Thesis advisor: Devin Pendas / Ernst Juenger lived through almost the entire 20th century. This longevity has placed him at the center of many of the most defining moments of modern German history. It is not, however, simply his longevity but his attitudes that have caused such a controversy to grow up around him. A staunch nationalist and one might venture to say, war-monger, during the First World War and a virulent enemy of the Weimar Republic, many historians have classified him as a Nazi author. This thesis explores the relationsihp of Ernst Juenger to the National Socialists in the context of his writing and political leanings between the First World War and the end of the Second. Without understanding the integral differences between his ideology and that of the NSDAP (namely their divergence on the issues of racial purity, parliamentarianism, communism, the use of power, and the position of art)one cannot appreciate his place in history and his perspective on Germany. / Thesis (BA) — Boston College, 2006. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: History. / Discipline: College Honors Program.

Nombreux sont les ouvrages – et ce dans tous les domaines du savoir – qui traitent de l’Allemagne nationale-socialiste. Depuis 1947, et le livre d’Adolf Behne (Entartete Kunst), le sort des artistes dans le Troisième Reich suscite l’intérêt, si ce n’est la compassion, des historiens de l’art. Néanmoins, seuls les persécutés, ceux que le régime nazi avait taxé de "dégénérés", retiennent l’attention, célébrés comme autant de héros. Ce sont eux qui vont être appelés par les Alliés pour "décontaminer" un peuple tout entier corrompu par douze ans de dictature, et racheter la faute. C’est précisément l’histoire de cette image de l’artiste, tantôt qualifié de« dégénéré », tantôt d’ «émigré intérieur», que nous retraçons, de la fin de la Seconde Guerre mondiale à nos jours. Si les publications et expositions consacrées à l’art moderne à l’époque nazie sont nombreuses, jamais, en effet, le travail de mise en perspective des propos sur ce sujet n’avait été fait. Articulés en un récit cohérent, capable de rendre compte des changements d’appréciation sur le temps long du XXe siècle et du début du XXIe siècle, ces derniers rendent comptent des contradictions parfois manifestes d’une monographie à l’autre qu’il faut élucider, et permettent de mettre à jour des manières de penser et de voir, conditionnées par un horizon d’attente en constante mutation. Replacés dans un contexte politique et social, associés à des changements de mentalités, ces discours, problématisés et hiérarchisés,écrivent en filigranes une histoire de l’art au XXe siècle et nous obligent à réfléchir sur la place, le sens de l’art, et l’image de l’artiste. / There are numerous publications in all areas of knowledge covering Nazi Germany. Since 1947 and the book by Adolf Behne (Entartete Kunst), the fate of the Artist in the Third Reich has sparked interest, even compassion, of Art Historians. Nevertheless, only those persecuted by the Nazi Regime, labelled « Degenerate », are celebrated as heroes. These artists would be the ones called on by the Allies to« decontaminate » and pay back the crimes of an entire nation corrupted by twelve years of dictatorship. It is precisely the evolution of the image of these artists, described as « degenerate » or sometimes « inner emigrants », that Iam retracing from the end of World War II until today. Despite a huge amount of publications and exhibitions about Modern Art from the Nazi era, the discourses on this subject have never been put into perspective.When presented chronologically and in a thorough manner, they show the evolution of how the subject was viewed between 1945 and 2015, conditioned by a constantly changing horizon of expectations. Seen in political and social context, these discourses create a 20th century history of Art and invite us to think about the meaning of the Art and the image of the artist.

Based on a narrative structure and historical context of literary works and other articles of the author, this thesis is supposed to answer a question how Ernst Wiechert's work reflects his personal and authorship development and above all his attitude to the Nazism regime. It shows in which points his early production is similar to ideologeme of German national socialism and how the author distances from them later. The thesis describes the character of his regime critics in political and moral polarity as well as the reason for the author's inside transformation from critics to Inner Emigration.

