Here are 100 books that Reactionary Modernism fans have personally recommended if you like
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My interest in this topic began because of a trip to a museum in 2008. I noticed that a painting had been removed from view and a small piece of paper was hanging on the wall where the painting had been. The paper explained that this piece was involved in a court case revolving around whether or not it had been stolen from its Jewish owner by the Nazis during World War II. Nazi cultural appropriation, looting, suppression, and destruction turned out to be one of the most fascinating stories of the entire war. The research for my historical novel took several years, but it allowed me to write a book based on the facts.
The Faustian Bargain is all about the art world inside Germany in the 1930s and 1940s. Petropoulos chronicles the artists, art dealers, art professors, art journalists, and many others who were forced to live under Hitler’s cultural rules, which forbade modernist art of any kind. Some profited from this arrangement, others subtly fought against it. This is an inside look at a culture choked and suppressed by its own leadership.
Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos's study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
This is one of the most influential studies of cultural politics in Nazi Germany which takes as its focus the bureaucracy Joseph Goebbels charged with integrating pre-National Socialist artists and their organizations into the new cultural and political order. Noteworthy, of course, throughout Steinweis’s masterpiece of institutional reconstruction, is the revelation that National Socialist aesthetic preferences were not novel but represented the appropriation of the prevailing conservative taste dominant in the late Weimar Republic.
From 1933 to 1945, the Reich Chamber of Culture exercised a profound influence over hundreds of thousands of German artists and entertainers. Alan Steinweis focuses on the fields of music, theatre and the visual arts in this study of Nazi cultural administration, examining a complex pattern of interaction among leading Nazi figures, German cultural functionaries, ordinary artists, and consumers of culture. Steinweis gives special attention to Nazi efforts to purge the arts of Jews and other so-called undesirables.
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
A superb English translation has transformed Michaud’s Un Art de L’Éternité into a classic study of the ultimate purpose of Nazi aesthetics: to convert depictions of present reality in Hitler’s Germany into enduring images of National Socialism’s aspiration to generate aesthetic values that would last an eternity. In addition, Michaud argues persuasively how art was central to Nazi ideology.
The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'etre of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
Rich in illustrations, ambitious in scope, and still relevant despite having been written in the pre-perestroika Soviet Union, Golomstock makes his four-way comparison accessible and convincing by insisting that “totalitarian art,” a distinct genre with its own aesthetics and style, organization, and ideology, emerged with the rise of the four regimes indicated in the title of his book.
In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings,…
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
Zeev Sternhell, who died in 2020, was a scholar of matchless integrity and a personal friend.
His groundbreaking study, Neither Right Nor Left, transformed our understanding of the history of fascism. It also upended the received wisdom that indigenous fascism had been nonexistent in France: the myth that fascist ideology had been brutally imposed on the French in 1940 by the Nazi conquerors. Sternhell’s book intervened in timely fashion to remind us that France was the birthplace not only of republican humanism, but also of the European counterrevolution, as represented by intellectuals such as Joseph de Maistre, Edouard Drumont, and Maurice Barrès.
He demonstrates that, at the time of the Dreyfus Affair (1894-1905), counterrevolutionary ideology metastasized into a series of diabolically antisemitic pro-fascist movements. Perhaps the best-known exemplar was the Integral Nationalism of Charles Maurras and the Action Française.
Sternhell’s stunning conclusion, which continues to be hotly debated today, is…
"Few books on European history in recent memory have caused such controversy and commotion," wrote Robert Wohl in 1991 in a major review of Neither Right nor Left. Listed by Le Monde as one of the forty most important books published in France during the 1980s, this explosive work asserts that fascism was an important part of the mainstream of European history, not just a temporary development in Germany and Italy but a significant aspect of French culture as well. Neither right nor left, fascism united antibourgeois, antiliberal nationalism, and revolutionary syndicalist thought, each of which joined in reflecting the…
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
During the early 1990s, I had the good fortune to participate in Habermas’ legendary Monday night philosophy colloquium at the University of Frankfurt.
The experience transformed my understanding of the raison d’être of Critical Theory.The Philosophical Discourse of Modernity is not a book about fascism per se. Instead, it tells the story of how, after the war, the titans of interwar German Kulturpessimismus– Nietzsche (albeit, posthumously), Carl Schmitt, and Heidegger – were canonized by the leading advocates of “French Theory” as the newmaîtres à penseror “master thinkers.”
Yet, the canonization of German philosophy came at a high cost. After all, historically speaking, the philosophies in question stood in close proximity to fascist ideology.
Hence, the question arises: to what extent did such pro-fascist “ideologemes” infiltrate and inform the basic tenets of French poststructuralism?
This critique of French philosophy and the history of German philosophy is a tour de force that has the immediacy and accessibility of the lecture form and the excitement of an encounter across national cultural boundaries as Habermas takes up the challenge posed by the radical critique of reason in contemporary French postmodernism.
The Philosophical Discourse of Modernity is a tour de force that has the immediacy and accessibility of the lecture form and the excitement of an encounter across, national cultural boundaries. Habermas takes up the challenge posed by the radical critique of reason in contemporary French poststructuralism. Tracing…
The Duke's Christmas Redemption
by
Arietta Richmond,
A Duke who has rejected love, a Lady who dreams of a love match, an arranged marriage, a house full of secrets, a most unneighborly neighbor, a plot to destroy reputations, an unexpected love that redeems it all.
Lady Charlotte Wyndham, given in an arranged marriage to a man she…
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
To this day, Adorno’s pathbreaking Heidegger-critique, The Jargon of Authenticity, remains one of the most insightful and lucid exposés of fascist ideology ever written.
