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Relevant bibliographies by topics / National socialism and folklore

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Academic literature on the topic 'National socialism and folklore'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "National socialism and folklore"

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Ķencis, Toms. "Ethno-Graphics: Folklore and Baltic Printmaking in the Period of Late Socialism." Folklore: Electronic Journal of Folklore 93 (August 2024): 213–44. http://dx.doi.org/10.7592/fejf2024.93.kencis.

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Visual representations of folklore and mythology played an ambivalent role in Baltic art and society during late socialism. On the one hand, it was often a safe choice promoted by Soviet national cultural policy; on the other, artwork tapping into national and ethnic identities carried a subversive, anti-Soviet potential. Exploring folkloric themes, Baltic artists of the 1970s developed different strategies to navigate the cultural field between Soviet censorship, folklore revival, modern forms of expression, and resistance to sovietisation in their home countries. The renowned Estonian printmaker Kaljo Põllu (1934–2010) created a powerful fusion of ethnographic research and creative practice to re-imagine Finno-Ugric mythology and build an alternative foundation for Estonian identity. Latvian printmaker Dzidra Ezergaile (1926–2013) laid the groundwork for an ethno- and eco-critical approach towards Soviet modernisation through a novel visual exploration of Latvian folklore motifs. Finally, Lithuanian illustrator and monumental painter Birute Žilytė (b. 1930) revolutionised Lithuanian childhood imagery, providing Lithuanian folklore and myths with bright and brave contemporary forms. A postcolonial reading of Baltic printmaking during late socialism generates an interpretive grid for understanding the role of folklore and folklorism within broader cultural trends and political dispositions. A combination of folklore studies and art history might efficiently contribute also to gender studies and environmental humanities.

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Loboda, M. I. "M.P.Drahomanov about freedom of conscience and social functionality of religion." Ukrainian Religious Studies, no. 9 (January 12, 1999): 55–59. http://dx.doi.org/10.32420/1999.9.823.

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Our research is based on a rather large "library" of various works by M. Drahomanov, which contains his views on religion. Among them: Paradise and Progress, From the History of Relations Between Church and State in Western Europe, Faith and Public Affairs, Fight for Spiritual Power and Freedom of Conscience in the 16th - 17th Centuries, , "Church and State in the Roman Empire", "The Status and Tasks of the Science of Ancient History," "Evangelical Faith in Old England," "Populism and Popular Progress in Austrian Rus, Austrian-Russian Remembrance (1867- 1877)," "Pious The Legend of the Bulgarians "," The Issues of Religious Freedom in Russia, "" On the Brotherhood of the Baptist or the Baptist in Ukraine, "" The Foreword (to the Community of 1878), " Shevchenko, Ukrainianophiles and Socialism "," Wonderful thoughts about the Ukrainian national affair "," Zazdri gods "," Slavic variants of one Gospel legend "," Resurrection of Christ (folklore record) ", etc.

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Abazi, Enika, and Albert Doja. "From the communist point of view: Cultural hegemony and folkloric manipulation in Albanian studies under socialism." Communist and Post-Communist Studies 49, no. 2 (April 28, 2016): 163–78. http://dx.doi.org/10.1016/j.postcomstud.2016.04.002.

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In the standard folkloric and ethnographic tradition of Albanian studies, various efforts to seize an authentic, traditional and popular culture, supposed to have really functioned in a society of official ideology, were devoted primordially to a catalogue of descriptivist and empiricist research, which only served to confirm the ultimate goal of constructing a primarily essentialized national specificity and a particularly antiquated view of national culture. Whereas the long-term continuities in the Albanian studies of peoples culture (kultura popullore), which pre-dated and out-lived socialism, together with the ambiguous relationship to anthropology are emphasized elsewhere, in this paper we look more closely at the limited changes and innovations that occurred in the decades of communist regime in Albania. The aim is to uncover how the traditional ethnographic-folkloric studies of peoples culture, marked by intellectual isolation and stigmatized by association with moralist and nationalist ideologies, were mobilized to service the shifting ideological needs and state policies towards the cultural hegemony of the communist regime.

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Pozhidaeva, Galina A. "The Originality of the Musical Work of the Composer Vladimir Pozhidaev (1946–2009)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 366–78. http://dx.doi.org/10.37816/2073-9567-2023-69-366-378.

