Nsdap Research Papers - Academia.edu (original) (raw)

Die Grenzlanduniversität Kiel gilt als nationalsozialistische Musterhochschule, an der der Parteiwille regierte und die Professoren und Studierenden dem NS-Regime zuarbeiteten. Doch ausgerechnet zu den studentischen Funktionären des... more

Despite its disapproval of the modernization of the woman’s role in the society, the NSDAP could not prevent the consolidation of a female leadership within the party. This was until 1945 in charge of leading the Reich´s woman´s... more

Despite its disapproval of the modernization of the woman’s role in the society, the
NSDAP could not prevent the consolidation of a female leadership within the party. This
was until 1945 in charge of leading the Reich´s woman´s corporation, organized in the
NS-Frauenschaft and the Deutsches Frauenwerk.
After a brief introduction into the structure of female organizations within the NSDAP,
the article aims at giving an overview over the recruitment and training of the women
cadres.
The last part of the article is based on a wide range of biographical sources and deals
with the socio-biographical and motivational profiles of the National Socialist female
leadership.
The article aims at proving the direct female influence on the establishment of a
woman´s leadership within the Nazi Party – in terms of defining its competences as well as
its political role and function for the women in the Third Reich. The article also shows that
the possibilities of female political participation within the Third Reich were not as limited
as the Nazi-propaganda would suggest. Instead they expanded, particularly through the
nazification of previously conservative and nationalist female political engagement.

Hein Hoppmann war ein Rheinberger Maler, der nach dem II. Weltkrieg mit seinen leicht erkennbaren Arbeiten sehr gute Erfolge erzielte. Er verkörpert mit seiner Interpretation von Kunst die Antimoderne. Vielleicht sogar unbewusst flossen... more

Hein Hoppmann war ein Rheinberger Maler, der nach dem II. Weltkrieg mit seinen leicht erkennbaren Arbeiten sehr gute Erfolge erzielte. Er verkörpert mit seiner Interpretation von Kunst die Antimoderne. Vielleicht sogar unbewusst flossen in seine farbstarken Werke Bodenständigkeit und Heimatverbundenheit.

"For most historians dealing with the history of National Socialism after the Second World War, ›Volksgemeinschaft‹ was more or less a meaningless parole of the Nazi Party’s notorious propaganda. But since some dozen years, ›people’s... more

"For most historians dealing with the history of National Socialism after the Second World War, ›Volksgemeinschaft‹ was more or less a meaningless parole of the Nazi Party’s notorious propaganda. But since some dozen years, ›people’s community‹ (Volksgemeinschaft) has risen to a central narrative explaining how German society has functioned during the Nazi regime. Historians did start to look for the processes and interactions between ordinary Germans as a way to reconstruct the mechanisms how the Third Reich’s social order became manifest in their doing. This article retraces the winding road of historiographical conceptualization of ›Volksgemeinschaft‹
since the very beginning of German contemporary history as a scientific reconsideration of the Nazi regime in the early 1950s. It describes the generational conditioning of the first ›historians‹ view on their topic as well as the transformation of perspective on it whilst the methodological and theoretical shift of historiography in the last thirty years, better known as ›cultural turn‹. Thereby the text argues for an extended concept of history as a historical social science, which besides the principles of social stratification takes into account the individual’s agenda and adoption of society’s norms and values. From this it follows the proposal to make use of the sociological theories of action and social roles for further research on the consistency of Nazi Germany’s society – according to the mostly unheard plea of M. Rainer Lepsius for a sociologization of both the two German dictatorships in 20th century history."

This paper examines the use of typography as a separate layer of anti-avant garde propaganda related to the Nazi exhibition of degenerate art. By tracking the use by the Third Reich of the ideas of degeneracy of script and and the use of... more

This paper examines the use of typography as a separate layer of anti-avant garde propaganda related to the Nazi exhibition of degenerate art. By tracking the use by the Third Reich of the ideas of degeneracy of script and and the use of the proper Deutsche Schrift, this paper shows the extended efforts by the reich to accomplish Minister of Propaganda Joseph Goebbels vision of "total war."

Para muchos, la historia del Partido Nazi se limita solamente a las fronteras de Alemania y a las de los países invadidos por Hitler durante la Segunda Guerra Mundial. Y precisamente este supuesto es un error, pues en Latinoamerica... more

Para muchos, la historia del Partido Nazi se limita solamente a las fronteras de Alemania y a las de los países invadidos por Hitler durante la Segunda Guerra Mundial. Y precisamente este supuesto es un error, pues en Latinoamerica también se encuentran ramificaciones..

This paper explores the cultural experience of the expressionist artists organization Der Norden, active in Germany in the first half of the thirties. Aim of the paper is to show how Joseph Goebbels exploited group’s desire for change,... more

This paper explores the cultural experience of the expressionist artists organization Der Norden, active in Germany in the first half of the thirties. Aim of the paper is to show how Joseph Goebbels exploited group’s desire for change, expressed through the journal “Kunst der Nation”, for his own political purposes. By seemingly supporting artists that partly challenged the cultural policy of the party, Goebbels could get hold of a larger consensus. Such a strategy was certainly made possible by the group’s ideological positions. While supporting innovation, “Der Norden” did not go beyond early twenty-century avant-garde. Their goal was to use expressionism as a starting point to build the figurative language of the new Nazi nation. Innovation, thus, Iargue, meant nothing else than conservation.

