Relevant bibliographies by topics / Olympic Games (11th : 1936 : Berlin, Germany)

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Academic literature on the topic 'Olympic Games (11th : 1936 : Berlin, Germany)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Olympic Games (11th : 1936 : Berlin, Germany)"

1

Teichler, Hans Joachim. "Coubertin und Hitler." STADION 46, no. 1 (2022): 6–21. http://dx.doi.org/10.5771/0172-4029-2022-1-6.

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Based on one of Coubertin’s eulogies to Hitler of 8 May 1935, Coubertin’s admiration for Hitler, which has been negated or glossed over by research, is re-examined. A thorough evaluation of the diaries of Carl Diem (Secretary-General of the Organising Committee of the Olympic Games in Berlin 1936) shows Coubertin’s early and consistently positive interest in the “Führer”. Coubertin saw Germany as the “guardian of Olympism” and suggested “the foundation of an institute for the permanent study of the Olympic Games”, to which he bequeathed “his papers and unfinished projects”. As a result, an Int
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2

Teichler, Hans Joachim. "Die deutsch-französischen Sportbeziehungen von 1919 bis 1942." STADION 47, no. 1 (2023): 28–56. http://dx.doi.org/10.5771/0172-4029-2023-1-28.

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The article begins with Germany’s exclusion from the Olympic Games 1920 in Antwerp and 1924 in Paris. Whereas sports relations between Germany and France slowly returned to normal in bourgeois sports, French workers’ sportsmen already in 1922 visited the festival of the workers’ sport federation in Leipzig. After these preliminary remarks the article focuses on the National Socialist era. From 1933 to 1939 France was Germany’s most favoured sport partner. The German Reich used the Olympic Games of 1936 to present itself as a peace-loving country. However, as the occupation of the demilitarized
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3

Leite, Werlayne Stuart Soares. "Berlin 1936: The Creation of the “Myth” Jesse Owens." Acta Facultatis Educationis Physicae Universitatis Comenianae 57, no. 2 (2017): 98–110. http://dx.doi.org/10.1515/afepuc-2017-0010.

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Abstract Throughout the twentieth century, the sport has gained much importance in society and sparked interest from various sectors, including the political. Adolf Hitler used the XI 1936 Summer Olympic Games to show the world the strength of Nazi Germany and its rebirth after the defeat in World War I and the impositions of the Versailles Treaty. However, many of the facts historically reported on the 1936 Olympics are contested. The most famous and mythical case of these Olympic Games, and one of the most famous in the history of sport, relates to events that occurred between the American a
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4

Rozmiarek, Mateusz. "The legacy of the 1936 Winter Olympics in Garmisch-Partenkirchen in the context of sports tourism." Studies in Sport Humanities 29 (December 31, 2021): 51–55. http://dx.doi.org/10.5604/01.3001.0015.4468.

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The IV Winter Olympics in Garmisch-Partenkirchen (Ga-Pa) are regarded by researchers as a test stage for the international demonstration of the German Reich’s economic power in relation to the Games of the XI Olympiad in Berlin, which were organized half a year later. Through the Games, Adolf Hitler sought to test all of his resources and means, thereby testing the country’s readiness to host another major sporting event. Despite numerous controversies related to the intense exposition of Nazi politics and anti-Semitism, the Olympic Games were remembered among the international public as a pro
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5

Kolamo, Sami, and Jani Vuolteenaho. "Natsit kansojen välisen ystävyyden asialla – propagandan toimintalogiikka Berliinin olympialaisissa 1936." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 1 (2019): 9–26. http://dx.doi.org/10.23994/lk.80164.

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Berliinin vuoden 1936 olympialaiset olivat aikansa massiivisin ja järjestelyiltään erityisen tarkasti harkittu propagandanäytös, jossa esiteltiin ”uutta uljasta Saksaa” urheilua seuraavalle kansainväliselle yleisölle. Yhtäaikaisena tavoitteena oli Saksan kansalaisten ”spirituaalinen mobilisaatio” natsihallinnon hegemonian lujittamiseksi. Analyysimme ytimessä on yhdistetyn propagandan käsite. Arnd Krüger viittaa käsitteellään samanaikaisesti valtion sisä- ja ulkopuolelle suuntautuvaan mediavälitteiseen kokemusten muokkaamiseen ja kielteisten mielikuvien häivyttämiseen myönteisten mielikuvien ti
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6

Lubrich, Oliver. "„Entlang der Farbenlinie“ W. E. B. Du Bois in Nazi-Deutschland." Kulturwissenschaftliche Zeitschrift 6, no. 3 (2021): 33–51. http://dx.doi.org/10.2478/kwg-2021-0031.

