This book demonstrates the integral role music played in Nazi statecraft and ideology, from the personal obsessions of the Nazi leadership to the harrowing use of musical sadism in the Holocaust.
Music was an integral part of statecraft and identity formation in the Third Reich. Structured thematically and semiotically around the Wagnerian tetralogy of the Ring cycle, Hitler's Twilight of the Gods provides a sonic read of the Second World War and the Holocaust.
Alexandra Birch sheds light on the specific type of music promoted under Nazism, linked to larger Teutonic mythologies and histories espoused in rhetoric and personal styling. The book explores the musical fixation of the command as it was extended to the ordinary troops of the Wehrmacht and SS in instances of musical sadism and destruction during the Holocaust. It reveals how, in constructing what was 'German', this process also intentionally fashioned a subaltern other with an assigned set of music and aesthetics.
The book draws on analysis of testimony and perpetrator documents to reveal the execution of this binary identity and the inclusion of music even in extreme genocidal conditions. From drinking games in the interwar period, to musical sadism in the Holocaust, to the final delusions of the command in collapse, Hitler's Twilight of the Gods illuminates how music was a component of camaraderie, identity, masculinity, and warfare.
Music was an integral part of statecraft and identity formation in the Third Reich. Structured thematically and semiotically around the Wagnerian tetralogy of the Ring cycle, Hitler's Twilight of the Gods provides a sonic read of the Second World War and the Holocaust.
Alexandra Birch sheds light on the specific type of music promoted under Nazism, linked to larger Teutonic mythologies and histories espoused in rhetoric and personal styling. The book explores the musical fixation of the command as it was extended to the ordinary troops of the Wehrmacht and SS in instances of musical sadism and destruction during the Holocaust. It reveals how, in constructing what was 'German', this process also intentionally fashioned a subaltern other with an assigned set of music and aesthetics.
The book draws on analysis of testimony and perpetrator documents to reveal the execution of this binary identity and the inclusion of music even in extreme genocidal conditions. From drinking games in the interwar period, to musical sadism in the Holocaust, to the final delusions of the command in collapse, Hitler's Twilight of the Gods illuminates how music was a component of camaraderie, identity, masculinity, and warfare.
This classic opera libretto tells the story of the downfall of the gods, based on Norse mythology. The work is the third and final part of Wagner's epic Ring cycle, and features some of his most...
Granted that God may exist, how may God be defined in our time? Addressing this issue Benjamin Farley explores a variety of belief systems, Western and Eastern, religious and skeptical. Taking an...
The Conspiracy Against Hitler in the Twilight War was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are...
Fate and the Twilight of the Gods: The Norns and an Exegesis of Voluspa contains two sections, the first of which elaborates on the Norns (Nornir) and the concept of fate. In the Traditions of...
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