Membre éminent du Reichsbund für Deutsche Vorgeschichte dont une délégation visite le Musée de Antiquités Nationales en 1937, Paul-Hans Stemmermann peut être considéré comme un cas typique de la manière dont beaucoup d'archéologues... more

Membre éminent du Reichsbund für Deutsche Vorgeschichte dont une délégation visite le Musée de Antiquités Nationales en 1937, Paul-Hans Stemmermann peut être considéré comme un cas typique de la manière dont beaucoup d'archéologues allemands se sont fait les complices du régime hitlérien, oubliant toute déontologie, sombrant parfois dans une véritable «germanomanie » et contribuant à faire de l'archéologie un des piliers de l'idéologie nazie.
Abstract: As an major figure member of the Reichs-bund für Deutsche Vorgeschichte – a delegation of which visited the Musée des Antiquités Nationales in 1937 –, Paul-Hans Stemmermann may be seen as a typical example of the way followed by many German archaeologists who became the accomplices of the Hitlerian regime, throwing away their consciousness and, for some of them, sinking into a true «Germanomania » and contributing to establish archaeology as one of the very basis of Nazi ideology.

La situación política por la que Austria pasó entre 1933 y 1945 se vio reflejada al interior de la pequeña colonia austríaca asentada en el Perú. En 1934, el gobierno austríaco buscó contrarrestar la influencia del Partido Nazi en el... more

La situación política por la que Austria pasó entre 1933 y 1945 se vio reflejada al interior de la pequeña colonia austríaca asentada en el Perú. En 1934, el gobierno austríaco buscó contrarrestar la influencia del Partido Nazi en el extranjero, creando para este fin el “Frente Patriótico”. Las instrucciones para el establecimiento de esta agrupación en Lima llegaron en 1936, pero los miembros de la colonia austríaca rechazaron la idea, prefiriendo fundar una asociación de carácter apolítico, la “Unión Austria”. La razón de ello fue la falta de unidad al interior de la colonia y la necesidad de crear un espacio para los austríacos residentes en Lima y alrededores. El punto de mayor controversia dentro de la colonia austríaca, sin embargo, fue la rama local del Partido Nazi, al cual pertenecían tanto el Cónsul como los otros funcionarios del Consulado. Este hecho trajo gran revuelo en la colonia, llegando ésta —a iniciativa de sus miembros judíos— a solicitar en 1936 la destitución del Cónsul. La anexión de Austria en 1938 significó la desaparición del consulado austríaco, la conversión automática de los austríacos en ciudadanos del Tercer Reich y en algunos casos, el trato duro por parte de la población peruana, que a causa del idioma no pudo diferenciar entre alemanes y austríacos.Tras el estallido de la Segunda Guerra Mundial, la inmigración de judíos austríacos cobró cierta importancia, a pesar de los esfuerzos del gobierno peruano por evitarla. Los que llegaron al Perú durante esos años, después de cumplir una serie de requisitos formales, fueron sobre todo familiares de aquellos judíos ya establecidos en el Perú, así como músicos y pintores quienes contribuyeron a largo plazo con el desarrollo de las bellas artes del país

Svetoznámy nemecký odevný dom Hugo Boss je v súčastnosti módnym impériom s obchodmi vo viac ako 100 krajinách po celom svete. Ríša módy Huga Bossa je preslávená, okrem iného, najmä pre špičkovú dámsku a pánsku konfekciu. Tento módny... more

Svetoznámy nemecký odevný dom Hugo Boss je v súčastnosti módnym impériom s obchodmi vo viac ako 100 krajinách po celom svete. Ríša módy Huga Bossa je preslávená, okrem iného, najmä pre špičkovú dámsku a pánsku konfekciu. Tento módny gigant sa môže pýšiť ročným obratom, o ktorom sa bežnému smrteľníkovi ani len nesníva, no už menej známa je značka Hugo Boss pre niekdajšiu produkciu hnedých košieľ. Áno, presne pre tých hnedých košieľ.

O livro apresenta um panorama da política externa nazista, do seu esforço de expansão ideológica no exterior através da propaganda, da cultura e dos laços com os emigrantes alemães. Acima de tudo, o foco do livro é a AO-NSDAP, ou seja, o... more

O livro apresenta um panorama da política externa nazista, do seu esforço de expansão ideológica no exterior através da propaganda, da cultura e dos laços com os emigrantes alemães. Acima de tudo, o foco do livro é a AO-NSDAP, ou seja, o órgão do partido nacional-socialista responsável pelos núcleos nazistas fora da Alemanha, especialmente entre os alemães emigrados. O livro acompanha a organização desde a sua sede alemã, passando pela Europa, Ásia, África e América do Norte, para finalmente se concentrar no caso da América Latina. Ao final, há uma listagem bibliográfica, indexada, na qual estão disponíveis centenas de referências bibliográficas sobre o tema, abrangendo todo o continente americano.

