The purpose of this study is to reconstruct the images of Adolf Hitler and the Third Reich available to the American general magazine reader from the initial references to him in March, 1923, until his attack on Poland in September, 1939. It is not an analysis of the magazines themselves.
In Nazi Germany, the cult of celebrity was the embodiment of Hitler’s style of cultural governance. Hitler’s rise to power owed much to the creation of his own celebrity, and the country’s greatest stars, whether they were actors, writers, or musicians, could be one of only two things. If they were compliant, they were lauded and awarded status symbols for the regime; but if they resisted—or were simply Jewish—they were traitors to be interned and murdered. This fascinating analysis offers a shocking portrait of a Hitler shaped by aspirations to Hollywood-style fame, of the correlation between art and ambition, of films used as weapons, and of sexual predilections. The Führer believed he was an artist, not a politician, and in his Germany politics and culture became one. His celebrity was cultivated and nurtured by Joseph Goebbels, Germany’s supreme head of culture. Hitler and Goebbels enjoyed the company of beautiful female film stars, and Goebbels had his own “casting couch.” In Germany’s version of Hollywood there were scandals, starlets, secret agents, premieres, and party politics. The Third Reich would launch filmmaker and actress Leni Riefenstahl to prominence by making her its own glorifying documentarian, most famously in The Triumph of the Will, the innovative propaganda film starring Hitler and widely considered to be one of the greatest movies ever made. It is no coincidence that Eva Braun, Hitler’s longtime partner and wife for the two days leading up to their joint suicide, was a photographer, and in fact shot most of the surviving photographs and film footage of her lover. This book reveals previously unpublished information about the “Hitler film,” which Goebbels envisaged as “the greatest story ever told,” although it was ultimately trumped by the dictator’s own, real-life Wagnerian finale.
With eight cryptic words by Jesus in John 5:17, an enigma surfaces regarding God’s activity in his ministry that is not easy for us to solve. Jesus, in defending his actions in healing the lame man at the pool of Bethzatha (Bethesda), makes a comparison that is simple enough on the surface: Jesus’ activity finds its basis in the Father’s current activity; thus, Jesus is not legally or spiritually culpable for breaking the Sabbath. What creates the enigma is the assumption that lies beneath the argument: the Father is working, and even more importantly, he is working on the Sabbath. Investigation of this assumption is the purpose of this book. Burer contributes to the discussion surrounding Jesus’ Sabbath activity by augmenting current research on Sabbath work, which focuses primarily on rabbinic rules and interpretation of Torah. Burer tests the hypothesis that Jesus’ actions on the Sabbath are best understood in light of the concept of divine Sabbath work and that in light of this concept Jesus’ actions imply a claim to deity or a close association with God’s divine plan and work. Burer does this by searching the Hebrew Scriptures, the Dead Sea Scrolls, the Septuagint, the Old Testament Pseudepigrapha, Josephus, Philo, the Mishnah and Tosefta, the targums, the midrashim, the Palestinian Talmud, and the Babylonian Talmud in order to unearth a conceptual and cultural framework for divine Sabbath work. The results are then used in analyzing two prominent stories of Jesus’ work of healing on the Sabbath in the New Testament to prove, disprove, or modify his working hypothesis. New Testament students and scholars will find Divine Sabbath Work to be a thought-provoking, enticing, creative approach to old questions.
Many commentators have observed that the influence of jazz and related popular musics on musical practice beyond American borders should be considered one of the most dynamic developments of the twentieth century. This collection of essays concentrates on American influences in Germany, where such unlikely "foreign" elements enjoyed a remarkable vogue for much of the past century, not only in the realm of popular culture but in the realm of the arts as well. Against the tumultuous social and political upheavals of modern Germany there evolved a fascinating musical sound track that introduced German musicians and their public to ragtime, spirituals, the blues, later dance music, and jazz with resulting opportunities for imitation and assimilation. In this volume American scholars from various academic perspectives are joined by German musician-scholars.
The purpose of this study is to reconstruct the images of Adolf Hitler and the Third Reich available to the American general magazine reader from the initial references to him in March, 1923, until his attack on Poland in September, 1939. It is not an analysis of the magazines themselves.
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