By Alan E. Steinweis
From 1933 to 1945, the Reich Chamber of tradition exercised a profound impact over millions of German artists and entertainers. Alan Steinweis specializes in the fields of tune, theater, and the visible arts during this first significant learn of Nazi cultural management, studying a posh trend of interplay between top Nazi figures, German cultural functionaries, usual artists, and shoppers of tradition. Steinweis provides specified consciousness to Nazi efforts to purge the humanities of Jews and different so-called undesirables. Steinweis describes the political, specialist, and fiscal setting during which German artists have been forced to operate and explains the constitution of selection making, hence exhibiting in whose curiosity cultural guidelines have been formulated. He discusses such matters as assurance, minimal salary statutes, and certification guidance, all of which have been issues of excessive precedence to the artwork professions earlier than 1933 in addition to after the Nazi seizure of energy. by means of elucidating the industrial context of cultural existence, Steinweis is helping to give an explanation for the frequent acquiescence of German artists to inventive censorship and racial 'purification.' His paintings additionally sheds new gentle at the purge of Jews from German cultural lifestyles.
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Extra resources for Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts
It concentrates in part on the structure of decision making, seeking to ascertain where and in whose interest cultural policies were formulated. Additionally, it emphasizes concrete, material issues, such as work creation, social insurance, minimum wage statutes, and certification guidelines, all of which had been matters of high priority to the art professions before 1933 and which remained at or near the top of the art world's agenda during the Nazi era. Despite an emphasis on nonaesthetic questions, this study will offer conclusions with significant implications for the long-term impact of National Socialist rule on German culture.
18 More- Page 12 over, Germany remained one of the few countries that had not yet adopted a copyright period of fifty years after the death of the composer. Efforts during the Weimar era to extend the period of copyright protection brought into focus an inherent financial conflict between composers, or "creative" (schaffende)musicians, and performers, in this context referred to as "reproductive" (nachschaffende) musicians. 19 In contrast to the pluralistic situation in the music world, two organizations dominated occupational representation in the German theater.
943'09043dc2 93-7059 CIP 00 99 98 97 96 6 5 4 3 2 Portions of this book originally appeared in somewhat different form in "The Professional, Social, and Economic Dimensions of Nazi Cultural Policy: The Case of the Reich Theater Chamber," German Studies Review 13, no. 3 (October 1990): 442-59; "Weimar Culture and the Rise of National Socialism: The Kampfbund für deutsche Kultur," Central European History 24, no. ); "German Cultural Imperialism in Czechoslovakia and Poland, 1938-1945," International History Review 13, no.