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The present study addresses the role of sport in the evolution of modern German nationalism. This work contains: a.) an historical analysis of nationalism, culture and sport from the late eighteenth until the mid-twentieth century; b.) a case study of the 1936 Garmisch/Berlin Olympics as an example of virulent nationalism and racism; c.) a case study of the 2006 World Cup in Germany as an example of national identity in twenty-first century Germany in the wake of reunification and globalization. Sport has been central to how Germans see themselves from the end of the eighteenth century until the present. This work argues that an analysis of sports, domestic politics and diplomacy can offer those interested in nationalism in contemporary Europe a helpful means of analysis of a force that remains powerful, despite the construction of the European Union. While an analysis of the evolution of mass sport indicates that Germans no longer apply the kind of racist blood and soil nationalism so virulent in the early twentieth century, sport has shown a remarkable continuity as a mirror of German aspirations for their nation, which has changed fundamentally in the realms of culture, society, and economy in the twenty-first century.

Thesis advisor: Susan M. Shell / Title: Martin Heidegger's Critique of Freedom Author: Charles Robinson Advisor: Professor Susan Shell Boston College Political Science Department This is a study of thought and politics of Martin Heidegger. It presents an examination of his understanding of freedom, principally as he expressed it in Being and Time, but also considers some of his subsequent essays and lectures, as well as his Rectorate Address. Ever since Heidegger's public embrace of National Socialism, his defenders and critics have argued about the possible relation between his thinking and his infamous political commitments. While many of his critics have linked his commitments to an alleged lack of understanding of freedom, some of his scholarly defenders have sought to present interpretations of his concept of freedom at odds with his infamous politics, in order to separate his thought from any association with Nazism. The conclusions of these critics and defenders of Heidegger are both mistaken: in Being and Time Heidegger sought the meaning of being in the authentic experience of human self-determination revealed by the conscience, which he worked out as "forward running resolve." It was this militant concept of freedom that grounded his project for a destined community of battle to be championed by a free corps of freedom fighters, and led him to embrace, in the very name of freedom, the tyranny of Hitler's new Reich. The study of Heidegger's concept of authentic freedom reveals that, far from lacking any understanding of freedom, it was rather a central theme and concern of his philosophical efforts, and that his infamous political commitments were indeed its necessary and coherent practical consequence. Heidegger's thought thus poses a more trenchant and pressing challenge to liberal (and leftist) politics than many of his critics and defenders appreciate. There have been comparatively few sustained thematic treatments of Heidegger's understanding of freedom in English. This study accordingly hopes to contribute to an understanding of this central theme of Heidegger's philosophical efforts, which not only reveals their necessary connection to his politics, but also promises to improve our access to the coherent intelligibility of his thought as a whole. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Political Science.

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.

This study examines the functions of the idealisation of Indigenous peoples around the world. It has its focus on imperial discourses (the 1850s-1945) in the German-speaking world. The research places the German-language discourses within transnational contexts of imperial image production and argues that racial idealisation served the construction of white hegemony in different political settings and ideological systems. Identifying a perceptible increase in idealised images of Indigeneity after the loss of the German colonies in 1918/19, the study explains the reasons for idealisation not as abstract expressions of European escapism within the tradition of the ‘Noble Savage’ discourse but as vested political reactions to colonial politics. Focussing on a period of heightened imperial image production from the 1850s to Nazism, the thesis outlines that images of Indigeneity derived their conceptual origin from transnational and transhistorical primitivism that became appropriated by different political currents, including colonial revisionism and Nazism. This study argues that racial idealisation and stigmatisation were both part of racist discourses of white dominance and knowledge regimes. Idealisation, the present research shows, is not an epiphenomenon or exception of racial domination in imperial discourse but a central mechanism of construing racial hierarchy. Ultimately, the study argues that Indigeneity should be considered a category similar to sexuality, gender and class that informed the construction of race. Racialised Indigeneity was a flexible construct that allowed the formation of idealisation and stigmatisation according to political necessities without altering racial hierarchies. The theoretical discussion suggests that Indigeneity in imperial discourse helped to establish such hierarchies.

The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

Diss.--Zürich. / Includes bibliographical references (p. 105-108) and index.

Thesis (doctoral)--Universität, Frankfurt (Main), 2005/06. / Includes bibliographical references (p. [207]-221).

Aus der Einleitung: "Der Maschinenbau ist ein Kernbereich des Industrialisierungsprozesses und strategisches Zentrum der technisch-industriellen Entwicklung schlechthin. Für die deutsche Wirtschaft bildete der Maschinenbau während des ganzen 20. Jahrhunderts eine Hauptsäule und eine der wichtigsten Exportbranchen. Im deutschen Maschinenbau dominierte seit dem 19. Jahrhundert die Auffassung, dass Forschung und Ausbildung auf das vermeintlich finale Ziel technischen Schaffens, die Konstruktion, zu orientieren seien. Standen doch im Zentrum der industriellen Praxis in Deutschland Aspekte der Konstruktion bei gleichzeitiger Vernachlässigung der Fertigung. Das Konstruktionsbüro wurde im Zuge solcher Prägungen als das Herz jeder Firma begriffen. Die Konstruktion galt als wissenschaftsgeleiteter Prozess, der prinzipiell theoretisch fassbar war und in einschlägigen Bildungsinstitutionen gelehrt wurde. Obwohl dies seit den 1880er Jahren im so genannten Methodenstreit in den Technikwissenschaften eine gewisse Relativierung erfuhr, kann in Deutschland ein Muster der Verwissenschaftlichung dieses technischen Sektors gefunden werden, das sich von jenen anderer Gesellschaften signifikant unterschied. Der Maschinenbau in den USA beispielsweise war im Unterschied zu Deutschland lange Zeit stark empirisch ausgerichtet und überwiegend an den Fertigungsprozessen orientiert. Ein Vergleich des deutschen und amerikanischen Maschinenbaus zeigt demnach unterschiedliche Gewichtungen im Spannungsfeld von Konstruktion, Fertigung und Werkstoffen. Eine Institutionalisierung dieses stark an der Konstruktion orientierten Pfades kann in deutschen Maschinenbauunternehmen insofern unterstellt werden, als hier die Konstruktionsabteilungen traditionell einen sehr großen Einfluss ausüben. Unter der daraus resultierenden Ressourcenlenkung kann die Prozessorientierung, eine Stärke amerikanischer Unternehmen, oder die Produktorientierung, eine Stärke des japanischen Maschinenbaues, leiden." [...]