By Jonathan Petropoulos
"What are we to make of these cultural figures, many with major overseas reputations, who attempted to discover lodging with the Nazi regime?" Jonathan Petropoulos asks during this exploration of a few of the main acute ethical questions of the 3rd Reich. In his nuanced research of sought after German artists, architects, composers, movie administrators, painters, and writers who rejected exile, determining as an alternative to stick in the course of Germany's darkest interval, Petropoulos indicates how participants variously handled the regime's public competition to fashionable artwork. His findings explode the parable that each one glossy artists have been anti-Nazi and all Nazis anti-modernist.
Artists lower than Hitler heavily examines instances of artists who failed of their makes an attempt to discover lodging with the Nazi regime (Walter Gropius, Paul Hindemith, Gottfried Benn, Ernst Barlach, Emil Nolde) in addition to others whose hope for authentic reputation was once learned (Richard Strauss, Gustaf Gründgens, Leni Riefenstahl, Arno Breker, Albert Speer). jointly those ten figures remove darkness from the advanced cultural historical past of Nazi Germany, whereas separately they supply haunting photos of individuals facing excruciating offerings and grave ethical questions.
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John McAdam, a Scotsman born in 1756, introduced a new and superior approach to building carriage roads, but controversy over its value persisted through much of the nineteenth century. The Roman road system of ancient times had long provided the conceptual framework for European road construction. Roman engineers laid large ﬂat stones on top of a layer of cement that was itself underlain by layers of small loose WHEEL VERSUS WHEEL 21 stones. , set load limits—145 pounds for a light two-wheeled cart, and 1089 pounds for the heaviest wagon—at levels far lower than the actual carrying capacity of those vehicles.
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Artists Under Hitler: Collaboration and Survival in Nazi Germany by Jonathan Petropoulos