"Nostalgia After Nazism is a compelling, sophisticated entry in the growing field of German and Austrian memory studies. It introduces into German studies a nuanced set of tools drawn from the broad panoply of contemporary theory and sets those voices onto the broader historical landscape of post-World War II confrontations between the West's recent history and its present. The result is a highly readable, impeccably documented volume that joins the best of literary history and close readings to a broad spectrum of theoretical models. Nostalgia After Nazism offers an exemplary model for cultural scholarship after the supposed ̀end of theory,' recapturing how theory, history, and the texts of culture are mutually illuminating."---Katherine Arens, The University of Texas at Austin --

In the first chapter on the German military’s unlikely function as an incubator of modernist art and in the second chapter on Adolf Hitler’s advocacy for “eugenic” figurative representation embodying nostalgia for lost Aryan racial perfection and the aspiration for the future perfection of the German Volk, Maertz conclusively proves that the Nazi attack on modernism was inconsistent. In further chapters, on the appropriation of Christian iconography in constructing symbols of a Nazi racial utopia and on Baldur von Schirach’s heretical patronage of modernist art as the supreme Nazi Party authority in Vienna, Maertz reveals that sponsorship of modernist artists continued until the collapse of the regime. Also based on previously unexamined evidence, including 10,000 works of art and documents confiscated by the U.S. Army, Maertz’s final chapter reconstructs the anarchic denazification and rehabilitation of German artists during the Allied occupation, which had unforeseen consequences for the postwar art world.

'INSIDE THE THIRD REICH is not only the most significant personal German account to come out of the war but the most revealing document on the Hitler phenomenon yet written. It takes the reader inside Nazi Germany on four different levels: Hitler's inner circle, National Socialism as a whole, the area of wartime production and the inner struggle of Albert Speer. The author does not try to make excuses, even by implication, and is unrelenting toward himself and his associates... Speer's full-length portrait of Hitler has unnerving reality. The Fuhrer emerges as neither an incompetent nor a carpet-gnawing madman but as an evil genius of warped conceits endowed with an ineffable personal magic' NEW YORK TIMES

The story of how Germans came to embrace the Third Reich.Germany in early 1933 was a country ravaged by years of economic depression and increasingly polarized between the extremes of left and right. Over the spring of that year, Germany was transformed from a republic, albeit a seriously faltering one, into a one-party dictatorship. In Hitler's First Hundred Days, award-winning historian PeterFritzsche examines the pivotal moments during this fateful period in which the Nazis apparently won over the majority of Germans to join them in their project to construct the Third Reich. Fritzsche scrutinizes the events of theperiod - the elections and mass arrests, the bonfires and gunfire, the patriotic rallies and anti-Jewish boycotts - to understand both the terrifying power that the National Socialists came to exert over ordinary Germans and the powerful appeal of the new era that they promised.

“A remarkable book, from its title and subtitle to its last words . . . A stirring indictment of American sentimentality about war.” —Robert G. Kaiser, The Washington Post In Looking for the Good War, Elizabeth D. Samet reexamines the literature, art, and culture that emerged after World War II, bringing her expertise as a professor of English at West Point to bear on the complexity of the postwar period in national life. She exposes the confusion about American identity that was expressed during and immediately after the war, and the deep national ambivalence toward war, violence, and veterans—all of which were suppressed in subsequent decades by a dangerously sentimental attitude toward the United States’ “exceptional” history and destiny. Samet finds the war's ambivalent legacy in some of its most heavily mythologized figures: the war correspondent epitomized by Ernie Pyle, the character of the erstwhile G.I. turned either cop or criminal in the pulp fiction and feature films of the late 1940s, the disaffected Civil War veteran who looms so large on the screen in the Cold War Western, and the resurgent military hero of the post-Vietnam period. Taken together, these figures reveal key elements of postwar attitudes toward violence, liberty, and nation—attitudes that have shaped domestic and foreign policy and that respond in various ways to various assumptions about national identity and purpose established or affirmed by World War II. As the United States reassesses its roles in Afghanistan and the Middle East, the time has come to rethink our national mythology: the way that World War II shaped our sense of national destiny, our beliefs about the use of American military force throughout the world, and our inability to accept the realities of the twenty-first century’s decades of devastating conflict.

In this brilliant polemical rampage, Owen Hatherley shows how our past is being resold in order to defend the indefensible. From the marketing of a "make do and mend" aesthetic to the growing nostalgia for a utopian past that never existed, a cultural distraction scam prevents people grasping the truth of their condition. The Ministry of Nostalgia explodes the creation of a false history: a rewriting of the austerity of the 1940s and 1950s, which saw the development of a welfare state while the nation crawled out of the devastations of war. This period has been recast to explain and offer consolation for the violence of neoliberalism, an ideology dedicated to the privatisation of our common wealth. In coruscating prose-with subjects ranging from Ken Loach's documentaries, Turner Prize-shortlisted video art, London vernacular architecture, and Jamie Oliver's cooking-Hatherley issues a passionate challenge to the injunction to keep calm and carry on.

This ePaper, History and Memory: lessons from the Holocaust, presents the original text of the Leçon inaugurale delivered by Professor Saul Friedländer on 23 September 2014 at the Maison de la Paix, which marked the opening of the academic year of the Graduate Institute, Geneva. The lecture highlights an original analysis of the evolution of German memory since the end of World War II and its consequences on the writing of history. Generations of historians have been particularly marked in a differentiated manner, depending on their personal proximity to the war, but also on collective representations conveyed by film and television in a globalised world. Saul Friedländer is Emeritus Professor at the University of California Los Angeles (UCLA). He won numerous awards, including the Pulitzer Prize in 2008 for his book The Years of Extermination: Nazi Germany and the Jews, 1939-1945. In 1963, he received his PhD from the Graduate Institute of International Studies in Geneva, where he taught until 1988.