Shipping from the UK.

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Von Händler/Antiquariat, buecher.de GmbH & Co. KG, [1].
Essay from the year 2011 in the subject History Europe - Germany - National Socialism, World War II, grade: 78.0%, Durham University, language: English, abstract: Did the antisemitic policy of the National Socialist regime succeed because it was anchored in deeply rooted anti-Jewish sentiments which permeated all classes of the German population? This rather simple question posed by David Bankier, one among many historians of the Third Reich who have been unable to satisfactorily resolve this issue, raises a whole host of complexities which come to dominate any examination of the impact of antisemitic propaganda upon the German population. Have historians, such as Yehuda Bauer, been too willing to assert that Nazi propaganda targeted and subsequently radicalized a pre-existing bedrock of latent antisemitism among the German people? Such assertions would seem to substantiate Frank Bajohr's suggestion that antisemitic propaganda functioned within the framework of National Socialist rule as a 'dictatorship of bottom-up consent', a Zustimmungsdiktatur which was firmly rooted in the German population's growing responsiveness to the leadership of the Third Reich. However, the validity of Bajohr's claim is somewhat undermined by contemporary evidence of the German population's reactions to antisemitic measures, particularly in SD reports, which frequently reflect Jeffrey Herf's argument of "a radical Nazi minority operating in a society with a less radical but broad antisemitic consensus, a consensus broad enough to render people indifferent [...]". Such indifference must be viewed in terms of a situation whereby the collective concerns, and collective opinion, of the German population were suitably divorced from the abstracted and de-historicized idea of 'the Jew' propagandized by the Nazi leadership throughout the war to render the German population desensitized to the plight of the Jews. 2018. 20 S. 210 mm Versandfertig in 3-5 Tagen, Softcover, Neuware, offene Rechnung (Vorkasse vorbehalten).

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