The Nazi Fascist New Order For European Culture

Following France’s defeat, the Nazis moved forward with plans to reorganize a European continent now largely under Hitler’s heel. Some Nazi elites argued for a pan-European cultural empire to crown Hitler’s conquests. Benjamin Martin charts the rise and fall of Nazi-fascist soft power and brings into focus a neglected aspect of Axis geopolitics.

During World War II, Nazi-fascist cultural organizations brought writers, filmmakers, and composers together at international conferences where intellectuals celebrated a nationalist and anti-Semitic vision of European culture and pursued the continent-wide reform of the legal and economic bases of European culture. The Nazi-Fascist New Order for European Culture charts the origins, successes, and collapse of the Axis's pan-European cultural institutions. It analyzes their core ideas, charts their internal rivalries, and reveals the complex dynamic of cooperation and competition between the Germans and the Italians that stood at the heart of the project.--

Nazis, fascists and völkisch conservatives in different European countries not only cooperated internationally in the fields of culture, science, economy, and persecution of Jews, but also developed ideas for a racist and ethno-nationalist Europe under Hitler. The present volume attempts to combine an analysis of Nazi Germany’s transnational relations with an evaluation of the discourse that accompanied these relations.

Following France’s defeat, the Nazis moved forward with plans to reorganize a European continent now largely under Hitler’s heel. Some Nazi elites argued for a pan-European cultural empire to crown Hitler’s conquests. Benjamin Martin charts the rise and fall of Nazi-fascist soft power and brings into focus a neglected aspect of Axis geopolitics.

BETWEEN 1933 AND 1945 MEMBERS OF THREE GROUPS—THE Nazi fascists, Inner Emigration, and Exiles—fought with equal fervor over who could definitively claim to represent the authentically “great German culture,” as it was culture that imparted real value to both the state and the individual. But when authorities made pronouncements about “culture” were they really talking about high art? This book analyzes the highly complex interconnections among the cultural-political concepts of these various ideological groups and asks why the most artistically ambitious art forms were viewed as politically important by all cultured (or even semi-cultured) Germans in the period from 1933 to 1945, with their ownership the object of a bitter struggle between key figures in the Nazi fascist regime, representatives of Inner Emigration, and Germans driven out of the Third Reich.

George L. Mosse's extensive analysis of Nazi culture - ground-breaking upon its original publication in 1966 - is now offered to readers of a new generation. Selections from newspapers, novellas, plays, and diaries as well as the public pronouncements of Nazi leaders, churchmen, and professors describe National Socialism in practice and explore what it meant for the average German.

Nazi Germany and Southern Europe, 1933-45 is about transnational fascist discourse. It addresses the cultural and scientific links between Nazi Germany and Southern Europe focusing on a hybrid international environment and an intricate set of objects that include individual, social, cultural or scientific networks and events.

Explores the ways in which post-war society in Germany, France and Italy has come to terms - or failed to come to terms - with the traumatic experiences of Nazism, Fascism, the Occupation and the Resistance in the pre-1945 period.