Rainer Werner Fassbinder S Controversy Anti Semitism Or Public Discourse

Examines anti-Semitism in Reinar Fassbinder's artistic work especially his ill-famed play of 1975, Der Muell, die Stadt und der Tod, i.e. the phenomenon of cultural anti-semitism in post war Germany. Fassbinder was many times accused for embodying (implicitly or explicitly) some anti-Semitic of Fascist elements in his works. In this undertaking I attempt to confront these allegations historically and analytically.

During the 1970s the todays Austrian Federal Ministry of Education, Science and Research (Bundesministerium für Bildung, Wissenschaft und Forschung, BMBWF) supported the founding of the Center for Austrian Studies at the University of Minnesota in Minneapolis and the Austrian Chair at Stanford University in California. These foundings were the initial incentives for the worldwide 'spreading' of similar institutions; currently nine Centers for Austrian and Central European Studies exist in seven states on three continents. The funding of the Ministry enables to connect senior with young scholars, to help young PhD students, to participate and to benefit from the scientific connection of experienced researchers, and to get in touch with the national scientific community by 'sniffing scientific air', as the Austrian like to say. Furthermore, it aims to avoid prejudices, and to spread a better understanding and knowledge about Austria and Central Europe by promoting scientific exchange. This volume contains the annual reports (2017/2018) of the Center Director's and the papers of their PhD students, which discuss various topics on mostly (East-)Central European History from various perspectives and in different centuries.

The murder of six million Jews during the Holocaust is a crime that has had a lasting and massive impact on our time. Despite the immense, ever-increasing body of Holocaust literature and representation, no single interpretation can provide definitive answers. Shaped by different historical experiences, political and national interests, our approximations of the Holocaust remain elusive. Holocaust responses—past, present, and future—reflect our changing understanding of history and the shifting landscapes of memory. This book takes stock of the attempts within and across nations to come to terms with the murders. Volume editors establish the thematic and conceptual framework within which the various Holocaust responses are being analyzed. Specific chapters cover responses in Germany and in Eastern Europe; the Holocaust industry; Jewish ultra-Orthodox reflections; and the Jewish intellectuals' search for a new Jewish identity. Experts comment upon the changes in Christian-Jewish relations since the Holocaust; the issue of restitution; and post-1945 responses to genocide. Other topics include Holocaust education, Holocaust films, and the national memorial landscapes in Germany, Poland, Israel, and the United States.

This book is the first to provide a history of Jewish writing & thought in the German-speaking world. By the most distinguished scholars in the field, the book is arranged chronologically, moving from the 11th century to the present.

Winner of the 2015 Ruth A. Solie Award from the American Musicological Society The first volume of its kind, Dislocated Memories: Jews, Music, and Postwar German Culture draws together three significant areas of inquiry: Jewish music, German culture, and the legacy of the Holocaust. Jewish music-a highly debated topic-encompasses a multiplicity of musics and cultures, reflecting an inherent and evolving hybridity and transnationalism. German culture refers to an equally diverse concept that, in this volume, includes the various cultures of prewar Germany, occupied Germany, the divided and reunified Germany, and even "German (Jewish) memory," which is not necessarily physically bound to Germany. In the context of these perspectives, the volume makes powerful arguments about the impact of the Holocaust and its aftermath in changing contexts of musical performance and composition. In doing so, the essays in Dislocated Memories cover a wide spectrum of topics from the immediate postwar period with music in the Displaced Persons camps to the later twentieth century with compositions conceived in response to the Holocaust and the klezmer revival at the turn of this century. Dislocated Memories builds on a wide range of recent and critical scholarship in Cold War studies, cultural history, German studies, Holocaust studies, Jewish studies, and memory studies. What binds these distinct fields tightly together are the contributors' specific theoretical inquiries that reflect separate yet interrelated themes such as displacement and memory. While these concepts link the multi-faceted essays on a micro-level, they are also largely connected in their conceptual query by focus, on the macro-level, on the presence and the absence of Jewish music in Germany after 1945. Filled with original research by scholars at the forefront of music, history, and Jewish studies, Dislocated Memories will prove an essential text for scholars and students alike.

The surrender of Nazi Germany in 1945 marked the end of an epoch during which anti-Semitism escalated into genocide. In the immediate aftermath of World War II, Nazi racist ideology was discredited morally and politically, and the Allied occupation forces prohibited its dissemination in public. However, there was no overnight transformation of individual anti-Semitic attitudes among the public at large. Most surveys conducted since 1946 have confirmed the persistence of massive anti-Semitism in Germany both in the democratic West and the communist East. Based on all empirical survey data available up to now, this volume offers a thorough comparative analysis of anti-Semitism in Germany, and in particular its resurgence with the rise of right-wing extremism since unification. Anti-Semitism in Germany reflects a historically unique opportunity to compare the attitudes of two population groups that shared a common history up to 1945 and then lived under differing political conditions until 1989. The authors find distinct generational patterns in the survival and development of anti-Semitic attitudes. In the Federal Republic hostility towards Jews was more manifest among those who had been socialized to it under the Weimar Republic and Third Reich but less prevalent in subsequent generations. In contrast the authors show younger East Germans as more susceptible to anti-Semitism. The economic and cultural crises of reunification underwrote the strident anti-Zionism of the former communist regime. The authors also explore the anti-Semitic component of the recent wave of xenophobic violence and the disturbing rise of neo-Nazi political activity. This volume is especially noteworthy in its examination of a "secondary" anti-Semitism closely tied to the issue of coming to terms with the Nazi past. The motives behind persisting anti-Semitism can no longer be attributed to ethnic conflict, but go to the core discrepancy between wanting to forget and being reminded. The authors consider this phenomenon within the framework of current German political culture. In its comprehensiveness and methodological sophistication, Anti-Semitism in Germany is a major contribution to the literature on modern anti-Semitism and ethnic prejudice. It will be read by historians, political scientists, sociologists, and Jewish studies specialists.

This book develops a theory of aesthetic fiction’s impact on social identities. Throughout five case studies, the author develops the argument that social identities are nurtured by and may even emerge through the conflict between different aesthetic expressions. As it creates affective structures, narrative fiction enables the development and formation of political and cultural identities. This work is part of a field of research that deals with the aesthetics of the everyday and the idea of social aesthetics. It argues for a central role for the arts in the creation and formation of modern society. Social identities emerge in response to aesthetic-sensual patterns of perception. Focusing on five West German public debates in the years 1950 to 1990, this work sheds light upon the transformation of social reality through the discursive adaption of art.

Since unification, Germany has experienced profound changes, including the reawakening of xenophobic hate crime, anti-Semitic incidents, and racist violence. This book presents the most recent research conducted by a team of American and German experts in political science, sociology, mass communication, and history. They analyze the degree of antisemitism, xenophobia, remembrance, and Holocaust knowledge in German public opinion; the groups and organizations that propagate prejudice and hate; and the German, American, and Jewish perceptions of, and reactions to, these phenomena.