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The paper shows the composer's work appeal to serious and significant topics related to the historical and spiritual life of the people of Russia, both in the past and today. Typical artistic images of folk culture and the national nature of the musical language make it possible to qualify the composer’s work as the mainstream of “new folklore wave” of the 50 – 70s of the 20th century through to the 90s and enriching it with folk-instrumental genre. The leading instrumental form in the composer's work becomes a symphony, a concerto - which applies to the principles of genre and epic symphonism. Particular emphasis should be placed on the importance of the spiritual mentality of the Russian people and their musical and liturgical culture The organic fusion of the music of folk life and the high spiritual culture of Holy Rus' allows us to take a fresh look at the composer's work. It brings a new quality to the “new folklore wave”, revealing, along with a genuine folklore stream, a deep Orthodox faith concealed from the official direction of socialist realism, preserved among the people despite all prohibitions and persecution. In the work of V. Pozhidaev, the ancient layers of folk and Christian musical culture are connected in an original way. The depth of the content, the organicity of the folk and professional, expressed by modern means — all this gives rise to a surprisingly original musical world, full of kindness and illuminated by the inner light.

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Б.А., БЕРБЕРОВ,. "KARACHAY-BALKAR SONG: INTRAGENRE VARIETIES AND POETICS." Kavkaz-forum, no. 12(19) (December 14, 2022): 19–33. http://dx.doi.org/10.46698/vnc.2022.19.12.011.

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Песня – универсальный фольклорный жанр, имеющий свои специфические особенности в культуре каждого этноса. В статье в краткой форме рассматриваются основные жанровые модификации карачаево-балкарской песни, обусловленные факторами национальной истории, художественными традициями, ментальностью горцев Северного Кавказа. Среди них – трудовые, историко-героические, любовные, песни-плачи, религиозно-духовные песни. Ввиду малоисследованности наибольшее внимание автор уделяет жанру историко-героической песни. Впервые в национальной фольклористике дается культурологическая оценка уникальному специализированному номеру журнала «Минги тау» («Эльбрус»), изданному в 1993 г. в виде антологии историко-героических песен карачаево-балкарского народа. Наиболее репрезентативные из них проанализированы с точки зрения онтологической поэтики. Антропоцентризм выявлен как основной атрибутивный признак, определяющий тематику, сюжет, композицию и в целом жанрово-стилистические особенности историко-героической песни. В той же мере скрупулезно выявлены и проинтерпретированы изобразительно-выразительные средства элегических песен, среди которых особое место занимают эпитеты, метафоры, сравнения, гипербола, сравнение, повторы, символика цвета. В качестве примера приводятся три характерных произведения: «Песня горовосходителей на Эльбрус», «Первая эпидемия» и «Вторая эпидемия», основанные на реальных событиях. После революции 1917 г. лиро-эпическая жанровая система карачаево-балкарского фольклора пополнилась так называемыми «советскими песнями», посвященными строителям нового общественного строя, рабочему классу, колхозникам, героям Отечественной войны, социалистическому соревнованию, дружбе народов, высокой и верной любви. На основании исследования делается вывод о том, что национальная история карачаевцев и балкарцев нашла полновесное отражение в этнофольклорной системе, богатой своими жанровыми модификациями. The song is a universal folklore genre that has its own specific features in the culture of each ethnic group. The article briefly examines the main genre modifications of the Karachay-Balkar song, due to the factors of national history, artistic traditions, and the mentality of the highlanders of the North Caucasus. Among them are labor, historical-heroic, love, lamentation songs, religious-spiritual songs. In view of the lack of research, the author pays the most attention to the genre of historical and heroic song. For the first time in national folklore, a culturological assessment is given to the unique specialized issue of the magazine “Mingi Tau” (“Elbrus”), published in 1993 in the form of an anthology of historical and heroic songs of the Karachay-Balkarian people. The most representative of them are analyzed from the point of view of ontological poetics. Anthropocentrism is revealed as the main attributive feature that determines the theme, plot, composition and, in general, the genre and stylistic features of the historical heroic song. The figurative and expressive means of elegiac songs are scrupulously identified and interpreted to the same extent, among which a special place is occupied by epithets, metaphors, comparisons, hyperbole, comparison, repetitions, symbolism of color. As an example, three characteristic works are given: “The Song of the Climbers on Elbrus”, “The First Epidemic” and “The Second Epidemic”, based on real events. After the revolution of 1917, the lyrical-epic genre system of Karachay-Balkarian folklore was replenished with the so-called “Soviet songs” dedicated to the builders of a new social system, the working class, collective farmers, heroes of the Patriotic War, socialist competition, friendship of peoples, high and true love. Based on the study, it is concluded that the national history of the Karachays and Balkars has found a full reflection in the ethno-folklore system, rich in its genre modifications.

