• Previously unpublished images dramatically illustrate the Third Reich’s love affair with death • From cradle to the grave, the seductive indoctrination of a ‘civilised’ nation • The significant aid to Holocaust research and curriculum studies • Shedding new light on the darkest of times Heldentod: The Nazi Culture of Death graphically focuses on the Third Reich’s conception and promotion of the ‘Hero’s Death’ as it fostered and then fuelled a cataclysm of apocalyptic carnage and destruction. This underlying driving force, ultimately self-destructive, is shown infusing both state-sponsored propaganda and echoed by the personal battlefield images captured by its soldiers’ personal cameras. In so doing, it confronts the matter of subject vs observer and their intimate connection. The original and often one-of-a-kind and never seen before photos also serve as a searing documentation of man’s inhumanity to man and a stark warning to future generations.
With its battlefields paved over and its bunkers crumbled, the Third Reich of Nazi Germany nevertheless lives on in countless photographs that record an era of extraordinary brutality. This collection of more than 500 photographs taken by amateurs and professional propagandists provides a panoramic overview of Nazi Germany, offering intimate glimpses into living rooms and killing grounds, kitchens and concentration camps, movie theaters and battle fronts. The explanatory text explores the context of the images. Together, these photographs, most never before seen, create a time capsule, capturing the faces of Hitler's soldier's as well as those who suffered under the Nazi onslaught on humanity.
When looking at the early modern period (c. 1500–c. 1800), we often speak of "the military" or "the army". But what exactly do we mean when using these terms? The forms and structures of the armed forces have not only changed between 1500 and 1800, but also varied throughout different regions of the world and even within Europe. The contributors to this volume examine twelve early modern examples of armed forces in the Holy Roman Empire, Western and Eastern Europe, Eastern Asia and North America and paint a multifarious and even disparate picture during this period. The findings suggest that modern notions of the armed forces common in the early modern period should be used more prudently to avoid prevalent implications of non-existing continuity and uniformity.
‘The only thing that ever really frightened me during the war was the U-boat peril,’ wrote Winston Churchill in his history of the Second World War. ‘I was even more anxious about this battle than I had been about the glorious air fight called the Battle of Britain.” In reality, the Kriegsmarine had been woefully unprepared for the war into which it was thrown. The Command-in-Chief of submarines, Karl Dönitz, himself a verteran U-boat captain from the First World War, felt that he could bring Britain to its knees with a fleet of 300 U-Boats. But when war broke out, he had just twenty-four available for operational use. Despite this, the U-Boat arm scored some incredible successes in the early part of the war, raising the status of the submarine commanders and crews to that of national heroes in the eyes of the German people. The ‘Grey Wolves’ had become super-stars. Small wonder then that the U-Boat war has fascinated students of military history ever since. This book, using a carefully selected range of both wartime images and colour images of surviving U-boat memorabilia from private collections, describes 100 iconic elements of the U-Boat service and its campaigns. The array of objects include important individuals and the major U-Boat types, through to the uniforms and insignias the men wore. The weapons, equipment and technology used are explored, as are the conditions in which the U-boat crews served, from cooking facilities and general hygiene down to the crude toilet facilities. Importantly, the enemy that they faced is also covered, examining the ship-borne and airborne anti-submarine weaponry utilised against the U-boats. The U-Boats began the war, though small in number, more than a match for the Allies and created carnage amongst merchant shipping as well as sinking several major warships. The pace of technological development, however, failed to match that of Allied anti-submarine warfare weaponry and the U-Bootwaffe was ultimately doomed to defeat but not before, at one point, coming close to bringing Britain to its knees.
In an age of upheaval and challenged faith, traditional heroes are hard to come by, and harder still to love, with their bloodstained hands and backs unbowed by the consequences of their actions. Through penetrating readings of key works of modern European literature, Victor Brombert shows how a new kind of hero—the antihero—has arisen to replace the toppled heroic model. Though they fail, by design, to live up to conventional expectations of mythic heroes, antiheroes are not necessarily "failures." They display different kinds of courage more in tune with our time and our needs: deficiency translated into strength, failure experienced as honesty, dignity achieved through humiliation. Brombert explores these paradoxes in the works of Büchner, Gogol, Dostoevsky, Flaubert, Svevo, Hašek, Frisch, Camus, and Levi. Coming from diverse cultural and linguistic traditions, these writers all use the figure of the antihero to question handed-down assumptions, to reexamine moral categories, and to raise issues of survival and renewal embodying the spirit of an uneasy age.
