The Shifting Contours of the German Homeland

Homelands ◽  
2020 ◽  
pp. 35-79
Author(s):  
Nadav G. Shelef
Keyword(s):  
World War Ii ◽  
Economic Value ◽  
Ethnic Composition ◽  
Process Tracing ◽  
Political Movements ◽  
Federal Republic Of Germany ◽  
World War ◽  
The West ◽  
Simultaneous Loss ◽  
Internal Variation

This chapter discusses the transformations in the area that counted as part of the homeland in post-World War II Germany. The West German setting is especially useful because it features the simultaneous loss of territories that differ in their ethnic composition; in economic value; whether they came to be excluded from the homeland, and, if they did, when this redefinition of the homeland occurred. Political movements in the Federal Republic of Germany (FRG) also differed in when, and even whether, they withdrew homeland territoriality from the various parts of the homeland Germany lost. The chapter then traces the withdrawal of homeland territoriality from Germany's lost lands and, leveraging the internal variation that characterizes the German experience, explains the timing of the changes that took place, and accounts for the absence of change where one might have expected it to occur. This historical process tracing shows that different logics of legitimation and domestic political mechanisms played a crucial role in explaining the pattern of stability and change in conceptions of the German homeland.

scholarly journals After Liberal Hegemony: The Advent of a Multiplex World Order

2017 ◽  
Vol 31 (3) ◽  
pp. 271-285 ◽  
Author(s):  
Amitav Acharya
Keyword(s):  
World War Ii ◽  
Culturally Diverse ◽  
World Order ◽  
First Century ◽  
World War ◽  
Donald Trump ◽  
The West ◽  
Major Powers ◽  
China And India ◽  
International Stability

While the West woke up to the threat to the liberal international order when Donald Trump was elected U.S. president, its decline was apparent even at the height of the Obama-Clinton era. What follows the end of the U.S.-dominated world order is not a return to multipolarity as many pundits assume. The twenty-first-century world—politically and culturally diverse but economically and institutionally interlinked—is vastly different from the multipolar world that existed prior to World War II. China and India are major powers now; and globalization will not end, but will take on a new form, driven more by the East than the West and more by South-South linkages than North-North ones. The system of global governance will fragment, with new actors and institutions chipping away at the old UN-based system. Liberal values and institutions will not disappear, but will have to coexist and enmesh with the ideas and institutions of others, especially those initiated by China. This “multiplex world” carries both risks and opportunities for managing international stability. Instead of bemoaning the passing of the old liberal order, the West should accept the new realities and search for new ways to ensure peace and stability in partnership with the rising powers.

Choice in the West

1953 ◽  
Vol 5 (2) ◽  
pp. 133-167
Author(s):  
S. Bernard
Keyword(s):  
United States ◽  
World War Ii ◽  
Soviet Union ◽  
The United States ◽  
The Political ◽  
World War ◽  
The West ◽  
Political Situation ◽  
The Soviet Union ◽  
Working Out

The advent of a new administration in the United States and the passage of seven years since the end of World War II make it appropriate to review the political situation which has developed in Europe during that period and to ask what choices now are open to the West in its relations with the Soviet Union.The end of World War II found Europe torn between conflicting conceptions of international politics and of the goals that its members should seek. The democratic powers, led by the United States, viewed the world in traditional, Western, terms. The major problem, as they saw it, was one of working out a moral and legal order to which all powers could subscribe, and in which they would live. Quite independently of the environment, they assumed that one political order was both more practicable and more desirable than some other, and that their policies should be directed toward its attainment.

Economic Factors and the Rates of Suicide in Germany between 1881 and 1989

1995 ◽  
Vol 76 (3_suppl) ◽  
pp. 1331-1341 ◽  
Author(s):  
Siegfried Weyerer ◽  
Andreas Wiedenmann
Keyword(s):  
World War Ii ◽  
Medical Sociology ◽  
Real Income ◽  
Economic Stress ◽  
Economic Factors ◽  
Federal Republic Of Germany ◽  
Potential Consequence ◽  
World War ◽  
Social Disintegration