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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.

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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.

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Arzamazov, Aleksey A. "Forgotten worlds of Mari and Mordovian Soviet poetry: The works of Valentin Dmitriev and Alexander Martynov." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2023): 114–23. http://dx.doi.org/10.20339/phs.6s-23.114.

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The article examines the national variations of socialist realism on the example of two poetic systems. The importance of a new appeal to the history and artistic reality of this literary trend, its language and features is emphasized. Texts by V.D. Dmitriev and A.K. Martynov, who are bright but already almost forgotten representatives of the Mari and Mordovian (Erzya) Soviet poetry, are in the focus of scientific research. It is concluded that despite significant ideological restrictions, the authors convey the ethnic worldview of their people, refer to its mythopoetic resources, aesthetic ideals and value-conceptual categories in their poems. Special attention is paid to the analysis of the figurative-symbolic layer of poetry, the main problem-thematic complexes are identified, their possible semantic connection with folklore is established. The question is raised about the lack of attention of translators to the source texts. Translators reduce the ethno-cultural expressiveness of the works and bring Finno-Ugric literary samples closer to the canons of Russian literature. Some ethno-mental characteristics of the Mari and Mordovian authors are determined. Their genre preferences are analyzed, the creative desire for large lyrical epic forms is explicated.

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Savić, Vanja-Ivan. "‘Our Father’ – In or Out? : Religious Education and Secular Tendencies in Croatian Public Schools in the European Context." Law, Identity and Values 1, no. 1 (2021): 131–43. http://dx.doi.org/10.55073/2021.1.131-143.

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This study discusses religious education in Croatian and European schools, within the overall context of religious symbols in public life. Europe is a vibrant and non-homogenous continent that comprises many cultures and traditions based mostly on Roman law. Various legal cultures and value systems have developed in Europe, which differ due to developmental variations within the European continental system. Religious education is offered in most European countries in various forms. Only three European countries, Albania, Slovenia, and (to some extent) France do not allow religious teaching in public schools. For instance, the crucifix is a part of faith and folklore in Italy, religious celebrations during Christmas, St. Nicholas Day, and Days of the Bread are part of the religious tradition in Croatia (forcibly) broken during the socialist Yugoslavia era, and crosses are present on the national flags of many nations, although their citizens might have forgotten why. Praying and mentioning God, and singing, do not harm anyone but, rather, can serve as a call for friendship, mutual understanding, and peace. It would be useful to create a legal document (e.g. a by-law) that established standards for such public behaviour in schools, which could be followed on a voluntary basis by students, including non-religious children. The Croatian State should organise alternative courses for children who do not follow religious education in order to diminish differences and prevent dissatisfaction and feelings of isolation. Also, education experts should consider the principles of Christian ethics, which secure respect for every citizen. Croatian history and legal traditions as well as International treaties between the Holy See and Croatia secure a place for ‘Our Father’ and other religious appearances in Croatian public schools. Prayer as well as religious folklore is an important part of religious education and thus an important part of regular curricula. It could be used to build respect for everyone within the Croatian community.

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Kuzhuget, Ailana K. "The Cultural Aspect of M.B. Kenin-Lopsan Scientific Work." Polylinguality and Transcultural Practices 17, no. 4 (December 15, 2020): 454–61. http://dx.doi.org/10.22363/2618-897x-2020-17-4-454-461.

