The symbolism between the Painter and the Mural is a salient contrast within Vonnegut’s story. This contrast is an intentional comparison used to highlight the ultimate behavior of humanity amongst a form of population control as inhumane as gas chambers. The painter acts as symbolism of humanity’s rejection. The mural acts as the glorification of the control. The Painter gives off a careless attitude and a slight rejection towards the population control in the story. In response to the orderly’s comments the painter scorns, “You think I'm proud of this daub? You think this is my idea of what life really looks like” (Vonnegut). This reveals the painter’s attitude towards population control. Furthermore, it solidifies the fact that the painter represents humanity’s rejection. In direct relation, of course, is the mural. The mural itself, is a representation of all the important people of the hospital staff. Moreover, the mural acts as a glorification and acceptance of the population control. Together, the painter is seen filling the faces of these people, simultaneously rejecting that the mural, “[l]ooks just like heaven or something” (Vonnegut). What the contrast reveals in a deeper sense is humanity (the painter) continuing to accept the inhumane population control (painting the mural) regardless of their rejection. It worthy to note that the acceptance of population control varies from each human being. That is
The Nazi movement was a curated identity created to manipulate the public. While Hitler 's regime was anti modern art, art movements such as the Bauhaus movement played an important role in the creation of Nazi propaganda. The use of cultural imagery and symbolism allowed nazis to communicate with the general public easier and more effectively. Nazis used imagery as a medium to control the German general public 's view on war, racism and the economy. The propaganda campaign set forth by Hitler allowed german authorities to make reckless decisions with little pushback from the German public. Nazis used propaganda as a platform for
The Holocaust, one of the worst genocides in history, a time that every person should know and understand, the mass murder of Jews over 5 years of pain and suffering. The best way to teach this in my opinion is with the Elie Wiesel interview Death Camp Auschwitz and to show it when middle schoolers are young, but old enough to have an idea of what happened from 1939 to 1945, but the middle schoolers can't watch this without losing important information not given in the video. So there is a reason why the middle schoolers should see this over reading books and online stories, and how they will keep wanting to listen to what else is missing from the picture. But there will be some forms of information lost when the middle schoolers watch this over the books and such. So what gives this interview video an advantage over books.
The Bauhaus movement began shortly after the world war 1 in 1919 to re imagine the materialistic good to reflect how we perceive art works. It was a movement initiated by a German architect named Walter Groupius.The Bauhaus movement embraced and emphasized on the simplicity and the basis of a design. (Griffith 2007) The idea behind the movement was to design and manufacture beautiful and practical products using simple and economical techniques. The ideology of the school was not only to reflect society but improve it by combining simplistic beauty with productivity. (Naylor 1968) The Bauhaus implied form follows function which is created by a cross platform of functional craftsmanship in every field whilst experimenting and using different materials.
I was truly devastated by the stories that both Henry and Henia Bryer presented. I am able to gain appreciation for the things that appear insignificant in my life. As I picture myself in the shoes of Henry and Henia, I gain a sense of hatred towards the Germans. The images of the pile of naked, bony, and dead bodies within both videos truly impacted me. As I observed these images, I saw a glimpse of the horrendous life that the Jews had while living in the concentration camps.
V: This interview is extremely valuable this is a first hand source of someone interviewing a survivor about what happened to them and what happened to their family and friends. This depicted everything that was needed to know in order to determine how the holocaust affected its survivors upon their arrival home and everything that went on before and after so that we could put it in context of the time.
Some ways the holocaust was implemented was the use of propaganda, the relocation of people to Ghettos, the creation of laws to strip people of their rights, and the use of technology to increase the efficiency of the machinery of genocide. I think one of the most effect sytstem was using propaganda because a picture is worth a thousand words. Seeing how the Nazis used propaganda and how that system was very effective and terrible.
A few weeks ago, my friend Iz returned a book to me that I lent her last fall. It was my mother’s old Nazi Mind book. When she returned the book to me, a book that is no longer a required text for the class, I wondered how the class had changed over time. Since this year's Trial just recently occurred, I thought it might be an appropriate time to compare Nazi Mind then and now.
The use of propaganda that the Nazis made to go against the Jews negatively affected them because most bystanders believed in the propaganda which made the Jews seem “not human” to other people. This further allowed the Nazis to dehumanize the Jews in a way where the Jews had absolutely no freedom.