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Abstract The African-American sociologist and civil rights activist W. E. B. Du Bois (1868–1963) travels to Germany in 1936 for a five-month research stay. In his weekly column in the “Pittsburgh Courier,” he reports on the Olympic Games in Berlin, the Wagner Festival in Bayreuth, and vocational training at Siemens. In the last articles, which appeared after he had left the country, he presents his analysis of National Socialist society. He observes life in the totalitarian dictatorship “along the color line,” from a postcolonial perspective. To his own surprise, he finds that he himself exper
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7

Stępiński, Miłosz. "PROPAGANDA OF THE THIRD REICH ON THE EVE OF THE 11TH SUMMER OLYMPIC GAMES IN BERLIN IN 1936 (IN THE LIGHT OF ‘VÖLKISCHER BEOBACHTER’ – THE OFFICIAL ORGAN OF THE NSDAP)." Przegląd Zachodniopomorski, 2015, 9–42. http://dx.doi.org/10.18276/pz.2015.3-02.

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Books on the topic "Olympic Games (11th : 1936 : Berlin, Germany)"

1

Hilton, Christopher. Hitler's Olympics: The 1936 Berlin Olympic Games. Sutton, 2006.

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2

Hilton, Christopher. Hitler's Olympics: The 1936 Berlin Olympic Games. Sutton, 2006.

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Hilton, Christopher. Hitler's Olympics: The 1936 Berlin Olympic Games. Sutton, 2008.

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4

Walters, Guy. Berlin Games: How the Nazis Stole the Olympic Dream. William Morrow, an imprint of HarperCollinsPublishers, 2006.

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5

Berlioux, Monique. Des jeux et des crimes: 1936, le piège blanc olympique. Atlantica, 2007.

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6

Large, David Clay. Nazi games: The Olympics of 1936. W.W. Norton, 2007.

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7

Najjar, Alexandre. Berlin 36: Roman. Plon, 2009.

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8

Walters, Guy. Berlin Games. HarperCollins, 2006.

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9

United States Holocaust Memorial Museum, ed. The Nazi Olympics: Berlin, 1936 : teacher guide. U.S. Holocaust Memorial Museum, 1998.

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10

Brohm, Jean-Marie. 1936 Jeux olympiques à Berlin. A. Versaille éditeur, 2008.

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Book chapters on the topic "Olympic Games (11th : 1936 : Berlin, Germany)"

1

Fischer-Lichte, Erika. "Resurrecting Ancient Greece in Nazi Germany––the Oresteia as Part of the Olympic Games in 1936." In Performance, Iconography, Reception. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199232215.003.0022.

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Abstract On 3 August 1936, Lothar Müthel’s production of Aischylos’ Oresteia premiered as a festive performance at the Staatliches Schauspielhaus at the Gendarmenmarkt in Berlin. Its audience consisted exclusively of invited guests. Among them the Berliner Zeitung am Mittag (4 August 1936) listed Prime minister Generaloberst Göring and his wife, the ministers of the Reich Dr Frick, Dr Goebbels, Generalfeldmarschall von Blomberg, Freiherr von Neurath, Darré, Schacht, and Schwerin Krosigk, mostly accompanied by their wives. In addition, the members of the International Olympic Committee were present. Moreover, many German as well as foreign dignitaries from politics, cultural life, economics, and sports were among the guests. The president of the Reichsbank, Dr. Schacht, was accompanied by the governor of the Bank of France, Labeyrie.
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2

Weber, Anne-Katrin. "Domesticating Television Outside the Home." In Television before TV. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463727815_ch05.

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This chapter discusses how, towards the end of the 1930s, television was shaped to fit into domestic space. Taking into account a variety of events in addition to the radio fairs – the 1936 Olympic Games in Berlin, the 1937 Exposition Internationale in Paris, the displays at Selfridges and at the Ideal Home Exhibition in London, and RCA’s pavilion at the 1939-1940 New York World’s Fair – it illustrates how television was projected as a private medium, whose promotion nevertheless relied on public events. Even in national-socialist Germany, where collective viewing rooms were meant to compensate for the absence of commercially available television sets, a prominent public-private venture promoted the launching of a standardized domestic receiver.
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Otto, Elizabeth. "Leni Riefenstahl’s Nazi Neoclassicism." In A Modernist Cinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199379453.003.0015.

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Leni Riefenstahl is easily the most successful female director of the earlier twentieth century, as gauged by the size of her audience and the scope of her influence. Despite her lifelong claims of innocence, she has largely been remembered for her culpability as one of Adolf Hitler’s premier image-makers, in films including Triumph of the Will (1935). In this essay, I focus on Olympia, her two-part film of the 1936 Berlin Olympics. Drawing heavily on neoclassical imagery mixed with overtly modernist camerawork, Olympia masquerades as an apolitical celebration of human beauty and fortitude that claims the Olympic idea for the Youth of the World. Yet the film simultaneously conveys other messages that served the regime; it glorifies Hitler and the Nazi state, which it positions as the true inheritor of the classical ideal. In Olympia, Riefenstahl created a film that accomplished exactly what the state attempted with the Olympic games themselves: to project an image of an international, modern Germany while still symbolically conveying Nazi Germany’s power.
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