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Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich /Khut, Chiew-Lee, January 2001 (has links) (PDF)
Thesis (M.A.)--University of Adelaide, Centre for European Studies and General Linguistics, 2001. / Bibliography: leaves 156-167.
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Art and political ideology: the Bauhaus as victimDick, Lacy Woods. January 1984 (has links)
Call number: LD2668 .T4 1984 D52 / Master of Arts
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The Politics of Nazi Art: The Portrayal of Women in Nazi PaintingMiller, Jennifer Anne 05 November 1996 (has links)
The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy.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.
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"Kulturproblem Frau" Weiblichkeitsbilder in der Kunst des Nationalsozialismus /Frietsch, Elke. January 2006 (has links)
Based on author's dissertation (Ph. D.)--Humboldt-Universität and Freie Universität, Berlin, 2005. / Includes bibliographical references (p. 296-324).
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The devil in disguise : a comparative study of Thomas Mann's "Doktor Faustus" (1947 and Klaus Mann's "Mephisto" (1936, focussing on the role of art as an allegory of the rise and fall of Nazi Germany /French, Rebecca S. C. January 2008 (has links)
Thesis (M.A. (German)) - Rhodes University, 2009
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Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third ReichKhut, Chiew-Lee, 1971- January 2001 (has links) (PDF)
Bibliography: leaves 156-167. The aim of this thesis is to show how in practice the National Socialists sacrificed ideological considerations to the material advantages that could be gained from the sale of "degenerate art". In practice the term "degenerate" was extended beyond modern art to include French Impressionist and Post-Impressionist art, specifically because they were highly saleable. This is evinced by the sales of "degenerate art" which were conducted by the Reichministerium für Volksklärung und Propaganda (RMVP). The record of the sales compiled by the propaganda ministry in the summer of 1941, provide conclusive evidence that the Reich government compromised its ideological position for financial gain. The sale of "degenerate art" conducted by order of the Reich at the Galerie Fischer auction in Lucerne in 1939, provides further evidence that the practice of confiscation was economically driven.
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The devil in disguise a comparative study of Thomas Mann's "Doktor Faustus" (1947) and Klaus Mann's "Mephisto" (1936), focussing on the role of art as an allegory of the rise and fall of Nazi GermanyFrench, Rebecca S C January 2008 (has links)
This thesis compares the novels Doktor Faustus: das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde (Thomas Mann) and Mephisto: Roman einer Karriere (Klaus Mann), insofar as they are portrayals of the situation in Germany during the Third Reich. Essentially a comparative study, I explore similarities and differences – thematic and conceptual – by situating both novels in their socio-historical moment (Chapter 1), exploring their conceptions of German national identity (Chapter 2), tracing intertextual connections to other works (Chapter 3), and, finally, examining their understanding of and reliance on art as insofar as it provides the allegorical framework for their respective portrayals of Nazi Germany (Chapter 4).
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Restitution "entarteter Kunst" : Sachenrecht und internationales Privatrecht /Kunze, Hans Henning. January 2000 (has links) (PDF)
Univ., Diss.-1999--Heidelberg, 1998.
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