Cover

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pp. 1-1

Title Page, Copyright

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pp. 2-7

Contents

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pp. vii-9

Abbreviations

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pp. ix-11

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Introduction. Political History and Postwar German Art

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pp. 1-11

Franz Schönhuber, like many twentieth-century Germans, had a complicated and variable relationship to the Nazi past.1 Born on January 10, 1923, in Trostberg an der Alz in Oberbayern, Schönhuber worked his way through the Nazi youth organizations, became a...

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1. National Socialists and Art: Becoming the Perpetrator

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pp. 13-45

In the postwar period, the term “perpetrator” became relatively easy to throw around. But who were these National Socialist perpetrators? Were their actions so clear and separate from those of other Germans who helped implement policies of oppression but were...

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2. Gerhard Richter and the Advent of the Nazi Past: The Persistence of the Perpetrator

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pp. 47-81

Gerhard Richter was born on February 9, 1932, at the fateful moment in which the NSDAP consolidated its electoral victories at the end of the Weimar Republic. His mother, Hildegard, enjoyed music and literature, while his father, Horst, pursued a career as a teacher....

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3. Anselm Kiefer and the Ascendance of Helmut Kohl: The Changing Perception of the Perpetrator

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pp. 83-125

Albert Kiefer, father of Anselm, came of artistic and political age during the Nazi period. His own father had been mayor in the small town of Niederbuhl bei Rastatt before he ran afoul of the new regime in 1933 when he refused to replace the flag of Baden on the Rathaus...

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4. Daniel Libeskind and the Neo-Nazi Specter: The Resurgence of the Perpetrator

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pp. 127-165

With some fanfare, the first Jewish Museum in Berlin opened its collection to the public in newly designed rooms in the Oranienburgerstrasse on January 24, 1933, six days before Hitler came to power. Plans for a Jewish Museum in Berlin go back to the art collection left...

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5. The Nuremberg Party Rally Grounds and Local Politics: The Historicized Perpetrator

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pp. 167-204

By the end of the Weimar Republic, Nuremberg had already become a popular site for the rallies of the faithful of the National Socialist German Workers Party. Almost as soon as Hitler came to power, he chose the location as the permanent home of the annual rallies...

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Afterword. The Nazi Past in Postwar Germany’s Cultural History

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pp. 205-210

In spite of the distance of more than half a century and the beginning of a new millennium, it is hard to say that we have left the effects of World War II and the Holocaust behind in our society. The latter is still the litmus test with which we subsequently judge all...

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Acknowledgments

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pp. 211-214

The arc of this book has a long trajectory. It began with the History of Art Department at University College London, which invited me to give the Tomás Harris Memorial Lectures in 2003. Those talks were the genesis of this book, and I am grateful for the kind invitation as well as the reception...

Notes

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pp. 215-243

Bibliography

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pp. 245-261

Index

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pp. 263-274