scholarly journals Ruch Narodowo-Socjalistyczny NSB w Niderlandach i jego koncepcja polityki zagranicznej w latach 1931–1945

2019 ◽  
Vol 40 (4) ◽  
pp. 31-57
Author(s):  
Paweł Kołek
Keyword(s):  
Foreign Policy ◽  
World War Ii ◽  
The Netherlands ◽  
World War ◽  
National Socialist ◽  
Dominant Position ◽  
Leading Role ◽  
Nation States ◽  
Close Cooperation ◽  
Socialist Movement

THE NATIONAL SOCIALIST MOVEMENT NSB IN THE NETHERLANDS AND ITS CONCEPT OF FOREIGN POLICY, 1931–1945The National Socialist Movement in the Netherlands NSB, established in 1931, was the most important collaborating political party in that country during World War II. The movement developed its own concept of foreign policy, which differed from the policy of Nazi Germany. The party aimed at upholding Europe’s dominant position in the world. To achieve that, the European system should be reconstructed and Germany’s leading role within it needed to be acknowledged. Close cooperation of nation-states should form the basis of the continental order. The prospective Dutch national state — “Dietsland” — was to be composed not only of the Dutch people, but also of the Flemish and the Afrikaners. This united country was also supposed to secure its colonial possessions overseas. This concept of foreign policy was maintained during the whole period of the movement’s existence, even though some minor modifications did occur in the meantime.

Loathsome Deutschtum?

2021 ◽  
pp. 239-264
Author(s):  
Julie Hubbert
Keyword(s):  
World War Ii ◽  
World War I ◽  
Automobile Industry ◽  
Symphony Orchestra ◽  
The United States ◽  
American Democracy ◽  
World War ◽  
National Socialist ◽  
Integral Role ◽  
The Will

Much has been said about the Nazi appropriation of Wagner’s music in the 1930s and 1940s. As early as 1933, Hitler transformed the Bayreuth Festival into a celebration of National Socialist ideology and propagated miniature Wagner festivals to celebrate his own birthday. Wagner’s music also resounded throughout the culture and media at large. What has been less understood and examined, however, is how this same music was also used in nonnarrative films, newsreels, government documentaries, and industrial and advertising films of the period. Here the appropriation of Wagner is more complex and problematic. Master Hands (1936), the critically acclaimed, feature-length industrial film sponsored by the American car company Chevrolet, is an excellent example. As several film scholars have observed, the film is an artistic advertisement for the American automobile industry that borrows heavily from Riefenstahl’s Triumph of the Will. But the film’s score, a compilation full of Wagner excerpts, arranged by composer Samuel Benavie and performed by the Detroit Symphony Orchestra, about which almost nothing has been said, is equally propagandistic. By examining the music for this industrial advertisement for Chevrolet, this chapter not only re-examines the reception of Wagner in the United States between the World War I and World War II but also examines the integral role his music played in the creation of American films of persuasion. It explores the use U.S. industrial filmmakers made of Wagner’s music as an audible signifier not for German fascism but to advertise for American democracy, industry, and capitalism.

Diplomatic Culture in the Canada-U.S. Model of Asymmetrical Relationship

2014 ◽  
pp. 98-106
Author(s):  
E. Komkova
Keyword(s):  
Foreign Policy ◽  
World War Ii ◽  
Russian Federation ◽  
World War ◽  
Policy Strategy ◽  
Responsible Behavior ◽  
The World ◽  
The Russian Federation ◽  
Rules Of The Game

The management of the Canada–U.S. asymmetry might be defined as rather successful example. After the World War II Canadian and American officials have developed a set of specific bargaining norms, which can be referred to as the “rules of the game”, and “diplomatic culture”. Their existence leads to predictability of relationships, to empathy, and to expectations of “responsible” behavior. The study of the Canada–U.S. model of civilized asymmetrical relationship lays grounds for further investigation on how it can be applied to the foreign policy strategy of the Russian Federation in its relations with asymmetrical partners from the “near neighbourhood”.

Atskaņotājmākslas attīstība Liepājā un Otrā pasaules kara ietekme uz mūziķu likteņiem

2021 ◽  
pp. 338-351
Author(s):  
Vēsma Lēvalde
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Performing Arts ◽  
Symphony Orchestra ◽  
Historical Study ◽  
World War ◽  
National Socialist ◽  
Performing Artists ◽  
Cultural Life ◽  
The Soviet Union

The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.

LONG-TERM TRENDS IN MARITAL STATUS MORTALITY DIFFERENCES IN THE NETHERLANDS 1850–1970

2001 ◽  
Vol 33 (2) ◽  
pp. 279-303 ◽  
Author(s):  
FRANS VAN POPPEL ◽  
INEZ JOUNG
Keyword(s):  
World War Ii ◽  
The Netherlands ◽  
Marital Status ◽  
Cause Of Death ◽  
Relative Increase ◽  
World War ◽  
Men And Women ◽  
Married Men ◽  
Long Term Trends

This article describes the long-term trends in marital status mortality differences in the Netherlands using a unique dataset relating to the period 1850–1970. Poisson regression analysis was applied to calculate relative mortality risks by marital status. For two periods, cause-of-death by marital status could be used. Clear differences in mortality by marital status were observed, with strongly increasing advantages for married men and women and a relative increase in the mortality of widowed compared with non-married people. Excess mortality among single and formerly married men and women was visible in many cause-of-death categories, and this became more widespread during the last decades of the nineteenth century. Hypotheses are formulated that might explain why married men and women underwent a stronger decrease in mortality up until the end of World War II.

scholarly journals Methodological features of asymmetric conflicts historical modeling studying

2018 ◽  
Vol 7 (2) ◽  
pp. 215-218
Author(s):  
Stanislav Gennadyevich Malkin
Keyword(s):  
Foreign Policy ◽  
World War Ii ◽  
World Order ◽  
Research Problem ◽  
Theory And Practice ◽  
World War ◽  
Historical Simulation ◽  
Asymmetric Conflicts ◽  
The Usa

The following paper deals with methodological features of studying of empires legacy role in policy of the leading powers in the countries of the third world through a prism of asymmetric conflicts historical modeling. The author pays special attention to the role of Great Britain and the USA foreign policy course defining after World War II during Cold War in the second half of the 20th century and Global War on Terror at the beginning of the 21st century. The author pays attention to methodological traps (such as the probability of the research problem on the given variable and terminological confusion) as well as to research opportunities which are opened by such approach in the field of the historical and political analysis (for example, evolution of the international relations theory and practice in the conditions of the world order transformation after World War II). Special attention is given to the value of such methodological reception as asymmetric conflicts historical modeling in expert estimates of the leading powers foreign policy. The paper also deals with the role of expert community and academic expertize as an important component of that analytical operation which is carried out within historical simulation of the asymmetrical conflicts.

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