Univ., Habil.- Schr.--Hamburg, 1998. / Literaturverz. S. [342] - 348.

Inaug. _ Diss.: Philosophische Fakultät: Freiburg i Br.: 1975. _ Bibliogr. p. 194-219. Index.

The Victorian Author Thomas Carlyle was in his day a meteoric voice but his popularity and reputation declined significantly due in part to his link to fascism. In the politically polarized era of the Second World War, academics and propagandists dubbed him a fascist or Nazi in both defamation and approval. Fascist scholars pressed Carlyle into service as a progenitor and prophet of their respective totalitarian regimes. Adolf Hitler, in his final days, assuaged his fears of his imminent fall with readings from Carlyle's History of Frederick the Great. This fascist connection to the once esteemed “Sage of Chelsea” marks the apogee of his defamation. The following thesis sets Carlyle's decline in its historical context and demonstrates the presentist view scholars persistently take as they approach their subject. It further compares and contrasts the various fascist regimes, their distinct tenets, and their variegated ideologies that become evident in their interpretation and mobilization of the deceased Victorian's works.

Thesis advisor: John Michalczyk / Although the National Socialists' ultimate intentions in regard to religion were concealed from the pubic under layers of political rhetoric, their objectives were nonetheless clear. The National Socialists sought the destruction of the Christian religion, whose teachings and values were seen as inimical to those of the State, and the establishment of a Reichskirche that would preach the doctrines of National Socialism. The German government during the Third Reich was a totalitarian regime, but there was one matter in which the Nazi Party did not have carte blanche, religion, which made it an intrinsic threat to the authority of the State. Many Nazi officials saw Christianity as the inherent and irreconcilable enemy of National Socialism, but they knew they risked losing the support of the German people if they instantly dissolved the Christian Churches. Instead of vehemently attacking the Christian confessions the way they did in Poland, in Germany the National Socialists set up a mirage of support for and acceptance of religious institutions, all while working to undermine the Christian tradition that they considered of greatest detriment and danger to their State. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program.

The diploma thesis discusses with National Socialism alias Nazism, with which the National Socialist German Workers' Party (German: Nationalsozialistische Deutsche Arbeiterpartei; hereinafter referred to as the NSDAP) was associated. The aim of this work is to familiarize with the development of the NSDAP from its outset in relation to the arrival of Adolf Hitler and his collaborators. On the basis of specialized literature, historical sources and party documents of the NSDAP, this thesis describes and analyzes a historical digression related to the socio-economic and political situation in Germany at the time of the birth and rise of the NSDAP, the ideology of German Nazism, the role and significance of the NSDAP propaganda, and the birth and rise of the NSDAP in the years 1925 to 1945. The final part of this thesis contains the short biographies of the five closest collaborators of Adolf Hitler, who participated significantly in the rise of the NSDAP. KEYWORDS NSDAP, Adolf Hitler, nationalism, anti-Semitism, propaganda

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Zugl.: Neubiberg, Univ. der Bundeswehr München, Diss., 2006

The film <em>Der Untergang</em> (2004), directed by Oliver HIRSCHBIEGEL and written and produced by Bernd EICHINGER, is based on Joachim FEST's historical monograph <em>Der Untergang</em> (2002) and Traudl JUNGE's and Melissa M??LLER's <em>Bis zur letzten Stunde</em> (2003). Taking place in April, 1945, the movie depicts the last days of Adolf Hitler and his staff in the 'F??hrerbunker'. The appearance of the film sparked wide-spread controversy concerning the propriety of Germans illuminating this most controversial aspect of their history. Specifically, the debate centred on the historical accuracy of the film and the dangers associated with the filmmakers' goal of portraying Hitler not as a caricature or one-sided figure but rather as a complete human being whose troubles and human qualities might well earn the sympathy of the viewers. <br /><br /> After surveying a variety of films that portray Adolf Hitler, the thesis analyses <em>Der Untergang</em> by focusing first on the cinematic and narrative aspects of the film itself and then on the figure of Hitler. It aims to demonstrate that the presentation of Hitler as a complex character reflects the circumstances of the film's time and culture. In particular, this thesis discusses two main aspects: first, it describes a figure of Hitler constructed in the film and conveyed to the viewers; second, it demonstrates that the film's construction of Hitler is embedded in the sociocultural context of the film's creation, thereby establishing that this is a Hitler for contemporary German society and the current state of German culture's reckoning with its fascist past. <br /><br /> The results of the analysis, in particular the depiction of Hitler and the representation of death and suicide, demonstrate that the film presents a multiple point of view. The film also faces the problematic issue of representing history adequately. The consideration of the German sociocultural context brings up some reasons that can explain the increased interest in the personal side of the perpetrators and especially in the figure of Hitler. <br /><br /> Finally, this thesis maintains that <em>Der Untergang</em> gives a complex but subsequently inconsistent picture of Adolf Hitler because it gets entangled by the attempt to be informative and entertaining at the same time. Though the film cannot replace historical investigation and analysis, it still informs Germans about Adolf Hitler and reflects how their society deals with its own troubled past.

This is an analysis of how fin-de-siècle Vienna and its mayor, Karl Lueger, influenced the development of Adolf Hitler’s worldview. The works of many authors were consulted in conjunction with newspapers and memoirs of the period in order to gain a better understanding of what the environment of the Austrian capital was like in the fin-de-siècle period. Several of Vienna’s political, social, and artistic facets are analyzed in an attempt to prove that the general atmosphere of the city influenced Adolf Hitler greatly during his formative years. It is concluded that while Adolf Hitler’s Weltanschauung did not completely crystallize until after World War I, much of what contributed to his personal and political ideology resulted from his personal experiences in Vienna.