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The article is devoted to some aspects of the scientific work of the outstanding Tuvan writer Mongush Borakhovich Kenin-Lopsan, Doctor of Historical Sciences, Peoples Writer of the Republic of Tyva, Honored Worker of Culture of the Tuva Autonomous Soviet Socialist Republic, Honored Scientist of the Republic of Tuva, Full Member of the New York Academy of Sciences, holder of the international title Living Treasure of Shamanism. Being the permanent president of the republican society of shamans Dungur and the only connoisseur of the secret knowledge of the ancient religion at the moment, he reveals to the reader its basic ideological concepts, explains the essence of ritual practice and attributes of shamans. The scientific works of M. Kenin-Lopsan are gaining more and more value in connection with the new phenomena of neoshamanism, the inclusion in the traditional system of innovations that distort the understanding of the national religion of Tuvans. A study of his works leads us to the conclusion that the scientist reveals the general features of the ancient culture of the SayanAltai Turks of the pre-Mongol period of Tuva. He recorded the unique stories of the best connoisseurs of folklore and traditions of Tuvans during the Soviet era, when interest in traditional culture was considered as a manifestation of nationalism

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Лобков, Александр Евгеньевич. "А. K. Konchevsky and V. V. Paskhalov: From the History of the Study of Crimean Musical Folklore." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2021): 161–73. http://dx.doi.org/10.26158/tk.2021.22.3.013.

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В статье рассматривается история сотрудничества известного любителя-собирателя песен и мелодий народностей Крыма А. К. Кончевского с Этнографической секцией Государственного института музыкальной науки (ГИМН), возглавляемой В. В. Пасхаловым. Благодаря материальной поддержке Наркомата просвещения РСФСР музыкально-этнографическое исследование песен крымских татар, караимов, крымчаков и греков стало одним из приоритетных направлений в работе ГИМНа середины 20-х гг. ХХ в. В 1923-1925 гг. Кончевский провел три экспедиции для записи песен и мелодий на фонографические валики. Собранный им фольклорный материал был представлен на расшифровку в Этнографическую секцию. Научно-теоретическим осмыслением музыкальной структуры крымских песен занимался В. В. Пасхалов. Гармонизировал песни пианист М. А. Ставицкий, неоднократно аккомпанировавший Кончевскому на его этнографических концертах-лекциях. Кончевский, Пасхалов и Ставицкий совместно подготовили два сборника - «Песни Крыма» (1924) и «Песни Востока» (1925). Автор характеризует специфику научно-этнографического исследования музыкального фольклора Крыма в ГИМНе и раскрывает причины, по которым оно было практически свернуто. Статья основана на неизвестных ранее материалах архива Российского национального музея музыки. This article examines the history of cooperation between the well-known amateur collector of Crimean songs and melodies Arkady Konchevsky and the Ethnographic Section of the State Institute for Musical Science (GIMN). With the financial support of the People’s Commissariat of Education of the Russian Soviet Federated Socialist Republic, musical and ethnographic research on the songs of Crimean Tatars, Karaites, Krymchaks, and Greeks became one of GIMN’s priorities in the mid-1920s. In 1923-1925 Konchevsky conducted three expeditions to record songs and melodies on phonographic cylinders. He submitted the material he collected to the Ethnographic Section, headed by Vyacheslav Paskhalov, who was engaged in analysis of the musical structure of Crimean songs. The songs were arranged by pianist Mikhail Stavitsky, who repeatedly accompanied Konchevsky on piano at ethnographic concert-lectures. Together Konchevsky, Paskhalov and Stavitsky prepared two songbooks for publication - “Songs of the Crimea” (1924) and “Songs of the East” (1925). The author describes the scholarly and ethnographic research on the musical folklore of Crimea at GIMN and reveals the reasons for which it was essentially curtailed. The article is based on previously unknown material from the archives of the Russian National Museum of Music.

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Dissertations / Theses on the topic "National socialism and folklore"

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Bent, George R. "Austrian National Socialism and the Anschluss." Oberlin College Honors Theses / OhioLINK, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1357673930.

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Cook, Andrew V. "Marxist historiography and the problem of National Socialism /." Title page and introduction only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arc7681.pdf.

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Hallam, Huw. "Political sound : National Socialism and its musical afterlive." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/political-sound(32adb915-a688-45b5-9107-e110e54d7f7f).html.

