Introduction

2021 ◽  
pp. 1-28
Author(s):  
Helen Roche
Keyword(s):  
Working Class ◽  
National Socialism ◽  
Subsequent Development ◽  
Contemporary History ◽  
Educational History ◽  
Avant Garde ◽  
Secondary Literature ◽  
National Community ◽  
The Third ◽  
Depth Analysis

This chapter explains the Napolas’ significance within the Nazi state, laying out the main arguments of the book as a whole. It sketches the programmatic intentions of the key figures involved in the schools’ founding and subsequent development—Reich Education Minister Bernhard Rust, and NPEA-Inspectors Joachim Haupt and August Heißmeyer. It also provides an overview of relevant sources and secondary literature, as well as a brief summary of the schools’ overall aims and ethos. Put simply, we can see the Napolas as a microcosm in which many of the Third Reich’s most fundamental tendencies can be found in magnified form. The schools aimed to realize the more ‘Socialist’ elements of National Socialism by providing free or heavily subsidized places for children from working-class families, whilst also forming pupils into the avant-garde of the Volksgemeinschaft (the Nazi national community defined by race). All in all, in-depth analysis of the Napolas proves the worth of treating educational history as contemporary history, rather than leaving it languishing on the sub-disciplinary margins of historical enquiry.

Social Policy in the Third Reich: The Working Class and the 'National Community'.

1994 ◽  
Vol 47 (4) ◽  
pp. 830
Author(s):  
T. Balderston ◽  
Timothy W. Mason ◽  
Jane Caplan
Keyword(s):  
Social Policy ◽  
Working Class ◽  
Third Reich ◽  
National Community ◽  
The Third ◽  
The Third Reich

scholarly journals THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA

2009 ◽  
Vol 6 (1) ◽  
pp. 223-234
Author(s):  
SIEGFRIED MATTL
Keyword(s):  
National Socialism ◽  
Third Reich ◽  
National Socialist ◽  
Artistic Style ◽  
Avant Garde ◽  
Critical Studies ◽  
The Third ◽  
Art Policy ◽  
Jazz Music ◽  
The Third Reich

Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art (e.g. members of the Bauhaus involved in National Socialist architecture or avant-garde filmmakers such as Walter Ruttmann in National Socialist propaganda films) and, conversely, the continual performance of popular jazz music in the Third Reich (e.g. in radio programmes). Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons.

Social Policy in the Third Reich: The Working Class and the 'National Community'

1997 ◽  
Vol 20 (3) ◽  
pp. 469
Author(s):  
John F. Flynn ◽  
Tim Mason ◽  
Jane Caplan
Keyword(s):  
Social Policy ◽  
Working Class ◽  
Third Reich ◽  
National Community ◽  
The Third ◽  
The Third Reich

scholarly journals “Fraudonomics”: Cartooning against Structural Adjustment in Togo

2021 ◽  
Vol 66 (S29) ◽  
pp. 139-160
Author(s):  
Robin Frisch
Keyword(s):  
Structural Adjustment ◽  
International Institutions ◽  
Authoritarian Rule ◽  
Crucial Element ◽  
The Third ◽  
Depth Analysis ◽  
Local Politicians ◽  
The Media ◽  
Repertoire Of Contention ◽  
Printing Techniques

AbstractThis article offers a sensitive reading of oppositional political cartoons in Togo in the early 1990s, during the period of structural adjustment, which was accompanied by the swift reversal of democratizing trends and the restoration of authoritarian rule. Togolese satirists perceived this moment as a moment of “fraudonomics”, thus contesting rampant corruption and clientelism in politics. They poked fun at the president, local politicians, businesspeople, and bureaucrats of the international institutions. The article begins by examining the making of satirical newspapers with a focus on the biographies of the satirists. As students, they started out on the adventure of publication with their own money and learned most of their drawing and printing techniques as work progressed. Secondly, an analysis of the readership shows that, although the satirical newspapers were a crucial element of the media in the early 1990s, it was mostly an elitist and urban phenomenon. The third section analyses the changing visual repertoire of contention through in-depth analysis of four selected caricatures.

"Us" vs. "Them". Communist Dialectical Images from Interwar Europe and Soviet Russia

2021 ◽  
Author(s):  
Adri Kácsor
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Visual Culture ◽  
Upper Class ◽  
Avant Garde ◽  
Political Propaganda ◽  
Political Transformations ◽  
The Rich ◽  
Soviet Russia ◽  
Interwar Europe

Brawny male workers vs. bulging bourgeois men. Working-class mothers burdened by the hardship of poverty and childcare vs. elegant upper-class women enjoying a lifestyle of privilege. Such juxtaposed images of workers and the rich were prevalent in the visual culture of communism throughout the twentieth century, appearing on posters, illustrations, and other genres of political propaganda across countries and continents. Although these didactic propaganda images have rarely been considered in histories of modernism and the avant-garde, this article argues that they were among the key visual inventions of twentieth-century communist visual culture given their highly innovative aesthetics and juxtaposed structure that provided them a potential to become dialectical. Drawing on examples from interwar Europe and Soviet Russia, this article examines how didactic juxtapositions could become dialectical images, triggering political transformations while also making revolutionary class consciousness visible for the viewer.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

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