scholarly journals A Lesson Learned? The Image of Poland during World War II Presented by Recent German Literature and Its Perception in Public Discourses

2021 ◽  
pp. 174-193
Author(s):  
Elisa-Maria Hiemer
Keyword(s):  
World War Ii ◽  
German Literature ◽  
Academic Discourse ◽  
Personal Beliefs ◽  
World War ◽  
Historical Knowledge ◽  
The Media ◽  
Literary Experiences

Based on Wolf Schmid’s Narratology, this article depicts the influence of the so-called abstract dimension on the reception of Kevin Vennemann’s Nahe Jedenew (Close to Jedenew, 2005) and Matthias Nawrat’s Die vielen Tode unseres Opas Jurek (Numerous Deaths of Grandpa Jurek, 2015). The abstract dimension – being, among others, the result of personal beliefs and individual “literary experiences” – helps to understand contradictory opinions about the same work and depends often (but not exclusively) on different historical knowledge and awareness. The reception in the media and academic discourse reveals schemata that cannot be explained by the text alone. I argue that the recipient is highly influenced by the author’s personal background, although it is not about autobiographies – which clearly reduces options for interpretation.

Country Radio

2017 ◽  
Author(s):  
Eric Weisbard
Keyword(s):  
World War Ii ◽  
Business Models ◽  
Internet Access ◽  
Country Music ◽  
Programming Approach ◽  
World War ◽  
Musical Genre ◽  
New Business ◽  
The Media ◽  
New Business Models

This chapter considers the role played by radio in popularizing and defining country music. Radio as a format pursued a commercially driven mediation of identity that worked against applying an artistically driven musical genre definition. In particular, these debates revolved around gendered presentation and women as listeners and performers. From the 1920s through World War II, radio’s prominence in country turned on live radio shows as the media introduction of southern whites. A second era, from the end of the war to mid-1970s, saw a shift to disc jockeys and records: personality radio. Format radio country, a tighter programming approach, solidified from the mid-1970s to the mega mergers of the late 1990s. Most recently, in an era of Internet access and new business models for music, country has confronted the less sympathetic position of networked radio.

scholarly journals Politicizing Religion

2021 ◽  
pp. 73-99
Author(s):  
Uta A. Balbier
Keyword(s):  
United States ◽  
New York ◽  
World War Ii ◽  
Cold War ◽  
The United States ◽  
World War ◽  
The United Kingdom ◽  
The Media ◽  
Media Discourses ◽  
The Cold War

This chapter defines Graham’s crusades in the United States, Germany, and the United Kingdom in the 1950s as powerful cultural orchestrations of Cold War culture. It explores the reasons of leading political figures to support Graham, the media discourses that constructed Graham’s image as a cold warrior, and the religious and political worldviews of the religious organizers of the crusades in London, Washington, New York, and Berlin. In doing so, the chapter shows how hopes for genuine re-Christianization, in response to looming secularization, anticommunist fears, and post–World War II national anxieties, as well as spiritual legitimizations for the Cold War conflict, blended in Graham’s campaign work. These anxieties, hopes, and worldviews crisscrossed the Atlantic, allowing Graham and his campaign teams to make a significant contribution to creating an imagined transnational “spiritual Free World.”

Kubo, Sakae (1900–1958)

2018 ◽  
Author(s):  
John D. Swain
Keyword(s):  
World War Ii ◽  
Volcanic Ash ◽  
German Literature ◽  
Political Theater ◽  
Japanese Island ◽  
World War ◽  
Socialist Movement

Kubo Sakae was a leading shingeki playwright prior to World War II, and a shingeki socialist hero afterward. His greatest dramatic work is the epic Kazanbai-chi [Land of Volcanic Ash] (1937–1938) about the exploitation of peasant labor on farms in the northernmost-Japanese island of Hokkaido where he was born. His heroic status stems from his arrest in 1940 as a communist, his refusal to recant his socialist beliefs, and his imprisonment until the war’s end. Although Kubo returned to writing and socialist activism after the war, political divisions within the socialist movement and in shingeki stymied his further success. In an act of personal despair and political theater (some say petulance) intended to jolt competing factions within the socialist movement to unite, Kubo committed suicide in 1958. Kubo joined the Tsukiji Shōgekijō in 1926 after graduating from Tokyo University with a degree in German literature. He began translating plays from German. In 1928 Kubo joined Hijikata Yoshi’s new troupe, the New Tsukiji Company, and began writing his own works. The company produced Kubo’s first play of note in 1930. Shinsetsu Kokusenya gassen [The New Tale of the Battle of Coxinga] drew on ancient Chinese and Japanese lore.

scholarly journals View Magazine and the Mass Visual Culture of World War II

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 41
Author(s):  
Gregory Gilbert
Keyword(s):  
World War Ii ◽  
Media Industry ◽  
Visual Artists ◽  
World War ◽  
American Government ◽  
Avant Garde ◽  
News Reports ◽  
Corporate Advertising ◽  
War Effort ◽  
The Media

Shortly after the bombing of Pearl Harbor in December of 1941, the American government impressed upon the media industry and corporate advertising the cooperative need to boost morale and enlist nationalist support for the war effort. Public opinion was shaped through an active campaign of visual propaganda and media censorship in which the social trauma of war, in particular, representations of death and destructive disorder, was erased from official news reports. However, avant-garde art and writing in View magazine during the early 1940s can be analyzed as a radical form of counter-discourse that challenged the media’s representation of the war. View had been founded in 1940 by the poet Charles Henri Ford, who vowed to create a magazine devoted to what he called the “new journalism”, a form of international reporting by poets and visual artists that would provide visionary critical insight on the forthcoming political catastrophe in Europe. Lacking their own publishing forum, a number of Surrealist émigrés and American adherents of Surrealism gravitated towards View. As this article will examine, Surrealist imagery and prose in View evoked a profound sense of the bodily trauma and physical destruction omitted from mass media, subverting the government’s highly sanitized and ideologically manipulated representations of World War II.