The potential consequence of economic stress most frequently cited in the literature of medical sociology is the increase in the rate of suicide, it probably being the most valid and reliable indicator of collective mental health. To assess the probability of such being the consequence of current economic realignment in the Federal Republic of Germany, we deemed it promising to evaluate the extent to and manner in which economic factors have to date affected the frequency of suicide in Germany. The current study analyzed the effects of four economic variables (growth of the economy, average real income, unemployment and frequency of bankruptcy) on the rates of suicide in Germany from 1881 to 1989. We set the commencement date of the period analyzed as early as possible to include long-term developments as well as the effects of different moderator variables. The annual fluctuations of all four variables, in conformity with our hypothesis, correlated both in the period preceding World War II as well as in the postwar period with those in the rates of suicide. The strongest correlations held for the rate of unemployment and for the frequency of bankruptcy in times of obvious social disintegration coupled with diminished state safeguards against unemployment. Our hypothesis that the effects of economic factors would more strongly influence the rates of suicide by men as opposed to women could not be corroborated.

“The Triumph of the West”: American Education and the Narrative of Decolonization, 1930–1965

2018 ◽  
Vol 58 (4) ◽  
pp. 567-594 ◽  
Author(s):  
Stephen Jackson
Keyword(s):  
World War Ii ◽  
World History ◽  
American Education ◽  
World War ◽  
The West ◽  
Global Engagement ◽  
The Us ◽  
Good Government ◽  
Western Values ◽  
European Colonialism

This article examines representations of imperialism, anti-colonial nationalism, and decolonization in US textbooks for American and World History courses between 1930 and 1965. Broadly speaking, 1930s and early 1940s texts lauded imperialism and associated European colonialism with American imperialist activities. Authors extolled the benefits for colonial peoples, including literacy, good government, and peace, and anti-colonial nationalists were caricatured as irrational and ungrateful. US global engagement during and after World War II gradually changed the narrative, particularly following Philippine independence in 1946, as texts subsequently portrayed the US as an enlightened decolonizer. Postwar textbooks tended to argue that nationalism was a product of Western ideas and that anti-colonial nationalism was a triumph for Western civilization. While constructing this narrative of the spread of Western values, textbook authors largely marginalized colonial actors, promoted unflattering and stereotyped views of Africans and Asians, and de-emphasized the extreme violence inherent in the decolonization process.

scholarly journals Made in Yugoslavia: Studies in Popular Music

2021 ◽  
Vol 57 (1) ◽  
pp. 271-282
Author(s):  
Laura Emmery
Keyword(s):  
World War Ii ◽  
Popular Music ◽  
Eastern Europe ◽  
New Wave ◽  
World War ◽  
The West ◽  
The Balkans ◽  
History Of ◽  
Comprehensive Discussion ◽  
Made In

Made in Yugoslavia: Studies in Popular Music (edited by Danijela Špirić Beard and Ljerka Rasmussen) is a fascinating study of how popular music developed in post-World War II Yugoslavia, eventually reaching both unsurpassable popularity in the Balkans and Eastern Europe, and critical acclaim in the West. Through the comprehensive discussion of all popular music trends in Yugoslavia − commercial pop (zabavna-pop), rock, punk, new wave, disco, folk (narodna), and neofolk (novokomponovana) − across all six socialist Yugoslav republics, the reader is given the engrossing socio-cultural and political history of the country, providing the audience with a much-needed and riveting context for understanding the formation and the eventual demise of Tito’s Yugoslavia.

Cities with Class?

2000 ◽  
Vol 24 (1) ◽  
pp. 257-305
Author(s):  
Eric Fure-Slocum
Keyword(s):  
World War Ii ◽  
Lake Michigan ◽  
Small Town ◽  
Fiscal Policies ◽  
World War ◽  
The West ◽  
Post World War Ii ◽  
Big City ◽  
Great City ◽  
The City

Nicknaming his city “Dear Old Lady Thrift,”Milwaukee Journalwriter Richard Davis chastised city leaders for failing to build a “great city.” His unflattering portrait pictured post–World War II Milwaukee as a “plump and smiling city . … [sitting] in complacent shabbiness on the west shore of Lake Michigan like a wealthy old lady in black alpaca taking her ease on the beach.” He continued, “All her slips are showing, but she doesn’t mind a bit” (Davis 1947: 189, 191). Reprinted in theMilwaukee Journaltwo weeks before voters went to the polls to decide if the city would reverse its debt-free policy to finance postwar development, Davis’s depiction warned that Milwaukee was a chaotic andin efficient metropolis in danger of falling behind(“Not So Fair Is America’s Fair City”Milwaukee Journal[hereafterMJ], 16 March 1947). Her thriftiness bordered on stinginess, her complacency slipped into indolence, and her neglected femininity bespoke disorder. City leaders’ frugality, rooted in a tradition of cautious municipal fiscal policies, big city problems mismatched with small town attitudes, and public “indifference,” Davis contended, threatened the postwar city.

