Extremely Violent Societies: Mass Violence in the Twentieth Century World

In this groundbreaking book Christian Gerlach traces the social roots of the extraordinary processes of human destruction involved in mass violence throughout the twentieth century. He argues that terms such as 'genocide' and 'ethnic cleansing' are too narrow to explain the diverse motives and interests that cause violence to spread in varying forms and intensities. From killings and expulsions to enforced hunger, collective rape, strategic bombing, forced labour and imprisonment he explores what happened before, during, and after periods of widespread bloodshed in countries such as Armenia, Indonesia, Bangladesh, Nazi-occupied Greece and in anti-guerilla wars worldwide in order to highlight the crucial role of socio-economic pressures in the generation of group conflicts. By focussing on why so many different people participated in or supported mass violence, and why different groups were victimized, he offers us a new way of understanding one of the most disturbing phenomena of our times.

Annexations in Europe and the Persecution of Jews, 1939-1944

This contribution tries to explain why Jews were persecuted earlier or more fiercely in territories annexed by a state during World War II than in the mainland of that state. The case-studies covered are Nazi Germany, Romania, Hungary, Bulgaria, and the USSR. It is argued that internationally, similar policies of incorporation, especially the replacement of existing elites and the process of bringing in new settlers, worked against the Jews. Aside from focusing on governmental policies, the contribution also sketches the manner in which individual actions by state functionaries (who did not merely implement state policies) and by non-state actors had adverse effects on the Jewish population, impacting their survival chances. Finally, the article places the persecution of Jews in annexed areas in the context of the concerted violence conducted, at the same time, against other ethnically defined, religious, and social groups.

Transatlantic Echoes. Alexander von Humboldt in World Literature

Alexander von Humboldt (1769–1859) was a world traveler, bestselling writer, and versatile researcher, a European salon sensation, and global celebrity. Yet the enormous literary echo he generated has remained largely unexplored. Humboldt inspired generations of authors, from Goethe and Byron to Enzensberger and García Márquez, to reflect on cultural difference, colonial ideology, and the relation between aesthetics and science. This collection of one-hundred texts features tales of adventure, travel reports, novellas, memoirs, letters, poetry, drama, screenplays, and even comics—many for the first time in English. The selection covers the foundational myths and magical realism of Latin America, the intellectual independence of Emerson, Thoreau, Poe, and Whitman in the United States, discourses in Imperial, Weimar, Nazi, East, and West Germany, as well as recent films and fiction. This documented source book addresses scholars in cultural and postcolonial studies as well as readers in history and comparative literature.

Schiller und das Wiener Burgtheater. Don Karlos-Inszenierungen 1938 und 1955 als Beispiele

Der Beitrag untersucht anhand der Rezeption von zwei exemplarischen Don Karlos-Inszenierungen, die beide in politisch markanten Jahren der österreichischen Geschichte ihre Premiere erlebten, die Funktionalisierung der Institution Burgtheater in Verbindung mit der Funktionalisierung des Dramatikers Friedrich Schiller für eben diese Institution. Eine Neueinstudierung erfolgte 1938, dem Jahr von Österreichs ‚Anschluss’ an Nazi-Deutschland, die andere 1955, dem Jahr der Unterzeichnung des Österreichischen Staatsvertrages. Beide Don Karlos-Inszenierungen fanden als spezifische Festvorstellungen im Rahmen von Feierlichkeiten rund um die Institution Burgtheater statt. Diente 1938 Schillers Don Karlos dazu, als ‚Schlüsselstück’ der ‚nationalsozialistischen Revolution’ einen politisch-gesellschaftlichen Aufbruch zu markieren, so wurde 1955 die Inszenierung des Dramas zum Triumph einer Schauspielerelite, deren Können sich in die konstruierte Tradition eines k.k. ‚Schauspieleradels’ einreihte. Während 1938 der ‚nationale Dichter’ dem ‚heimgekehrten’ Nationaltheater zum ästhetischen ‚Anschluss’ verhalf, diente der ‚überzeitliche’ Klassiker 1955 dazu, eine ästhetische ‚Wiedergeburt’ zu behaupten, die dem restaurativen Kunst- und Kulturbegriff Nachkriegsösterreichs verpflichtet war.

Architektura a ideologie. Výchovné instituce Adolfa Hitlera v protektorátu Čechy a Morava a v Říšské župě Sudety

This article examines the architecture of the Nazi regime in two occupied cities of Czechoslovakia, Praha/Prag and Jihlava/Iglau (the latter being one of the traditionally German-speaking island in the bohemia country), and focuses specifically on the process by which Hitler youth organisations (Hitlerjugend) in case of ‘education’ and indoctrination of youth were or were not successfully established in these cities. As comparison, he takes the political-administrative centres of the Sudeten Reichsgau, Ústí/Aussig, Opava/Troppau, Karlovy Vary/Karlsbad and Liberec/Reichenberg. Drawing on Czech and German archive materials, the extensive body of modern analytical literature, and propagandist literature from the period studied, the author examines the extent to which architecture served as a projection screen for Fascist propaganda in the Occupied Eastern territories. He describes the role played by the Reichsstelle für Raumordnung and shows how the Reich’s propagandist objectives came to be reflected in a high specific typology and stylistic lexicon/configuration for the architecture of Hitler youth hostels and homes He examines the process by which these organisations were powerful implanted into the space of occupied Czechoslovakia (and Sudeten) too, a topic that has not yet been addressed in (art) history too. The building projects developed for the Protectorate (published here for the first time) and managed by the Reich’s Hitler Youth Leadership in Berlin (Kulturamt, Reichsjugendführung, RJF, Abteilung HJ) reveal the ties that existed between the construction authorities in the Reich and the Protectorate, including the Planning Committee for the City of Prague. The author asks how many German and Czech architects participated for their own profit in the Nazi system, and for future research raises the hitherto taboo question of guilt and collaboration with the Nazis and the perception of this phenomenon in art history, i.e. the measure of active cooperation of not just German but also Czech architects who contributed to the planning and implementation of projects and thereby unequivocally had a hand in consolidating the totalitarian regime and de facto in the forced „Germanification” of their own people under occupation.

Germanic Mythology in Music: Cultural Memory and Conflict within the Framework of Modern Globalization

The multi-layered enactment of a national past in music has been strongly intertwined with the usage of mythological elements. Having often been compiled as a coherent narrative during the emergence of the European nation-states (like the Finnish Kalevala), the mythological material has often been perceived as a form of historical truth and national justification. This focal role is also apparent in various music genres ranging from folk revival to metal in post-1989 Europe. Within the globalized context, however, local-national interpretations can collide with earlier nationalist appropriations. This complex and sometimes politically conflicting situation becomes particularly evident with groups falling back on symbols and narrations that had previously been employed by Nazi-Germany. While Nazi-Germany had, among others, tried replace the Christmas tradition with elements and songs from Germanic (and other) mythological sources, modern Neo-Nazi music groups often employ central mythological names (like Odin or Tyr) and iconic elements (like Vikings and warriors) in song lyrics and CD cover designs. However, while many covers and lyrics are legally forbidden in Germany, Scandinavian and Baltic groups (like the Faroese Viking metal group Tyr and the Latvian pagan metal band Skyforger) employ similar elements of Norse mythology, which are often combined with traditional material. Discussing selected case studies, this paper highlights central discursive points of colliding historical-national associations and individual interpretations of the mythological elements in musical contexts. How far can the material be disassociated from the earlier historical political usage and instrumentalization? Is this necessary ? And how can the specific global-local conflict points be approached by a theoretical framework ?