At the end of the Second World War, in August 1945, the Allies met at Potsdam and passed the decision to expel millions of people of German heritage living in Eastern Europe. Among some 3 million expelled from the Sudetenland in the Czechoslovak borderlands, were the violin makers of Schönbach. After the expulsion, German integration authorities attempted to resettle the Schönbach violin makers in Mittenwald, Bavaria. Though the village of Mittenwald was famous for its violin making industry, the integration of the two communities failed and the Schönbach masters were relocated a second time. The failure was due in large part to the two communities' inability to integrate their distinct violin making cultures. The study addresses the resettlement process from the perspective of government officials, local Germans and expellees and the debates among these groups in the postwar era. It is through these interacting perspectives that one comes to understand the culture of each community, the agency of its members, and the complexity of the resettlement process on a local level. Using Mittenwald as a case study, I argue that the process of integrating two German cultures was problematic, as each community sought to maintain their own local, cultural identity rather than subscribe to a shared German national identity. The failure of the Mittenwald plan demonstrates the pertinence of the local culture of each community and the limitations of a national imaginary in general processes of forced migration and resettlement.

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At the end of the Second World War, in August 1945, the Allies met at Potsdam and passed the decision to expel millions of people of German heritage living in Eastern Europe. Among some 3 million expelled from the Sudetenland in the Czechoslovak borderlands, were the violin makers of Schönbach. After the expulsion, German integration authorities attempted to resettle the Schönbach violin makers in Mittenwald, Bavaria. Though the village of Mittenwald was famous for its violin making industry, the integration of the two communities failed and the Schönbach masters were relocated a second time. The failure was due in large part to the two communities' inability to integrate their distinct violin making cultures. The study addresses the resettlement process from the perspective of government officials, local Germans and expellees and the debates among these groups in the postwar era. It is through these interacting perspectives that one comes to understand the culture of each community, the agency of its members, and the complexity of the resettlement process on a local level. Using Mittenwald as a case study, I argue that the process of integrating two German cultures was problematic, as each community sought to maintain their own local, cultural identity rather than subscribe to a shared German national identity. The failure of the Mittenwald plan demonstrates the pertinence of the local culture of each community and the limitations of a national imaginary in general processes of forced migration and resettlement.

Thesis (M.S. in Joint Campaign Planning and Strategy)--Joint Forces Staff College, Joint Advanced Warfighting School, 2008. / Title from PDF title page; viewed on Nov. 26, 2008. "4 April 2008." Electronic version of original print document. Includes bibliographical references (p. 80-86).

At the end of the Second World War, in August 1945, the Allies met at Potsdam and passed the decision to expel millions of people of German heritage living in Eastern Europe. Among some 3 million expelled from the Sudetenland in the Czechoslovak borderlands, were the violin makers of Schönbach. After the expulsion, German integration authorities attempted to resettle the Schönbach violin makers in Mittenwald, Bavaria. Though the village of Mittenwald was famous for its violin making industry, the integration of the two communities failed and the Schönbach masters were relocated a second time. The failure was due in large part to the two communities' inability to integrate their distinct violin making cultures. The study addresses the resettlement process from the perspective of government officials, local Germans and expellees and the debates among these groups in the postwar era. It is through these interacting perspectives that one comes to understand the culture of each community, the agency of its members, and the complexity of the resettlement process on a local level. Using Mittenwald as a case study, I argue that the process of integrating two German cultures was problematic, as each community sought to maintain their own local, cultural identity rather than subscribe to a shared German national identity. The failure of the Mittenwald plan demonstrates the pertinence of the local culture of each community and the limitations of a national imaginary in general processes of forced migration and resettlement. / Arts, Faculty of / History, Department of / Graduate

Prosperity was the positive goal of America's postwar policy. For several years, the United States was successful in her attempt to be at the same time politically aloof and economically opportunistic. But politics and economics were radically intertwined in the reparation settlement, and when reparations interfered with the prosperity of the Atlantic community, it shattered as well America's resolve to "let Europe stew in her own juice," and caused American reinvolvement in European concerns. America's postwar settlement can be expressed in two words: disentanglement frustrated.

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This dissertation examines the relationship between the growth and popularization of psychology in American life in the postwar period and Americans’ belief that theirs is a “classless,” or overwhelmingly middle-class, society. I argue that psychology has, until recently, inadvertently naturalized middle-class norms of self-perception, communication, aspirations, and subjectivity. From the 1950s on, the United States has been what observers call a “therapeutic culture.” Psychological ideas have infused the major arenas of American life, including the educational, judicial, commercial, political, personal, and interpersonal realms. This project examines the origins and development of psychological professionals’ views of class, highlighting the professional, economic, disciplinary, and cultural factors that combined to form those views. I analyze a small but persistent thread of dialogue in the professional literature of the period that questioned mainstream psychological assumptions about class, and I explore how that impulse developed into major mental health policy initiatives in the 1960s, then was undermined by political and social conflicts. I also develop a case history of one mental health project that attempted to transcend psychology’s class biases, only to be contained by structural and disciplinary factors. After examining psychological professionals’ views of various publics, this project investigates a series of publics’ views of psychological practitioners. I draw on popular portrayals of postwar psychological practitioners across various media, including one particular working-class medium, postwar men’s adventure magazines, and employ classic cultural studies readings to analyze the significant differences in the portrayals. / text

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Thesis advisor: Franziska Seraphim / This thesis primarily focuses on jazz in Japan and the role it played in the American occupation after World war II. The trajectory jazz took in Japan changed a multitude of times: in the 1920s it was immensely popular with the rise of consumerism and internationalism, and was emblematic of the carefree attitude of that time period. After Pearl Harbor occurred, enemy music, clearly being American jazz, was formally forbidden in Japan but periodically still played for the entertainment of the troops. Thus jazz went from being incredibly popular to practically banned. As the occupation took place, jazz yet again was popular but became more associated with connotations of homogeneity and representative of America. The Japanese reacted in various and differing ways, which I demonstrate in this thesis by examining the work of Japanese director Kurosawa Akira and the widely popular Japanese singer Kasagi Shizuko. Therefore, jazz was not only a form of entertainment but a tool of manipulation by many throughout the 1920s, 1930s, and, most importantly, the American occupation in Japan. / Thesis (BA) — Boston College, 2015. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: History.