Thesis (doctoral)--Freie Universität, Berlin, 2008. / Includes bibliographical references (p. [263]-275).

Pendant presque un demi-siècle, entre la proclamation de 1871 et la défaite de 1918, l’Empire allemand a soumis trois départements français annexés et l’ancien Grand- Duché de Pologne ou Poznanie, déjà sous domination prussienne, à de vigoureuses campagnes de germanisation dont le principal vecteur a été l’école allemande. De cette empreinte germanique témoignent des manuels scolaires, des écrits fictionnels ou mémoriels peu connus de la recherche et qui permettent d’apprécier l’incidence du phénomène à court et à long terme dans les deux provinces concernées. Un siècle après, les témoignages rassemblés autour de cet objet éveillent l’intérêt du culturaliste. En quoi le concept de colonisation s’applique-t-il à la germanisation par l’école? Les politiques scolaires appliquées à l’Ouest et à l’Est sont-elles similaires, sont-elles comparables à celles pratiquées outre-mer ? Quelle a été l’emprise de l’école prussienne sur une jeunesse appelée à connaître, quelquefois sur plusieurs générations, un déchirement entre son appartenance nationale et son identité culturelle ? Peut-on un siècle plus tard assimiler ce phénomène à un syndrome post colonial ? / Over a period of nearly five hundred years , i.e. between the proclamation of the German Empire in 1871 and the defeat in 1918, 3 French annexed départements and the Grand Duchy of Poland (also called Posen) - itself under Prussian domination-, have been submitted to hard campaigns of germanization. School was the main vector. In addition to school books, a number of fictional writings or written memories helped to mark that German print in the minds, but researchers know little about this literature though it helps to appreciate the importance of the phenomenon in the short but also in the long run when a comparison is made between the two provinces concerned. A century later, the culturalists' interest is aroused by the testimonies gathered on this subject in its historical context. This work aims at presenting in what way the concept of colonisation can be applied to germanization, particularly regarding the germanization of the school. We will also examine whether the school politics applied in the west and the east of Europe are similar and if they can be compared to those applied abroad. What was the outcome for the youth in the populations concerned, for those who attended the Prussian educational system facing the possible risk of being torn apart between a sense of national allegiance and their cultural identity? Can this feeling be assimilated to a post colonial syndrome?

This diploma thesis deals with process of "aryanization" in the time of the Protectorate Bohemia and Moravia and it emphasizes the region of Kolín. The thesis is divided into two parts, the first one covers the mechanism of "aryanization", it describes by whom was it executed and who was the proffitent. The second analytical part deals with the "aryanization" in the Kolín's region which is characterised by the means of archive sources (State district archive in Prague, State District Archive in Plzeň, Security Services Archive in Prague, The National Archive in Prague). It describes life strory of the jewish family Morawetz and their "aryanizated" manor farm estate in Světlá nad Sázavou and Golčův Jeníkov. The study is completed with personal profile of the two officers, imposed administrator Werner Würfel and regional council president Wilhelm Hübner.

Thesis (doctoral)--Universität, Mainz, 2003. / Includes bibliographical references (p. [405]-442) and indexes.

