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Facing the Nazi Past examines how the communist East viewed the events of these years very differently from West Germany during the Cold War. Following the unification of Germany, these contrasting memories of the Third Reich have contributed to a new perspective on this period of German history ...

Facing the Nazi Past examines how the communist East viewed the events of these years very differently from West Germany during the Cold War. Following the unification of Germany, these contrasting memories of the Third Reich have contributed to a new perspective on this period of German history. Facing the Nazi Past explores the developments and debates that were symptomatic of this shift towards a more open confrontation with the past, such as:* the image of resistance to Hitler in united Germany* changes at concentration camp memorial sites since 1990* the commemoration of 8 May 1945 in 1995* how the revelations in Goldhagen's startling book Hitler's Willing Executioners triggered new discussion* the plans for the construction of a Holocaust Memorial.Anyone; students, scholars or interested readers, who are involved in the study of European history, will find this an enthralling and informative read.

Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's ...

Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.