Artists Under Hitler: Collaboration and Survival in Nazi by Jonathan Petropoulos

By Jonathan Petropoulos

"What are we to make of these cultural figures, many with major overseas reputations, who attempted to discover lodging with the Nazi regime?" Jonathan Petropoulos asks during this exploration of a few of the main acute ethical questions of the 3rd Reich. In his nuanced research of well-liked German artists, architects, composers, movie administrators, painters, and writers who rejected exile, selecting as an alternative to stick in the course of Germany's darkest interval, Petropoulos indicates how participants variously handled the regime's public competition to trendy artwork. His findings explode the parable that every one smooth artists have been anti-Nazi and all Nazis anti-modernist.

Artists below Hitler heavily examines circumstances of artists who failed of their makes an attempt to discover lodging with the Nazi regime (Walter Gropius, Paul Hindemith, Gottfried Benn, Ernst Barlach, Emil Nolde) in addition to others whose wish for authentic popularity was once discovered (Richard Strauss, Gustaf Gründgens, Leni Riefenstahl, Arno Breker, Albert Speer). jointly those ten figures light up the advanced cultural background of Nazi Germany, whereas separately they supply haunting pix of individuals facing excruciating offerings and grave ethical questions.

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And you’re right. But there was something special about this one, because, small and defenceless though they were, they didn’t just become part of history, they made history – and by that I mean they shaped the course of all history to come. And this special something was their religion. B                25 All other peoples prayed to many gods – you remember Isis and Osiris, Baal and Astarte. But these herdsmen only prayed to one god, their own special protector and leader. And when they sat beside their camp fires in the evening, and sang songs about their deeds and their battles, they sang of his deeds and his battles.

They also found round seals and inscribed clay tablets in those tombs. However, the inscriptions were not in hieroglyphs, but in a totally different script that was, if anything, even harder to decipher. This was because pictures had been replaced by neatly incised single strokes ending in a small triangle, or wedge. The script is called cuneiform, meaning wedge-shaped. Books made of papyrus were unknown to the Mesopotamians. They inscribed these signs into tablets of soft clay, which they then baked hard in ovens.

This was because pictures had been replaced by neatly incised single strokes ending in a small triangle, or wedge. The script is called cuneiform, meaning wedge-shaped. Books made of papyrus were unknown to the Mesopotamians. They inscribed these signs into tablets of soft clay, which they then baked hard in ovens. Huge numbers of these ancient tablets have been found, some recounting long and wonderful stories, such as that of the hero Gilgamesh and his battles with monsters and dragons. On other tablets kings boast of their deeds: the temples they have built for all eternity, and all the nations they have conquered.

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