To begin with, Adorno wrote as an insider: as a scholar who had witnessed the implantation and criminality of German fascism firsthand. In Jargon, he used the Heideggerian's notion of “authenticity” as the point of departure for a brilliant semantic and rhetorical unmasking of the way that fascist linguistic habitudes suffuse the discourse of everyday life. After reading Adorno’s critique, it is impossible read Heidegger naïvely: that is, without careful attention to the ideological distortions of his Denkhabitus.
As Adorno deftly shows, Heidegger’s idiolect of “authentic” being-in-the-world masks a deep-seated longing for German geopolitical supremacy.
Theodor Adorno was no stranger to controversy. In The Jargon of Authenticity he gives full expression to his hostility to the language employed by certain existentialist thinkers such as Martin Heidegger. With his customary alertness to the uses and abuses of language, he calls into question the jargon, or 'aura', as his colleague Walter Benjamin described it, which clouded existentialists' thought. He argued that its use undermined the very message for meaning and liberation that it sought to make authentic. Moreover, such language - claiming to address the issue of freedom - signally failed to reveal the lack of freedom…
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
The ever-contentious debate about Heidegger’s filiations with Nazism was re-enlivened with the appearance of the so-called “Black Notebooks” in 2014.
However, unless one closely heeds the existential verbiage of Heidegger’s commitment to Nazism, one risks tilting at windmills; hence, succumbing to a plethora of misconceptions and misunderstandings.
This invaluable collection of original texts – which, in addition to Heidegger political speeches of 1933-34, contains the indispensable Der Spiegel interview, “Only a God Can Save Us!” – has taken on an entirely new meaning and importance in light of the “Black Notebooks’” publication.
This anthology is a significant contribution to the debate over the relevance of Martin Heidegger's Nazi ties to the interpretation and evaluation of his philosophical work. Included are a selection of basic documents by Heidegger, essays and letters by Heidegger's colleagues that offer contemporary context and testimony, and interpretive evaluations by Heidegger's heirs and critics in France and Germany.In his new introduction, "Note on a Missing Text," Richard Wolin uses the absence from this edition of an interview with Jacques Derrida as a springboard for examining questions about the nature of authorship and personal responsibility that are at the heart…
Spending my childhood in Nazi Germany, the nature and the horrific consequences of Nazi ideology have occupied me as a student of German history and later as a teacher of intellectual and literary history. In 1933 Car Schmitt opted to support the Nazis. While he was banned from the public sohere in post-war Germany, his ideas remained influential on the far right and the far left, fortunately without significantly impacting the democratic reconstruction of West Germany. It was the growing international visibility of Schmitt’s writings that became my personal concern after 2000. In particular, Schmitt’s increasing influence in the United States energized me to reread and respond to his writings.
Are you tired of Hollywood clichés about Nazi culture? The Princeton historian Anson Rabinbach is your man. His brilliant essays on aspects of Nazi culture as diverse as the popular novel under Nazism, the Nazi-organized leisure industry, and the fate of the humanities at German universities between 1933 and 1945, provide the sharp, well-informed analysis you never got at school. Get started with the interview the author gave to two younger colleagues (pp. 450-480); here things become personal. Of course, Rabinbach is a pro, he knows the critical literature on the topic and cites it to differentiate his argument. But more importantly, his insights and arguments force you to rethink your response to German fascism, and to question the facile opposition of democracy and Nazism portrayed in American pop culture.
A widely celebrated intellectual historian of twentieth-century Europe, Anson Rabinbach is one of the most important scholars of National Socialism working over the last forty years. This volume collects, for the first time, his pathbreaking work on Nazi culture, antifascism, and the after-effects of Nazism on postwar German and European culture. Historically detailed and theoretically sophisticated, his essays span the aesthetics of production, messianic and popular claims, the ethos that Nazism demanded of its adherents, the brilliant and sometimes successful efforts of antifascist intellectuals to counter Hitler's rise, the most significant concepts to emerge out of the 1930s and 1940s…
This book follows the journey of a writer in search of wisdom as he narrates encounters with 12 distinguished American men over 80, including Paul Volcker, the former head of the Federal Reserve, and Denton Cooley, the world’s most famous heart surgeon.
In these and other intimate conversations, the book…
The ethnobotanist Richard Evans Schultes noted that botanists should write history because so much history involves plants. Coincidentally, I am a botanist with a deep interest in history. I began as a child botanizing abandoned farmers’ fields, and now I am always on the lookout for topics at the intersection of plants and human affairs. The books on my list are among many I read while researching for my book. In exploring the role of plants in warfare, I have synthesized vast information about human and military needs, from rationed foods to camouflage and battlefront medicine. Germany provided many unexpected findings.
Science collapses when scientists ignore objectivity and unbiased analysis, and Robert N. Proctor argues this effectively in this book.
I had long assumed (incorrectly) that racial doctrine during the Third Reich came directly from Hitler, but many German scientists actively espoused racial policies with supposed scientific justification. It may be hard to accept that some scientists became sympathizers overnight, no doubt for their own welfare and survival.
Proctor illustrates that pure science can be adapted for evil intent and that a self-centered agenda can result in illegitimate outcomes.
Scholars exploring the history of science under the Nazis have generally concentrated on the Nazi destruction of science or the corruption of intellectual and liberal values. Racial Hygiene focuses on how scientists themselves participated in the construction of Nazi racial policy. Robert Proctor demonstrates that the common picture of a passive scientific community coerced into cooperation with the Nazis fails to grasp the reality of what actually happened-namely, that many of the political initiatives of the Nazis arose from within the scientific community, and that medical scientists actively designed and administered key elements of National Socialist policy.