Henry Cowell and the West Coast Dance Scene

Artful Noise ◽  
2020 ◽  
pp. 42-63
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
World War I ◽  
West Coast ◽  
Modern Dance ◽  
The United States ◽  
Arnold Schoenberg ◽  
World War ◽  
The West ◽  
Twelve Tone ◽  
Henry Cowell

Modern dance and music for percussion are linked through the works of musicians who studied with the iconoclastic composer Henry Cowell. This chapter highlights the work of numerous artists who were involved in the dance and music scene along the West Coast of the United States during the 1930s and 1940s. Cowell’s early publishing venture New Music helped launch the careers of composers Johanna Beyer, William Russell, Lou Harrison, John Cage, and others. The latter two composers, Harrison and Cage, also studied with the Austrian American composer Arnold Schoenberg whose use of the twelve-tone technique became central to the music of the twentieth century. The chapter ends with a summary of percussion music’s development from the decades before World War I to the compositional hiatus caused by World War II.

How Brooklyn Became Cool

Naked City ◽  
2010 ◽  
Author(s):  
Sharon Zukin
Keyword(s):  
World War Ii ◽  
Graduate Students ◽  
Subway Station ◽  
World War ◽  
The West ◽  
Predominantly Black ◽  
Men And Women ◽  
Industrial Buildings ◽  
Sugar Refinery ◽  
Wide Awake

It’s one o’clock in the morning on a warm October night, and the streets of northern Brooklyn are eerily deserted. The hulks of warehouses and the chimney of the old Domino sugar refinery stand guard along the waterfront, while grim industrial buildings hunker down in the shadow of the Brooklyn-Queens Expressway. Steel gates hide the windows of small plastics and metalworking shops. Nearby tenements are silent and dark. You’re wide awake, though, driving through the darkness on Kent Avenue, bumping over warped asphalt and steering around potholes. You’re circling Williamsburg, looking for the neighborhood that made Brooklyn cool. First you pass the Northside, the original center of Brooklyn’s hipster culture, a cluster of art galleries, cafés, bars, and boutiques around the subway station at North Seventh Street and Bedford Avenue. Then you pass the Southside, where French bistros and Japanese hair salons have recently joined yeshivas and bodegas, and artists and graduate students are a noticeable presence on the streets. Ahead of you stretch neighborhoods that have been predominantly black since after World War II but are now rapidly gentrifying and becoming socially and ethnically more diverse—that is, richer and whiter: Bedford-Stuyvesant, Fort Greene, Clinton Hill. The old Brooklyn Navy Yard sits vast and uninhabited just one block to the west. A few blocks beyond that, brownstone townhouses sell for a million dollars and up. Navigating solo through this dark landscape, you don’t see any sign of life. But when you turn onto the wider roadway of Flushing Avenue, you meet up with men and women walking in couples and groups of four. They are Hasidic Jews, women with heads covered in wigs and scarves, skirts below their knees, and black-hatted men wearing long black overcoats. Sabbath began at sundown. Because driving is prohibited then, any believers who are out on the street at this hour must find their way home on foot. After you pass the Hasidim, you find a few more people walking on the street; these men are wearing tight jeans and the women are in short skirts.

War Art in Japan

2018 ◽  
Author(s):  
Asato Ikeda
Keyword(s):  
World War Ii ◽  
Interior Design ◽  
Subject Matter ◽  
The State ◽  
Japanese Culture ◽  
World War ◽  
The West ◽  
Woodblock Prints ◽  
War Effort ◽  
Totalitarian State

Under Japan’s totalitarian state during World War II, most Japanese artists participated in the war effort. Their activities included producing works commissioned by the state, displaying works in state-sponsored exhibitions, donating the proceeds of art to the state, and dedicating works, as symbolic gestures, to religious sites, important battles, seminal state officials, or to those who gave their lives in the war. War artists produced works in diverse media, styles, and subject matter, ranging from painting, photography, woodblock prints, and sculpture to architecture and interior design. However, their works invariably glorified Japan’s military occupation in Asia and war against the West, or they resonated with the wartime state ideology that sought to recreate a traditional Japanese culture uncontaminated by modernity.

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