Cette étude décrit le marché des films allemands en Moselle pendant l'annexion du département à l'Allemagne nazie. Elle analyse la politique locale du cinéma mise en place par les nouvelles autorités (partie 1), la programmation des films (partie 2), leurs circulations et leurs consommations par les spectateurs (partie 3). Privilégiant une approche anthropologique du cinéma, l'observation essaie d'interroger l'efficacité des mécanismes d'hégémonie culturelle qui ne se réduisent ni à une entreprise de manipulation politique, ni à l'imposition implicite d'une vision du monde. Elle porte son attention sur le plaisir comme moteur de la conduite esthétique et expression d'une sensibilité partagée.Dès juillet 1940, le cinéma est entièrement « germanisé » : l’organisation de l’activité cinématographique est placée sous le contrôle du NSDAP et les films (Deutsche Wochenschau, Kulturfilm et longs-métrages) sont tous projetés en allemand. Pour autant, le cinéma demeure l’activité-phare de l’annexion. La fréquentation des salles de cinéma est massive notamment du fait de la qualité d'une filmographie qui était déjà la première en Europe avant l'avènement du nazisme. L'analyse du marché montre également la faible présence des films de propagande les plus spontanément associés au cinéma nazi et la normalité d'un divertissement de culture germanique centré sur le succès des genres les plus populaires (comme les films musicaux, les mélodrames, les films historiques) et sur le prestige et la beauté de vedettes admirées (Viktor de Kowa, Marika Rökk, Viktor Staal, Ilse Werner, etc.).L'étude de la réception des films allemands en Moselle annexée est l'étude de l'expérience qu'en font les spectateurs, notamment les plus jeunes d'entre eux, dont nous avons pu raviver les souvenirs par l'intermédiaire d'enquêtes orales. Les films sont un moyen de se divertir, de s’extraire d'un quotidien coercitif et répressif, et d’observer les tensions sociales inhérentes à la société de l’époque. Cette appropriation des films est à l’origine d'une neutralisation des effets idéologiques des plus virulents d'entre eux, et d’un attachement profond des spectateurs au cinéma allemand en général. Son plaisir est entretenu. Il fait l'objet d'échanges, de discussions, de partages. Mais l'assimilation systématique de tous ces films à l'idéologie nazie a rendu impossible sa transmission après la chute du Troisième Reich et la fin de la seconde guerre mondiale.Pensé volontairement comme un vecteur essentiel de la germanisation des populations de l'Est de la France appelées à devenir des Allemands à part entière, utilisé comme un instrument de propagande de l'idéologie nazie et une vitrine culturelle de l'Allemagne, le cinéma en Moselle annexée est un loisir sous influence qui se vit pourtant librement. Le plaisir du cinéma allemand est à la fois ce qui permet aux autorités de s'imposer politiquement dans l'ordre du loisir et dans le même temps, ce qui rend possible, par le biais du jeu, caractéristique de l'homo ludens, le souci de soi et l'estime des autres. Cette ambivalence paradoxale est le propre de l'hégémonie culturelle / This study describes the German film market in Moselle during the annexation of the department to Nazi Germany. It analyses the local politics of cinema put in place by the new authorities (part 1), the programming of films (part 2), their circulation and their consumption by the spectators (part 3). Focusing on an anthropological approach to the cinema, it attempts to question the effectiveness of the mechanisms of cultural hegemony that are not reduced to political manipulation, nor to the implicit presentation of a worldview. The focus is on pleasure as the driving force of aesthetic behaviour and the expression of a shared sensibility.From July 1940, the cinema is completely "Germanized": the organisation of the film industry is placed under the control of the NSDAP and the films (Deutsche Wochenschau, Kulturfilm and feature films) are all screened in German. However, the cinema remains the core activity of the annexation. Cinema attendance is significant, particularly because of the quality of films that were the best in Europe before the advent of Nazism. Market analysis also shows how few propaganda films, of the kind most readily associated with Nazi cinema were shown and that Germanic cultural entertainment focused predominantly on the most successful genres (such as musicals, melodramas, historical films) and on the reputation and beauty of famous celebrities (Viktor de Kowa, Marika Rökk, Viktor Staal, Viktor Rökk, etc.)The study of German films in annexed Moselle is essentially a study of the experience of the viewers, especially the youngest of them, whose memories we have been able to revive through oral surveys. The films are a way to have fun, of escaping a coercive and repressive daily life, and the social tensions inherent in society at the time. This appropriation of film is aimed at neutralising the more dangerous ideological ideas, and the profound attachment of viewers to the German cinema in general. The gratification continues because it is the subject of exchanges, discussions, sharing. However, the systematic assimilation of all these films to Nazi ideology made it impossible to show them after the fall of the Third Reich and the end of the Second World War.Deliberately conceived as an important tool in the Germanisation of the peoples of eastern France (who were expected to become fully-fledged Germans) and to be used as a propaganda tool for Nazi ideology and a cultural showcase for Germany in annexed Moselle, cinema was a free-spirited leisure activity. The popularity of German cinema is what allowed the authorities to politically manipulate leisure-time, moreover, it was made possible through cultural play or 'homo lumens' and by caring for oneself and the esteem of others. This paradoxical ambivalence is characteristic of a cultural hegemony.

The National Theatre in Prague during the Nazi Occupation: The Foremost Theatre Scene between Oppression and Resistance. (A Historical-sociological Analysis) ABSTRACT The submitted dissertation, based on historical-sociological analysis, describes and explains the status, reaction and functionality of the National Theatre in Prague during the hardest times of our modern history - the occupation of the Czech lands by Nazi Germany, the so-called Protectorate of Bohemia and Moravia (1939-1945), the era when the National Theatre, as the top cultural institution, consolidated its artistry, its permanent values and interpretation efforts of its ensemble to defend the right of our society to preserve its own culture, its own existence. The principal objective of this work is to analyze methods and techniques by means of which the National Theatre in Prague, in line with its audience, steadily faced critical situations caused by the Nazi occupation. Among key factors in this process were the acts of Czech theatre performers proving their bravery as they put their work careers and even their own lives at risk to help guide our nation towards awareness and determination not to relinquish the nation's sovereignty. The Nazis viewed the National Theatre in Prague as a potential instrument for fulfilling their plans...