This thesis is the first academic treatment of the poetry of Anton Schnack (1892-1973): his work is not well known, even in Germany. Methodologically the thesis takes a combined literary, historical and biographical approach, exploring the complex and sometimes deceptive relations between his poetry and the turbulence of his time. The primary aim of the thesis is to show that Tier rang gewaltig mit Tier (1920) is a uniquely innovative volume of war poetry which, to be fully appreciated, needs to be assessed against the background of previous German war poetry and the development of the sonnet cycle. It is placed in the context of Schnack’s other lyrical work, particularly of the three volumes of Expressionist poetry which immediately preceded it and which themselves are analysed as examples of a very powerful kind of Expressionism. Schnack did not publish his next volume of verse until 1936, and three further collections emerged in quick succession between 1947 and 1953. These four collections are examined in detail in the context of Schnack’s decision to stay in southern Germany and to maintain a consistently low profile. The thesis begins with a general introduction to Schnack’s life and work and makes specific reference to his contemporary and current standing among literary historians and critics. Chapter Two focuses on the three volumes of Expressionist verse and documents the cultural circles which he frequented in Munich and the numerous Expressionist magazines and periodicals to which he contributed. The next three chapters are dedicated to Tier rang gewaltig mit Tier and examine it with reference to its poetic form as a cycle of sonnets and of its merits and status as war poetry. The final chapter pays particular attention to Schnack’s life in the Third Reich, situating the single collection he published during that era among the literary works of Inner Emigration, before analysing his three post-war collections.

Nach der Machtergreifung der Nationalsozialisten nahm der deutsche Komponist Karl Amadeus Hartmann (1905–1963) eine radikal antifaschistische Haltung ein. Während der 12 Jahre dauernden Diktatur konnte er nur wenige Werke zur Aufführung bringen und zog sich in die »innere Emigration« zurück. 1945 war er deshalb weitgehend unbekannt, galt aber bei den US-Besatzern als absolut nicht kompromittiert. Bis Kriegsende entfaltete Hartmann seine Musiksprache in der politischen Auseinandersetzung. In diesem Zusammenhang verwendete er gern Zitate und Widmungen, um auf politische, soziale und kulturelle Begebenheiten hinzuweisen. Die Klaviersonate 27. April 1945 bezieht sich mit der Datierung auf den Todesmarsch von Dachauer KZ-Häftlingen. Sie liegt in zwei Manuskripten vor. Drei bzw. (im Manuskript II) zwei Sätze nehmen Partisanen- und Arbeiterlieder auf. Im Bestreben, die Zitate in einen anderen ästhetischen Kontext zu integrieren, entsteht eine interessante Beziehung zwischen Original und Bearbeitung. In diesem Artikel sollen einige Aspekte von Hartmanns Umgang mit den Zitaten thematisiert werden. Dabei wird vor allem zu den Publikationen von Hanns-Werner Heister Bezug genommen. Im Fokus steht der Finalsatz von Manuskript II. / After the National Socialist Party had seized power, German composer Karl Amadeus Hartmann (1905–1963) took a radical antifascist stance. Only a few of his compositions were performed during the 12 years of the Third Reich, and Hartmann withdrew into “inner emigration”. The occupation forces considered Hartmann the most uncompromising of all German musicians. In his oeuvre, Hartmann made use of quotations and dedications to refer to political, social and cultural events. One notable piece is the piano sonata 27. April 1945 – referring to the death march of Dachau concentration camp prisoners on that day. Two manuscripts exist: Three (or two in manuscript II) movements quote partisans’ and workers’ songs. In an effort to integrate the quotations into a different aesthetic context, an interesting relationship between the original and the adaptation is created. In this paper, I will discuss some aspects of Hartmann’s handling of the quotations. Particular reference is made to the publications of Hanns-Werner Heister. This paper focusses on the final movement of manuscript II.

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The thesis consists of three parts. The first part is a Russian translation of selected excerpts from Jan Zábrana's diaries Celý život. The second part is a commentary on the translation, which includes three chapters: translation analysis of the source text, description of the overall approach to the translation and the translation strategy, a typology of the particular translation problems and ways of solving them.