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This thesis examines the political significance of music (and sonic expression more broadly) in National Socialist Germany and the shadow cast by it over subsequent music history. I argue that sonic expression in the Third Reich held much greater political significance than has elsewhere been recognized, featuring as a prominent component of the Reich’s sovereign command structure. The thesis attempts to shed light on this intercourse between the musical and the political at a theoretical level and to trace its impact on various developments in post-1945 sonic arts practices. Part I explores ways in which sonic expression was manipulated as part of the National Socialist regime’s articulation of sovereignty. It reframes Walter Benjamin's phrase ‘aestheticization of politics’ in relation to various forms of sonic (often vocal) activity in the Third Reich. It then analyses the National Socialist radio broadcasting system as a unique, technical and bureaucratic medium of sovereign command. This gives new insight into the place of sonic expression and music in modernity and raises questions about the quality of the relationship between music and political power and how that relationship might be modulated through creative practice. Part II then considers the musical ‘afterlives’ of this meeting of politics and sonic expression. It explores how different sonic arts practices have subsequently (since 1945) rethought and reworked the political form of sonic expression, guided by theexperience of National Socialism. Chapter Four analyses work by Luigi Nono and Bernd-Alois Zimmermann in relation to language and historical testimony. Chapter Five explores Karlheinz Stockhausen’s and Christina Kubisch’s engagements with technology. Finally, Chapter Six examines Mauricio Kagel’s treatment of the musical ‘work’ form’s temporal implications. Together, these analyses reveal the outline of an historically transformative approach to critical, politically self-reflexive music making.

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Kunz, C. "The history of National Socialism in Herne, 1925-1949." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384677.

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Haeberlin, Andrew Jarausch Konrad Hugo. "Politicizing education German teachers face National Socialism, 1930-1932 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2327.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History." Discipline: History; Department/School: History.

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Bowden, Robin L. "Diagnosing Nazism U.S. perceptions of National Socialism, 1920-1933 /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1247588433.

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Thesis (Ph.D.)--Kent State University, 2009-07-14.
Title from PDF t.p. (viewed March 5, 2010). Advisor: Mary Ann Heiss. Keywords: Foreign Relations; United States; Germany; Weimar Republic; Hitler, Adolf; National Socialism; Nazis; U.S. State Department; Houghton, Alanson; Schurman, Jacob Gould; Sackett, Frederic; Murphy, Robert; Smith, Truman; 1920s; 1930s; Interwar Period; America. Includes bibliographical references (p. 318-335).

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Anderson, Kirsten. "National Powers of Belief: Folklore, Mythology and Festival in Nazi Germany." TopSCHOLAR®, 1999. http://digitalcommons.wku.edu/theses/740.

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In this thesis, I examine the relationship between folklore and nationalism in nineteenth- and twentieth-century Germany. More specifically, I focus on how the Nazis used folklore and the work of folklorists in their propaganda. The first chapter documents the development of nationalism and the creation of the discipline of folklore based on the theories of Johann Gottfried Herder (1744-1803) and Wilhelm Riehl (1823-1897). Herder wanted the Germans to rediscover their national heritage through folklore materials, and Riehl argued that folklore and folklorists should serve the Fatherland. In the 1930s, the Nazi Party used the discipline of folklore as a tool for their cultural policies and ideological education because the discipline had such close associations with nationalism and anti-Semitism. In Chapter Two, I trace the development of the National Socialist ideology from the conservative revolution and the Volkisch movements of the nineteenth century. National Socialism was akin to a religion and in Chapter Three, I document the careers of two of its "priests": Alfred Rosenberg, the philosopher of the NSDAP, and Heinrich Himmler, head of the SS. Both men created folklore organizations and employed folklorists to support the Nazi ideology. In Chapter Four, I analyze the festival theory of two folklorists employed by Rosenberg and then examine the Nazi festival calendar, which was based on both traditional holidays and the new celebrations of the Nazi Party. The annual Reichsparteitag (Reich Party Day), held in 1923, 1926, 1927, 1929, and then from 1933 to 1938, was the most important holiday on the Nazi calendar and I analyze it as a folk festival in Chapter Five, using the theories of Victor Turner, Alessandro Falassi, and Barbara Myerhoff. In addition, I use the theories of John Dorst concerning ethnography in a postmodern society and performance folkloristics to analyze the verbal art and performances at the rallies. Finally, I conclude with an overview of how German Volkskunde has changed after the Nazi era and discuss how the issue of folklore and ideology in Germany relates to the American discipline of folklore with a brief look at American festivals like the White Top Music Festival in Virginia (1931-1939) and the current Festival of American Folklife in Washington D.C. Three themes inform this analysis: 1.) Both folklore studies and National Socialism have a common background in the issues of the nineteenth century: nationalism, irrationalism, and the notion that Germany was a nation with a special destiny; 2.) The Nazi Party was unique in comparison with other political organizations because it made such conscious use of folklore materials. The Nazis' active use of folklore in all of its forms attracted ordinary Germans who had suffered great losses in the First World War, felt threatened by the radical modernity of the Weimar Republic, suffered through the Depression, and wanted to feel good about their nation again; and 3.) By examining specific issues like folklore and festivals, we can gain a deeper understanding of why Germans accepted Adolf Hitler and National Socialism.

