By Matthew Philpotts
Within the context of the present debate approximately writing in the course of the 3rd Reich and the German Democratic Republic during which contradictory trends lean towards and clear of unreflected and moralizing methods, Philpotts (German stories, U. of Manchester) seeks an method of that's higher in a position to deal with writing that whereas now not unequivocally suppor
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Additional info for The Margins of Dictatorship: Assent and Dissent in the Work of Gunter Eich and Bertolt Brecht (British and Irish Studies in German Language and Literature)
Subsequent reference, also p. 43. Roger Griffin, The Nature of Fascism (London: Routledge, 1993), pp. 107–08. Martin Travers, ‘Politics and Canonicity: Constructing Literature in the Third Reich’, in J. ), The Attractions of Fascism (New York: Berg, 1990), pp. 253–72 (pp. 256–57). Subsequent references, p. 257. obscured by the assumptions of the conventional totalitarianism model: (i) ‘contradictions, tensions, dysfunctions within the apparatus of Nazi cultural control’; (ii) ‘lapses in the control and surveillance exercised over individual writers and certain literary institutions and journals’; (iii) ‘overlaps and continuities that exist between the literature produced under the aegis of the Third Reich and literature produced in literary communities generally typified as “liberal” or “democratic”’.
Bessel and Jessen, p. 8, emphasis in the original. Kocka, Vereinigungskrise, p. 187, note 8. : Suhrkamp, 1992). Mary Fulbrook, ‘Methodologische Überlegungen zu einer Gesellschaftsgeschichte der DDR’, in Bessel and Jessen (eds), pp. 274–97 (p. 291). 55 rule, rather than total control, but the similarity to Golomstock’s ‘megamachine’ which efficiently transmits the coherent cultural dogma is clear. The apparent existence of clearer cultural norms in the GDR, more efficiently transmitted through the institutions of cultural policy, may then be a reflection of the SED’s more smoothly functioning, more ‘conventionally’ totalitarian structures.
845. Frei, p. 110. 65 Firstly, Bollmus refutes the suggestion that Rosenberg’s promotion in 1934 came as a conscious rebuff to the Modernist faction, placing Hitler’s decision instead within the very different context of school curriculum development. Secondly, Goebbels is seen to have continued to manoeuvre in favour of the pro-Modernists and against Rosenberg well into 1935, against the backdrop of a series of cultural-political controversies surrounding the musicians Strauss and Hindemith and the presidents of Kulturkammer.