The Heidelberg Myth

Deeply researched in university archives, newly opened denazification records, occupation reports, and contemporary publications, The Heidelberg Myth starkly details how extensively the university's professors were engaged with National Socialism and how effectively they frustrated postwar efforts to ascertain the truth."--BOOK JACKET.

The story of Joseph Gorres's life is in many ways the story of German political culture in the revolutionary epoch. Indeed, his dates, 1776-1848, frame the "Age of Revolution" and, like the age in which he lived, Gorres's life was marked by great upheavals. One of the most prominent German journalists of his age, Gorres pioneered political journalism, or what was called Publizistik in Germany. He was a founder of political Catholicism, and was in no small part responsible for the fact that Germany eventually developed a party based on the Catholic confession. Gorres was also an extraordinarily prolific scholar with an almost dizzying range of interests. His life provides a window into an incredibly prolific era in European history, into the political implications of the Enlightenment, the wide-reaching intellectual movement of German romanticism, the roots of German nationalism, and the origins of German political party formation.Gorres traversed the entire political spectrum of his age: his youth, formed in the shadow of the French Revolution, was characterized by enlightened, cosmopolitan republicanism -- what some have dubbed "German Jacobinism"; his middle years included a romantic phase, in which he helped foster a nascent German cultural nationalism, before he became a fiery nationalist writer and publisher of the Rheinischer Merkur, the most important political newspaper in Germany up to that time. In the sunset of his life he was primarily a Catholic political polemicist.Gorres helped shape the immensely creative and pivotal years in which he lived, years that saw the development of the modern state system and the origin of the political spectrum in Germany, as well as thevery concepts "liberal" and "conservative", which are so much a part of our political discourse today.

A history of Adolf Hitler's rise to power and the collapse of democracy in Nazi Germany explains why Nazism's ideology of hatred flourished in a country embittered by military defeat and economic disaster following World War I.

The Seductiveness of Jewish Myth offers a panorama of diverse definitions of myth, understandings of Judaism, and competing evaluations of the "mythic" element in religion. The contributors focus on the problem of defining myth as a category in religious studies, examine modern religion and the role of myth in a "secularized" world, and look at specific cases of Jewish myth from biblical through modern times.

Since the dawn of Romanticism, artists and intellectuals in Germany have maintained an abiding interest in the gods and myths of antiquity while calling for a new mythology suitable to the modern age. In this study, George S. Williamson examines the factors that gave rise to this distinct and profound longing for myth. In doing so, he demonstrates the entanglement of aesthetic and philosophical ambitions in Germany with some of the major religious conflicts of the nineteenth century. Through readings of key intellectuals ranging from Herder and Schelling to Wagner and Nietzsche, Williamson highlights three crucial factors in the emergence of the German engagement with myth: the tradition of Philhellenist neohumanism, a critique of contemporary aesthetic and public life as dominated by private interests, and a rejection of the Bible by many Protestant scholars as the product of a foreign, "Oriental" culture. According to Williamson, the discourse on myth in Germany remained bound up with problems of Protestant theology and confessional conflict through the nineteenth century and beyond. A compelling adventure in intellectual history, this study uncovers the foundations of Germany's fascination with myth and its enduring cultural legacy.

A Companion to Australian Art A Companion to Australian Art is a thorough introduction to the art produced in Australia from the arrival of the First Fleet in 1788 to the early 21st century. Beginning with the colonial art made by Australia’s first European settlers, this volume presents a collection of clear and accessible essays by established art historians and emerging scholars alike. Engaging, clearly-written chapters provide fresh insights into the principal Australian art movements, considered from a variety of chronological, regional and thematic perspectives. The text seeks to provide a balanced account of historical events to help readers discover the art of Australia on their own terms and draw their own conclusions. The book begins by surveying the historiography of Australian art and exploring the history of art museums in Australia. The following chapters discuss art forms such as photography, sculpture, portraiture and landscape painting, examining the practice of art in the separate colonies before Federation, and in the Commonwealth from the early 20th century to the present day. This authoritative volume covers the last 250 years of art in Australia, including the Early Colonial, High Colonial and Federation periods as well as the successive Modernist styles of the 20th century, and considers how traditional Aboriginal art has adapted and changed over the last fifty years. The Companion to Australian Art is a valuable resource for both undergraduate and graduate students of the history of Australian artforms from colonization to postmodernism, and for general readers with an interest in the nation’s colonial art history.

First ever collection of histories of American sociology of religion, including accounts of early dissertations changes in theory, and studies of denominations, globalization, feminism, new religions and Latino/a American religion.

Dictatorships destroy intellectual freedom, yet universities need it. How, then, can universities function under dictatorships? Are they more a support or a danger for the system? In this volume, leading experts from five countries explore the many dimensions of accommodation and conflict, control and independence, as well as subservience and resistance that characterized the relationship of universities to dictatorial regimes in communist and fascist states during the twentieth century: Nazi Germany, Mussolini’s Italy, Francoist Spain, Maoist China, the Soviet Union, and the Soviet bloc countries of Czechoslovakia, East Germany, Hungary, and Poland. Comparisons across these cases reveal that the higher-education policies of modern dictatorships were characterized by a basic conflict of aims. On the one hand, universities were supposed to propagate reigning ideology and serve as training grounds for a dependable elite. Consequently, university autonomy was restricted, research used for political legitimation, personnel policies subjected to political calculus, and many undesired scholars simply put out on the street. On the other hand, modern dictatorships needed well-educated scientists, physicians, teachers, and engineers for the implementation of their political, economic, and military agendas. Communist and fascist leaders thus confronted the basic question of whether universities should be seen primarily as producers of ideology and functionaries loyal to the party line or as places where indispensable knowledge was made available. Dictatorships that opted to subject universities to rigorous political control reduced their scholarly productivity. But if the institutes of higher learning were left with too much autonomy, there was a danger that they would go astray politically. Besides the editors, the contributors are Ruth Ben-Ghiat, Michael David-Fox, Jan Havránek, Ralph Jessen, György Péteri, Miguel Ángel Ruiz Carnicer, and Douglas Stiffler.