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Maxwell, Rachel Elizabeth. "Aeschylus and National Socialism: Lothar Müthel's Orestie as Nazi Propaganda." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6020.

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This thesis analyzes the text, stage design, and historical context of Lothar Müthel's production of Aeschylus's Oresteia trilogy in 1936, which was sponsored by the National Socialist government during a broader publicity campaign during the Summer Olympics of 1936. The third play, Eumenides (Die Versöhnung in German) has democratic undertones, and therefore seems incompatible with Nazi ideology at first glance. There are three ways in which the Nazis made Müthel's adaptation of Die Versöhnung compatible. First, in the context of the Olympics, the Nazis attempted to draw a connection or relationship between modern German and ancient Greek culture, implying themselves to be successors to ancient Greece. Second, through Ulrich von Wilamowitz-Moellendorff's interpretations of the Greek word δίκη (justice), a central concept in the Oresteia, the Nazis were able to emphasize the progression of a state from a savage, chaotic period to a new, better civilization, an idea that particularly appeals to Nazi narrative owing to their own recent history with the Weimar Republic. Third, the Nazis shifted focus from the institution of the Areopagus to the role of Athena and interpreted her to be a Germanic goddess. Müthel's adaptation is a good case study in how, through appropriation, a political movement can interpret a text to fit their ideology.

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9

Schwartz-Kates, Deborah. "The Gauchesco tradition as a source of national identity in Argentine art music (ca.1890-1955) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40036343n.

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Stewart, Richard M. (Richard Matthew). "Intellectuals and National Socialism: The Cases of Jung, Heidegger, and Fischer." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279245/.

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This thesis discusses three intellectuals, each from a distinct academic background, and their relationship with National Socialism. Persons covered are Carl Gustav Jung, Martin Heidegger, and Eugen Fischer. This thesis aims at discovering something common and fundamental about the intellectuals' relationship to politics as such. The relationship each had with National Socialism is evaluated with an eye to their distinct academic backgrounds. The conclusion of this thesis is that intellectuals succumb all too easily to political and cultural extremism; none of these three scholars saw themselves as National Socialists, yet each through his anti-Semitism and willingness to cooperate assisted the regime.

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Books on the topic "National socialism and folklore"

1

Castelli, Marco. La svastica nelle tenebre: Nazismo magico. Piombino: Edizioni Il foglio, 2006.

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Lixfeld, Hannjost. Folklore and fascism: The Reich Institute for German Volkskunde. Bloomington: Indiana University Press, 1994.

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Wallnöfer, Elsbeth. Geraubte Tradition: Wie die Nazis unsere Kultur verfälschten. Augsburg: Sankt Ulrich, 2011.

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Sauer, Doris. Erinnerungen: Karl Haiding und die Forschungsstelle "Spiel und Spruch". Wien: Helmut-P.-Fielhauer-Freundeskreis, 1993.

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Wintgens, Frank. Mit der Vergangenheit leben: Feste und Feiern in Düsseldorf 1945-1955. Düsseldorf: Stadtarchiv, 1996.

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Quellmalz, Alfred. Die ladinischen Aufnahmen in der Sammlung von Alfred Quellmalz (1940-1941): Echos einer Minderheitenkultur aus der Zeit des Nazifaschismus in Südtirol = Les registrazions ladines tla recoiuda de Alfred Quellmalz (1940-1941) : ressonns de na cultura de mendranza al temp dl nazifascism tl Südtirol = Le registrazioni ladine nella raccolta di Alfred Quellmalz (1940-1941) : echi di una cultura minoritaria all'epoca del nazifascismo nel Sudtirolo. Brescia: Grafo, 2007.