The Nazis would systematically censor modern art and decide “what art is decent or indecent, uplifting or ‘degenerate’” (Goggin 84) in order to wipe out all threatening ideas and strengthen the Nazi ideal, and Dix’s works were considered the latter. As a form of artistic control, the Nazis publically criticized modern artists as well as banning their works from museums and public displays. The art that was considered to be degenerate were labelled so because they didn’t fit into the Nazis’ criteria of representing solely the good, the positive and the healthy in society. In his art in his war portfolio, Dix portrayed the exact opposite. He painted and drew only death, disease, disaster and decay (Goggin 84-89). Hitler and his party deemed Dix’s works as degenerate because they were considered to be antimilitary and threatening to the Germans, the Nazi regime, and all of Hitler’s plans and beliefs he tried to instil in the German people. As a result of his so-called crimes, many of his paintings were burned and he was forced to join the German army and fight alongside those whose malpractice he wished to expose
After the collapse of the Weimar Republic, a charismatic political leader Adolf Hitler rose to power instituting one of the most horrific political regimes in human history. Under Hitler’s control, Germany was transformed into a fascist state in which the Nazi party took totalitarian control over nearly all aspects of German life. Hitler administered and over saw fascist policies that resulted in the genocide of millions. In 1936, Walter Benjamin postulated the idea of “aestheticization of politics” under German fascism, in which the outcome of these fascist policies stems from the establishment of aesthetics into politics. Benjamin coined the phrase “aestheticization of politics” with the Nazi regime in mind. This was a regime that new how to deploy aesthetics brilliantly, which can be seen in the film Triumph of the Will by Leni Riefenstahl.
All ranks of Nazi officials played a significant part in the reign of propaganda that impacted the world. The creation of the “Final Solution” to annihilate the Jews and enemies of Europe was heavily culminated with propaganda efforts to keep death camps hidden from the view of media outlets globally. Originally this plan was to systematically remove the Jews, then with the establishment of ghettos and mobile killing units, SS Officers, German authorities and their collaborators were able to kill upwards of six million Jews. This was impactful on the society with almost two-thirds of the Jews in Europe killed by poison gas, shooting and other means.
The piece has a strong appeal to the pathos of the public. The threat of foreign collusion and distrust of the Jews, summons nationalistic fervor among the crowd, “A potent component of political antisemitism was nationalism, whose adherents often falsely denounced Jews as disloyal citizens” (nhmm.org). The public sees a poster that displays the enemies of the war, the entities that create an existential threat to the people of Germany and it elicits a defensive, nationalistic response. Nationalism in its nature generates emotion, it draws out pride, fear, hatred, etc. It is war propaganda and it will create a defensive response and urgency to defeat these enemies who pose a major threat to Germany. The propaganda brings about a wariness of the Jews and Allies. The image immediately creates suspicion from the public. The public was being told the Jews are working with the enemy and against Germany. This suspicion forms into fear, the Jews are part of German society and they are everywhere, working against the Germans and undermining their way of life. They pose an existential crisis to Germany. As a result, the emotions morph into hatred. To the public, not only are Jews not a part of Germany and their society, but they are actively working to undermine and destroy it. This fear places them as the enemy in the war, and no enemy is given the benefit of the
At the same time, the work of Jankel Adler was banned by the Third Reich regime and defined as "degenerate art" already in 1933, removed from public collections and four years later displayed at the exhibition "Entartete Kunst" in Munich (1937). Throughout the decades, his work still remains a subject of interest to art historians and curators, just to note the landmark shows "Degenerate Art - The Fate of the Avant-Garde in Nazi Germany", displayed in Los Angeles and Chicago (1991), "Europa, Europa" curated by Pontus Hultén for the Kunsthalle Bonn (1994); and public collections of the San Francisco Museum of Art, Tate Britain, Museum of Art in Łódź, Israel Museum in Jerusalem, and many
The actual piece itself consists of a large mural of the Nuremberg trials, in front of cardboard cutouts of six public figures from the US, as if they are a row of defendants, with concrete slabs under their likenesses engraved with their hateful words. The sixth accused is that of Ronald Reagan, his concrete slab left blank, resembling his silence on the ongoing AIDS crisis of that time. On top of that is a large, neon version of the SILENCE = DEATH slogan that became the symbol of AIDS activism in the 80s. Below the sign is a LED sign displaying various statistics and other newsworthy information about the “defendants”5. The pink triangle of the SILENCE = DEATH slogan is appropriated from the Holocaust, as it was used to distinguish gay men in concentration camps, signifying a correlation between the two (Hitler’s relentless regime against the Jews being matched with Reagan’s indifference of a crisis killing millions of people, specifically lower income people of color). The graphic itself was widely produced on various physical media, as it turned the stigma of the pink triangle away from something shameful to, “...an emblem of proud identity–a characteristic transvaluation, in the political development of an oppressed group, of an abusive stereotype…”6.