The Conservative Revolution In Germany 1918 1932

The Conservative Revolution in Germany, 1918-1932 is one the most comprehensive, most lasting, and most influential studies of the European Right--in particular, the fifteen years in Germany between the Armistice and Third Reich. This chaotic time witnessed a new type of right-wing thinking: traditionalist, yet oriented towards a new beginning . . . consciously nationalist (völkisch), yet civilizational in scope . . . born in the despair of defeat and humiliation, yet envisioning a triumphant new age. The Conservative Revolutionaries sought an "overthrow of an overthrow." Armin Mohler, who knew many of these figures personally, traces the development of this German ideal from Friedrich Nietzsche, Richard Wagner, Oswald Spengler, Thomas Mann, Arthur Moeller van den Bruck, Ernst Jünger, Carl Schmitt, and beyond. The Conservative Revolutionaries persistently thought against the grain. They stood in opposition both to Bolshevism and Anglo-American capitalism, as well as Hitler and the incipient National Socialist regime. They continue to offer a vital alternative to both Left and Right in the twenty-first century. Available in English for the first time, this edition includes new essays by Paul E. Gottfried and Alain de Benoist, who discuss the book's influence and contemporary relevance.

A laboratory for competing visions of modernity, the Weimar Republic (1918-1933) continues to haunt the imagination of the twentieth century. Its political and cultural lessons retain uncanny relevance for all who seek to understand the tensions and possibilities of our age. The Weimar Republic Sourcebook represents the most comprehensive documentation of Weimar culture, history, and politics assembled in any language. It invites a wide community of readers to discover the richness and complexity of the turbulent years in Germany before Hitler's rise to power. Drawing from such primary sources as magazines, newspapers, manifestoes, and official documents (many unknown even to specialists and most never before available in English), this book challenges the traditional boundaries between politics, culture, and social life. Its thirty chapters explore Germany's complex relationship to democracy, ideologies of "reactionary modernism," the rise of the "New Woman," Bauhaus architecture, the impact of mass media, the literary life, the tradition of cabaret and urban entertainment, and the situation of Jews, intellectuals, and workers before and during the emergence of fascism. While devoting much attention to the Republic's varied artistic and intellectual achievements (the Frankfurt School, political theater, twelve-tone music, cultural criticism, photomontage, and urban planning), the book is unique for its inclusion of many lesser-known materials on popular culture, consumerism, body culture, drugs, criminality, and sexuality; it also contains a timetable of major political events, an extensive bibliography, and capsule biographies. This will be a major resource and reference work for students and scholars in history; art; architecture; literature; social and political thought; and cultural, film, German, and women's studies.

This book is the first survey in English of literature and film in Nazi Germany. It treats not only works sympathetic to National Socialism, but also works of the so-called Inner Emigration, of the resistance, and those written in prisons and concentration camps. Much of this literature is not easily accessible in German, and not available at all in English translation. Historical and ideological context is provided in chapters covering influential works of the time such as Alfred Rosenberg's The Myth of the Twentieth Century and Houston Stewart Chamberlain's The Foundations of the Nineteenth Century. Schoeps also analyzes Nazi cultural policies, fascist histories of literature, and the role of German studies and Germanists in the Nazi movement. A major section of the book is devoted to film, then a relatively new medium of communication whose propaganda value was clearly recognized by Goebbels, the minister for propaganda and president of the Reich's Chamber of Culture. One of the most interesting areas of research in recent years is the relationship between Hitler's cultural commissars, in particular Goebbels, and the literature and film production of the Nazi years. This book is based on the revised and expanded second German edition, Literatur im Dritten Reich (1933-1945), but has again been revised and expanded, especially the chapter on film and Nazi policies toward the film industry. The chapter on cultural policies has also been expanded to include Himmler's efforts to meddle in this area. New also are sections dealing with Jewish entertainers in concentration camps (for example, Kurt Gerron) and activities of the Jewish Cultural League. Karl-Heinz Schoeps is professor of German at the University of Illinois at Urbana-Champaign.

"Then came the crisis of 1933." This is Bonhoeffer's own phrase in a letter that documents a turning point in his own life as well as that of the nation. Of Bonhoeffer's own life at this time, his biographer writes, "The period of learning and roaming" from 1928 until 1931 "had come to an end" as the young lecturer, age 26, began to teach "on a faculty whose theology he did not share" and to preach "in a church whose self-confidence he regarded as unfounded." Bonhoeffer was becoming part of a society "that was moving toward political, social, and economic chaos."

The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'être of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.

The history of American universities is punctuated by shifts in the terms on which the mission of higher education is defined and debated. A dramatic moment with lasting effects came with the introduction of German-speaking exile intellectuals in the Hitler era. In Germany, the academic culture of the early twentieth century was torn by the struggle between Wissenschaft and Bildung, two symbolic German terms, whose lack of precise English equivalents is a sign of the different configuration in America. The studies in this book examine the achievements of numerous influential émigré intellectuals against the background of their mediation between the two cultural traditions in science and liberal studies. In showing the richness of reciprocal influences, the book challenges claims about the disruptive influence of exile culture on the American mind.