In this paper, we conducted an interdisciplinary analysis of the process of integration of the German minority in the historical context of the first Yugoslav state, Kingdom of Serbs, Croats, and ...Slovenes (1918-1929). In 1920, Swabian-German Cultural Association, Kulturbund, was founded as an important factor in preserving the German identity. Even though Kulturbund had interruptions in its activity, in 1924 and 1929, it remained the basic frame for cultural life of the German community during the period between the two wars. Officially, this organization was founded as non-political and loyal to new state, the Kingdom of Serbs, Croats, and Slovenes. The activities of Kulturbund were focused on preservation of German heritage through establishment of cultural institutions such as libraries and bookstores and through organization of cultural events in the area of literature, film, music, and theatre. Kulturbund was most active in Vojvodina. Vojvodina is still a unique model of co-existence of different ethnic groups and cultural patterns, and the German community historically contributed to multiculturalism, multi-confessionalism and multiethnicity of this region. We based our analyses on contributions in the field of sociology on ethnicity, cultural anthropology, and history. Specifically we found theoretical model of ethnical boundaries, established by Fredrik Barth within the interactional approach to exploring ethnicity, which proved to be useful. Barth's influential model allowed us to examine the ethnicity from very important aspect-social interaction. In that way, ethnicity is interpreted as a form of social organization of cultural differences. Also, this model implies that ethnical boundaries are flexible, but also resistant, and can be preserved in situations of intensive cultural contacts between different ethnical and cultural groups. According to Barth, the factors with the most influence to the strengthening of ethnical boundaries are social changes on the international level, such as wars.
The Jewish Culture League was created in Berlin in June 1933, the only organization in Nazi Germany in which Jews were not only allowed but encouraged to participate in music, both as performers and ...as audience members. A Jewish Orchestra in Nazi Germany is the first book to seriously investigate and parse the complicated questions the existence of this unique organization raised. Why would the Nazis promote Jewish music when, in the rest of Germany, it was banned? What exactly is Jewish music? Who qualifies as a Jewish composer? And, if it is true that the Nazis conceived of the League as a propaganda tool, did Jewish participation in its activities amount to collaboration?
Le Freier Deutscher Kulturbund (Free German League of Culture) fut créé le 1er mars 1939 par des émigrés allemands à Londres. De nombreux artistes, intellectuels, mais aussi des universitaires issus ...de la mouvance communiste se regroupèrent au sein de cette association. Celle-ci compta parmi ses membres les artistes John Heartfield et Oskar Kokoschka. Le Kulturbund organisa un large panel de manifestations culturelles, comme des expositions, des lectures et des conférences. L'une d'entre elles fut particulièrement couronnée de succès, l’exposition Allies inside Germany qui se tint à Londres à l'été 1942. En effet, le Kulturbund avait fixé dans ses objectifs d'établir une rencontre et une compréhension mutuelle entre les émigrants et la population de leur pays d'accueil. Le Kulturbund se présentait comme une organisation trans-partisane d'opposants au national-socialisme, néanmoins, il était une organisation contrôlée par le parti communiste allemand, le KPD.
This article presents the first in-depth study of the impact the Filmbühne (film stage) had in the lives of German Jews living under the systematic oppression of the Nazi regime. The Filmbühne was an ...extension of the Jüdischer Kulturbund, a Jewish organization which offered cultural activities exclusively for Jews in the Third Reich between 1933 and 1941. The Filmbühne opened in December 1938 and provided Jews in Berlin an opportunity to view films, an activity which had been forbidden to them in the previous month. This article presents a first thorough reconstruction of the Filmbühne itself, including who attended the film screenings, what was shown, the cinema's function within the larger Kulturbund organization and why the Nazi authorities allowed it to exist. It then considers the different ways the Filmbühne affected German Jews' daily lives as seen through letters and diaries. The final section shows how film reviews in the Jüdisches Nachrichtenblatt, the only surviving Jewish newspaper at the time, enabled members of the Jewish community to circumvent Nazi censorship concerning Kristallnacht. This study discusses the variety of ways that the Filmbühne affected the lives of German Jews, most notably by providing audiences a way to cope with reality, connecting the Jewish community with the larger German culture, from which its members were completely segregated in other areas of their lives, and serving as a valuable communication tool which sent messages of validation and encouragement to the Jewish community. Focusing on this largely overlooked organization offers a new perspective on Jewish life in Nazi Germany during the period of time after Kristallnacht and before the deportations.
A long-standing thesis has it that modern Germany's educated bourgeoisie identified with cultural ideals to the detriment of its political formation. Fixated on the realm of ideas, the 'unpolitical ...German' deferred to real-world authority, paving the road to National Socialism. While emigre scholars gave an influential version of this diagnosis, parallel concerns shaped debates within occupied Germany. On its unsettled political-cultural field, educated elites grappled with how to assess the national cultural heritage in the wake of Nazism, war and Holocaust. Most sought refuge in a compensatory cultural identity, while a vocal minority demanded a purifying break with all tradition. This article focuses on an overlooked third grouping and their equivocal position, which reworked an elitist cultural patrimony into one cornerstone of a counter-elitist political vision. On the one hand, they agreed a focus on things spiritual had fed political quiescence; on the other, they saw embedded in German Kultur a specific and rich way of thinking about freedom. After 1945, they sought neither to jettison nor to revive this cultural tradition but to extract the liberating potential at its heart and bring the latter to bear on politics, as a resource for democratic renewal. Various loosely linked clusters of intellectuals pursued this project through cultural-political journals and in a new type of association, the Kulturbund. This article explores the conditions of their novel rearticulation of received frameworks of cultural and political meaning in the years after 1945 and reflects on its resonance in West and East Germany after 1949. Reprinted by permission of Sage Publications Inc., copyright holder.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
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