Evolution and Normalization: Historical Consciousness in Germany

2012 ◽  
Vol 30 (3) ◽  
pp. 35-63 ◽  
Author(s):  
Felix Philipp Lutz
Keyword(s):  
World War Ii ◽  
Political Culture ◽  
Historical Consciousness ◽  
West Germany ◽  
Strong Continuity ◽  
World War ◽  
Historical Knowledge ◽  
East And West Germany ◽  
The Holocaust ◽  
Nazi Era

German political culture has been undergoing gradual but significant changes since unification. Military engagements in combat missions, the introduction of a professional army, and a remarkable loss of recent historical knowledge mostly within the younger generations are hallmarks of the new millennium. Extensive education about the Holocaust is still prevalent and there is a strong continuity of attitudes and orientations toward the Nazi era and the Holocaust reaching back to the 1980s. Nevertheless, a lack of knowledge about history-not only the World War II period, but also about East and West Germany-in the age group of people under thirty is staggering. The fading away of the generation of victims who are the last ones to tell the story of persecution during the Holocaust and a parallel rise of new actors and technologies, present challenges to the educational system and the current political culture of Germany.

Making Icons

2017 ◽  
Author(s):  
Jennifer Coates
Keyword(s):  
World War Ii ◽  
Asia Pacific ◽  
Pacific War ◽  
World War ◽  
Peak Period ◽  
Japanese Cinema ◽  
The Media ◽  
Rigorous Study ◽  
Post War

A distinctive feature of post-war Japanese cinema is the frequent recurrence of imagistic and narrative tropes and formulaic characterizations in female representations. These repetitions are important, Jennifer Coates asserts, because sentiments and behaviours forbidden during the war and post-war social and political changes were often articulated by or through the female image. Moving across major character types, from mothers to daughters, and schoolteachers to streetwalkers, Making Icons studies the role of the media in shaping the attitudes of the general public. Japanese cinema after defeat in the Asia Pacific War and World War II is shown to be an important ground where social experiences were explored, reworked, and eventually accepted or rejected by audiences emotionally invested in these repetitive materials. An examination of 600 films produced and distributed between 1945 and 1964, as well as numerous Japanese-language sources, forms the basis of this rigorous study. Making Icons draws on an art-historical iconographic analysis to explain how viewers derive meanings from images during this peak period of film production and attendance in Japan.

Human Rights NGOs: The Power of Persuasion

1999 ◽  
Vol 13 ◽  
pp. 151-174 ◽  
Author(s):  
William Korey
Keyword(s):  
Human Rights ◽  
World War Ii ◽  
International Standards ◽  
World War ◽  
Core Element ◽  
Leading Role ◽  
Channel Information ◽  
International Discourse ◽  
The Media ◽  
United Nations Charter

At the end of World War II, the phrase “human rights” was virtually unknown, whether in the media, in standard textbooks, or as a guideline for state conduct in the emerging international community. It was nongovernmental organizations (NGOs) that made the phrase a core element of the United Nations Charter in 1944, even as they pressed for the Universal Declaration of Human Rights, adopted three years later. This was but the beginning of a historic effort to make the Declaration a fundamental standard for measuring progress in civilized society. If the principal motivation was the prevention of another Holocaust, NGOs would fulfill the indispensable function, projected by Eleanor Roosevelt, of serving as the “curious grapevine” that would enlighten everyone about their rights and channel information about human rights violations to the world community.This essay is about the “curious grapevine,” an extraordinary tale of how NGOs, through their persuasion, have made human rights a major item in international discourse in the media, state chancellories, and international institutions. NGOs have played the leading role in the creation of international standards and in establishing legally binding treaties incorporating these standards. They are central to the process of adopting implementing organs to these treaties and in providing the essential documentation and briefings to make these organs work.

scholarly journals Global Conflict of the Past in Contemporary Media Space: Historical Memory in a Discursive Perspective

2021 ◽  
Vol 3 (4) ◽  
pp. 17-50
Author(s):  
Ekaterina Y. Aleshina ◽  
Mark Y. Blokh ◽  
Tatiana A. Razuvaeva ◽  
Hedwig Wagner ◽  
Anton V. Kompleev
Keyword(s):  
World War Ii ◽  
World War I ◽  
Historical Memory ◽  
World War ◽  
Specific Data ◽  
Political Conflicts ◽  
Starting Point ◽  
Media Space ◽  
Wide Circle ◽  
The Media

The article is devoted to an overview of studies on the discursive embodiment of historical memory, particularly, in the media. The research is aimed at the overview and systematization of, predominantly, international and Russian concepts of historical memory in academic literature. The scientific significance of research results is determined by the possibility of clarifying the definitions of historical memory in the process of systematizing the existing overseas and domestic studies. With that, the “starting point” of historical memory in this research are global political conflicts, particularly, World War I and World War II. The focus of research interest is the memory of the world wars which is discursively expressed in modern media space with various pragmatic tasks. Analysis of media materials allows for revealing the mechanisms of using historical memory as a tool for creating assessment and images while covering World War I and World War II. The research makes it possible to obtain a general discursive picture of the mass consciousness and, what is especially, important, to get specific data on the linguistic “content” of historical memory reflected in online media. The article is addressed to researchers in various fields of the Humanities, journalists and a wide circle of readers who are interested in the problem.

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