Alltagsgeschichte Antikommunismus Anticommunism Antykomunizm Antisemitismus Antisemitism Antysemityzm Bekennende Kirche Confessing Church Berlin Broszat Martin Buber Martin Buddrus Michael BdM Bund Deutscher Mädel Bündische Jugend Youth... more

Alltagsgeschichte Antikommunismus Anticommunism Antykomunizm Antisemitismus Antisemitism Antysemityzm Bekennende Kirche Confessing Church Berlin Broszat Martin Buber Martin Buddrus Michael BdM Bund Deutscher Mädel Bündische Jugend Youth Młodzieży Chwin Stefan CVJM Daniel Ute Danziger Senat Senate Deutsche Minderheit in Polen German Minority in Poland Mniejszość niemiecka w Polsce Deutsches Reich Dirschau Tczew DNVP Edelweißpiraten Edelweiss Pirates Forster Albert Freie Stadt Danzig Free City of Danzig Gdansk Wolne Miasto Gdańsk Führerschulung Gdingen Gdynia Gewalt Violence Przemoc Gleichschaltung Goebbels Joseph Grass Günter Grenzland Borderland Heim ins Reich HJ Hitlerjugend Hitler Youth Adolf Hindenburg Homosexualität Homosexuality Homoseksualizm Huelle Pawel Juden Jewry Jew Jews Żydzi Jugend Jugendgeschichte Youth History Historia Młodzieży Jugendherberge Youth Hostel Jungvolk Kaschuben Kashubian Kaszubski Kirche Church Militarisierung Militarization Klönne Arno KZ Konzentrationslager Concentration Camp Langfuhr Wrzeszcz Marienburg Malbork Matzerath Oskar Nationalsozialismus Nazism NSDAP Opposition Oral History Ostpreußen East Prussia Pfadfinder Scout Pilsudski Piłsudski Josef Plato Alexander Pogrome Pogroms Pogromy Polen Polizei Police Polnische Post Polish Powell Baden Quellen Sources Rassismus Racism Rauschning Hermann Reichsparteitag Reulecke Jürgen Rundfunk Broadcasting SA Schirach Baldur von Schlöndorff Volker Schule School Sexueller Missbrauch Sexual Abuse Sozialismus Socialism Sozialistische Arbeiterjugend Socialist Workers Youth Sport Sports Staatsjugend State Youth Swing Jugend Youth Terror Versailler Vertrag Versailles Treaty Traktat Wersalski Völkerbund Volkstag Wahlen Elections Wybory Wandervogel Weimarer Republik Weimar Republic Republika Weimarska Werwölfe Werewolves Wilkołaki Westerplatte Westpreußen Widerstand Resistance Odporność Winterhilfswerk Zeltlager Zoppot Zentrum Zweiter Weltkrieg Second World War II wojna światowa

Cover and index of contents of my dissertation.

The Review "Kunst der Nation", published between 1933 and 1935, was founded after the journalistic discussion that developed in the Summer '33 about modernism and contemporary art. Student leaders such as Otto-Andreas Schreiber and Hans... more

The Review "Kunst der Nation", published between 1933 and 1935, was founded after the journalistic discussion that developed in the Summer '33 about modernism and contemporary art. Student leaders such as Otto-Andreas Schreiber and Hans Weidemann, became key proponents of the idea that modern art had place in the new Reich. on the one hand Schreiber and the authors of "Kunst der Nation" supported the Expressionism and they asked what must to be the Expressionim's Role in Nazi Germany, on the other hand Alfred Rosenberg considered "Kunst der Nation" a serious insult against Nazi State. But Schreiber had a very important supporter: Joseph Goebbels. Goebbels try to agree a compromise between Nazi and Expressionism and he used "Kunst der Nation" as army against Rosenberg. Only 1934 Hitler appointed Rosenberg Commissar for Supervision of Intellectual and Ideological Education of the Nsdap. Hitler's decision stemmed fromhis dissatisfaction with the Reich's aesthetic policies. Goebbels, despite his lip service to the voelkisch camp, promoted an art politic that Hilter found too liberal. Goebbel was afraid of Hitler change and of an eventually disfavour toward him. For these reason Goebbels don't helped more "Kunst der Nation" that 1935 gave up her publication.

In her own words, Eva Braun contradicted the now fashionable belief that Hitler and she were lovers. In fact, no one in Hitler's inner circle, and no one in Eva's family, ever contended that Hitler and Eva had a sexual or even a romantic... more

In her own words, Eva Braun contradicted the now fashionable belief that Hitler and she were lovers. In fact, no one in Hitler's inner circle, and no one in Eva's family, ever contended that Hitler and Eva had a sexual or even a romantic relationship.