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Besenfelder, Sabine. "Staatsnotwendige Wissenschaft": Die Tübinger Volkskunde in den 1930er und 1940er Jahren. Tübingen: Tübinger Vereinigung für Volkskunde, 2002.

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Volkskunde, Salzburger Landesinstitut für, ed. Volkskunde und Brauchtumspflege im Nationalsozialismus in Salzburg: Referate, Diskussionen, Archivmaterial : Bericht zur Tagung am 18. und 19. November 1994 in der Salzburger Residenz. Salzburg: Salzburger Landesinstitut für Volkskunde, 1996.

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Schlichtenberger, Clara. Die Ordnung der Welt: Die Sammlungs-Grammatik Victor Goldschmidts, des Gründers der völkerkundlichen Sammlung der von Portheim-Stiftung in Heidelberg, und die seiner Kuratoren. Pfaffenweiler: Centaurus-Verlagsgesellschaft, 1998.

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Dehnert, Walter. Fest und Brauch im Film: Der volkskundliche Film als wissenschaftliches Dokumentationsmittel : eine Analyse. Marburg: AVK, 1994.

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Book chapters on the topic "National socialism and folklore"

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Rudling, Odeta. "Folklore as a Visual Medium of Socialism and National Identity: The Case of the Lithuanian SSR." In Ästhetiken des Sozialismus, 189–211. Köln: Böhlau Verlag, 2018. http://dx.doi.org/10.7788/9783412510091.189.

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Dalton, Hugh. "National Parks and Forests and the National Trust." In Practical Socialism for Britain, 284–98. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003308119-32.

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Rothnie, Niall. "National Socialism in Germany." In National Socialism in Germany, 1–4. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08607-8_1.

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Przyrembel, Alexandra. "Emotions and National Socialism." In A Companion to Nazi Germany, 399–412. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118936894.ch24.

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Georgiadou, Maria. "National Socialism and War." In Constantin Carathéodory, 275–419. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-642-18562-5_5.

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Moreau, Patrick. "Otto Strasser: Nationalist Socialism versus National Socialism." In The Nazi Elite, 235–44. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-12823-5_22.

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Rothnie, Niall. "The Early Years, 1918–24." In National Socialism in Germany, 5–20. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08607-8_2.

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Rothnie, Niall. "Reorganisation and Breakthrough 1925–30." In National Socialism in Germany, 21–36. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08607-8_3.

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Rothnie, Niall. "Manoeuvring for Power,1930–33." In National Socialism in Germany, 37–53. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08607-8_4.

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Rothnie, Niall. "The Legal Revolution, 1933–34." In National Socialism in Germany, 54–68. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08607-8_5.

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Conference papers on the topic "National socialism and folklore"

1

Mokshantsev, Leonid. "Intellectual Roots of National Socialism." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.427.

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Matvieieva, K. V. "FOLKLORE CULTURAL TRADITIONS IN THE UKRAINIAN NATIONAL THEATER." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-10.

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Hülse, R., M. Hülse, JJ Servais, and A. Wenzel. "Diagnosis of Deafness during National Socialism – Taking Account, Remembrance and Responsibility." In Abstract- und Posterband – 90. Jahresversammlung der Deutschen Gesellschaft für HNO-Heilkunde, Kopf- und Hals-Chirurgie e.V., Bonn – Digitalisierung in der HNO-Heilkunde. Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-1686403.

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Polkovnikova, Natalia, Lyudmila Osipenko, and Sergey Lesin. "Folklore Tale for Young Children Precuring a Polyculture Textbook." In TSNI 2021 - Textbook: Focus on Students’ National Identity. Pensoft Publishers, 2021. http://dx.doi.org/10.3897/ap.e4.e0699.

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Mititsina, Elena. "Sociocultural Phenomenon Of Childhood In Pskov Folklore Discourse." In International Scientific and Practical Conference Education in a Changing World: Global Challenges and National Priorities. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.07.02.55.

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Moldabek, K., G. I. Akilbaeva, G. K. Temirbekova, and N. K. Koshekbay. "Folklore and folk traditions of the foundation basis of national education." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-121-124.

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Berner, Elias. "Alle Menschen werden Brüder?! Ein historisches Dokument aus dem Nationalsozialismus in den sozialen Medien." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.110.

