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Mit der von LORENZER begründeten Tiefenhermeneutik wird eine methodologisch und methodisch reflektierte Methode psychoanalytischer Forschung vorstellt, die im Rahmen der kritischen Sozialforschung der Frankfurter Schule entwickelt wurde. Die neue Art und Weise, wie ein Neonazi einen Besuch der Gedenkstätte Auschwitz dazu benutzt, um einen neuen Antisemitismus zu erzeugen, soll durch eine szenische Interpretation seiner medialen Auftritte als gut gelaunter Tourist, als zorniger Rechtsextremist, als sachlicher Experte und als trotziger Jugendlicher untersucht werden: Es wird zu zeigen sein, wie sich die Bedeutung dieser Rollenspiele in der Spannung zwischen einem manifesten und einem latenten Sinn entfaltet. Die Ergebnisse dieses Interpretationsprozesses bilden die Grundlage für die theoretische Klärung der Frage, welcher Sozialisationsmuster dieser "Yuppie-Nazi" sich bedient, um vor allem Jugendliche zu faszinieren. Schließlich soll analysiert werden, wie der Regisseur durch eine postmoderne Inszenierung Auschwitz als Testgelände zur Verfügung stellt, auf dem der Neonazi einen "fröhlichen Tanz auf dem Vulkan" aufführen kann.
Depth hermeneutics—as developed by LORENZER within the framework of the Frankfort School's program of critical social research—represents a methodological and systematic approach to psychoanalytic research. The new ways and means by which a neo-Nazi utilises his visit to the Auschwitz Memorial to arouse further anti-Semitism are to be investigated by means of a scene-by-scene interpretation of his filmed appearances—first as a good-mooded tourist, then as a volatile right-wing extremist, as competent expert, and as rebellious adolescent. The aim is to demonstrate how the meaning of these role plays develops within the tension between a manifest and a latent significance. The results of this process of interpretations form the basis for clarifying the question: what patterns of socialisation are used by this "yuppie-neo-Nazi" to fascinate particularly adolescents?? In conclusion, the way in which through his post-modern film-production the producer turns Auschwitz into a test-ground where the neo-Nazi can do "a merry dance on the volcano", is analysed.
As there are apparently no doubts concerning the existence of Nazi anti-Semitism before 1933 regarding this topic – having largely been ignored by scholars of contemporary history – seems to be no use. This article tends to trace the role of anti-Semitism during the ascend of the Nazi-movement. Therefore, the author describes the theoretic function of this phenomena for the NSDAP by referring to Hitler’s Weltanschauung and the official program of the party. But how did this anti-Jewish ideology find its way into the party’s day-to-day agitation? By analysing Hitler’s political speeches it is shown how, after 1925/26, the Führer tried to present himself as a moderate politician – for he had realised that the NSDAP had to become a mass-movement in order to gain political power in Weimar Germany. Vis-à-vis the party’s antisemitic membership, mainly retailers and graduates, anti-Jewish stereotypes were pushed in propaganda. Yet, National Socialist anti-Semitism was not only opportunist in that it was played up or down depending upon when and where it hit responsive chords, it was also subject to the regional Gauleiter if this phenomena was promoted like in Streicher’s Franconia or restricted like in Württemberg, Hamburg or Danzig. Only after the world-wide economic crisis of 1929 the NSDAP had considerable success in the Reichstag’s elections. The party presented itself as the only power being capable to establish a new order in Germany. The propaganda focused on the main enemies of the National Socialists: Communism and the liberal democracy – in this context, the anti-Semitism was negligible.