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This article deals with the recent emergence on social media of a particular kind of audiovisual sources from the time of National Socialism, namely extracts from a performance of the 9th Symphony that took place in 1942 at the ‘Berlin Philharmonie’ on Hitler‘s birthday. The concert was conducted by Wilhelm Furtwängler. In the footage, Joseph Goebbels can be seen in the applauding audience, before he congratulates the conductor with a handshake at the end of the concert. The material was filmed for propaganda purposes and used in a German News Reel in April 1942. Excerpts from the concert have, in varying lengths and usually without any context, been uploaded to YouTube by different users. This article examines these excerpts, revealing different layers of media within the collaged material. It then illustrates how the original propaganda material was also incorporated into documentary films after the war as part of a strategy to rehabilitate Furtwängler from his involvement with National Socialism. In the second part of the article, an analysis of user comments shows how the relationship between National Socialism, Furtwängler and the symbolism of the symphony is evaluated differently, and how these evaluations may be aligned with four political ideologies – each of which manifests a different understanding of the relationship between society and music.

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FRANKENFELD, Christian. "Stereotyp "The ugly German": a negative national stereotype." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p234-241.

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Despite the doubtfulness of national stereotypes, such views commonly become a subject of discussion in foreign language classes. The cliché of the typical‘ German is an ambivalent one, consisting of the perception of excessive diligence, punctuality, and economic strength, but combined with a militaristic, presumptuous, and narrow-minded mentality. These latter characteristics create a stereotype widely known as The ugly German‘, a term intrinsically tied to the history of the German Empire and National Socialism. In the following paper, the history of The Ugly German‘ will be illustrated by using examples from German literature, films, TV series and contemporary hip-hop music. The special characteristics of negative German stereotypes in Switzerland and Austria will also be discussed. Prospects for the handling of stereotypical national clichés in German foreign language classes will be debated and further developed.

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"SOME FEATURES OF THE UZBEK NATIONAL DANCE AND QUESTIONS OF FOLKLORE DANCE STUDIES." In Advanced studies in science: Theory and practice. Global Partnership on Development of Scientific Cooperation LLC., 2015. http://dx.doi.org/10.17809/10(2015)-07.

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Cocieru, Mariana. "Folclorul ca act de conservare al conștiinței naționale." In Conferința științifică națională "Sergiu Moraru: 75 de ani de la naștere". “Bogdan Petriceicua-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/sm.75.2021.05.

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In this approach we will refer to an article-synthesis „Folklore ‒ a factor of preservation of national consciousness” signed by Sergiu Moraru with reference to the awareness of folklorists in Bessarabia of the urgent need to safeguard the elements of traditional culture of Romanians in Moldova , Ukraine (Odessa region, Chernivtsi, Nikolaev, Kirovohrad), Russian Federation (Krasnodar region) in the postwar period. We will also reflect on the development of folklore research by establishing scientific criteria for investigating and publishing field-recorded folklore materials, with the necessary parallels on the emergence of the first collections of cultural memory samples in general Romanian folklore.

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Reports on the topic "National socialism and folklore"

1

Kenes, Bulent. NMR: A Nordic neo-Nazi organization with aims of establishing totalitarian rule across Scandinavia. European Center for Populism Studies (ECPS), April 2021. http://dx.doi.org/10.55271/op0008.

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Right-wing extremism and national socialism (Nazism) are not a new phenomenon in Sweden. White supremacists or neo-Nazis have a long history in the country. Nordic Resistance Movement (Nordiska motståndsrörelsen, NMR) rests on this century-long history of Swedish Nazi and Neonazi activism. Including racism, antisemitism, anti-immigration, and anti-globalisation stances with violent tendencies, NMR which aims to overthrow the democratic order in the Nordic region and establish a national socialist state, has become the primary force of white power in Sweden and other Nordic countries.

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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.

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Between Past and Present: Nationalist Tendencies in Bolivian Art: 1925-1950. Inter-American Development Bank, November 1996. http://dx.doi.org/10.18235/0006402.

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Thirty paintings and sculptures from the National Museum of Bolivia, the Museum Arturo Borda, the National Museum of Ethnography and Folklore, the Marina Núñez del Prado Foundation, and the private collections of Mr. Fernando Romero and the BHN Foundation, and Mrs. Carmen Mazzi de Fernández.

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