Robert Knight's book examines how the 60,000 strong Slovene community in the Austrian borderland province of Carinthia continued to suffer in the wake of Nazism's fall. It explores how and why Nazi values continued to be influential in a post-Nazi era in postwar Central Europe and provides valuable insights into the Cold War as a point of interaction of local, national and international politics. Though Austria was re-established in 1945 as Hitler's 'first victim', many Austrians continued to share principles which had underpinned the Third Reich. Long treated as both inferior and threatening prior to the rise of Hitler and then persecuted during his time in power, the Slovenes of Carinthia were prevented from equality of schooling by local Nazis in the years that followed World War Two, behavior that was tolerated in Vienna and largely ignored by the rest of the world. Slavs in Post-Nazi Austria uses this vital case study to discuss wider issues relating to the stubborn legacy of Nazism in postwar Europe and to instill a deeper understanding of the interplay between collective and individual (liberal) rights in Central Europe. This is a fascinating study for anyone interested in knowing more about the disturbing imprint that Nazism left in some parts of Europe in the postwar years.

WINNER OF THE 2017 MARTIN A. KLEIN PRIZE In his in-depth and compelling study of perhaps the most famous of Portuguese colonial massacres, Mustafah Dhada explores why the massacre took place, what Wiriyamu was like prior to the massacre, how events unfolded, how we came to know about it and what the impact of the massacre was, particularly for the Portuguese empire. Spanning the period from 1964 to 2013 and complete with a foreword from Peter Pringle, this chronologically arranged book covers the liberation war in Mozambique and uses fieldwork, interviews and archival sources to place the massacre firmly in its historical context. The Portuguese Massacre of Wiriyamu in Colonial Mozambique, 1964-2013 is an important text for anyone interested in the 20th-century history of Africa, European colonialism and the modern history of war.

In a remarkable decade of public investment in higher education, some 200 new university campuses were established worldwide between 1961 and 1970. This volume offers a comparative and connective global history of these institutions, illustrating how their establishment, intellectual output and pedagogical experimentation sheds light on the social and cultural topography of the long 1960s. With an impressive geographic coverage - using case studies from Europe, the Americas, Africa and Asia - the book explores how these universities have influenced academic disciplines and pioneered new types of teaching, architectural design and student experience. From educational reform in West Germany to the establishment of new institutions with progressive, interdisciplinary curricula in the Commonwealth, the illuminating case studies of this volume demonstrate how these universities shared in a common cause: the embodiment of 'utopian' ideals of living, learning and governance. At a time when the role of higher education is fiercely debated, Utopian Universities is a timely and considered intervention that offers a wide-ranging, historical dimension to contemporary predicaments.

This book explores the diverse ways in which Holocaust representations have influenced and structured how other genocides are understood and represented in the West. Rebecca Jinks focuses in particular on the canonical 20th century cases of genocide: Armenia, Cambodia, Bosnia, and Rwanda. Using literature, film, photography, and memorialisation, she demonstrates that we can only understand the Holocaust's status as a 'benchmark' for other genocides if we look at the deeper, structural resonances which subtly shape many representations of genocide. Representing Genocide pursues five thematic areas in turn: how genocides are recognised as such by western publics; the representation of the origins and perpetrators of genocide; how western witnesses represent genocide; representations of the aftermath of genocide; and western responses to genocide. Throughout, the book distinguishes between 'mainstream' and other, more nuanced and engaged, representations of genocide. It shows how these mainstream representations - the majority - largely replicate the representational framework of the Holocaust, including the way in which mainstream Holocaust representations resist recognising the rationality, instrumentality and normality of genocide, preferring instead to present it as an aberrant, exceptional event in human society. By contrast, the more engaged representations - often, but not always, originating from those who experienced genocide - tend to revolve around precisely genocide's ordinariness, and the structures and situations common to human society which contribute to and become involved in the violence.

Crime, Regulation and Control during the Blitz looks at the social effect of bombing on urban centres like Liverpool, Coventry and London, critically examining how the wartime authorities struggled to regulate and control crime and offending during the Blitz. Focusing predominantly on Liverpool, it investigates how the authorities and citizens anticipated the aerial war, and how the State and local authorities proposed to contain and protect a population made unruly, potentially deviant and drawn into a new landscape of criminal regulation. Drawing on a range of contemporary sources, the book throws into relief today's experiences of war and terror, the response in crime and deviancy, and the experience and practices of preparedness in anticipation of terrible threats. The authors reveal how everyday activities became criminalised through wartime regulations and explore how other forms of crime such as looting, theft and drunkenness took on a new and frightening aspect. Crime, Regulation and Control during the Blitz offers a critical contribution to how we understand crime, security, and regulation in both the past and the present.

To understand the turnaround in Spain's stance towards Japan during World War II, this book goes beyond mutual contacts and explains through images, representations, and racism why Madrid aimed at declaring war on Japan but not against the III Reich -as London ironically replied when it learned of Spain's warmongering against one of the Axis members.

This book discusses WWI-era music in a historical context, explaining music's importance at home and abroad during WWI as well as examining what music was being sung, played, and danced to during the years prior to America's involvement in the Great War. Why was music so important to soldiers abroad during World War I? What role did music-ranging from classical to theater music, rags, and early jazz-play on the American homefront? Music of the First World War explores the tremendous importance of music during the years of the Great War-when communication technologies were extremely limited and music often took the place of connecting directly with loved ones or reminiscing via recorded images. The book's chapters cover music's contribution to the war effort; the variety of war-related songs, popular hits, and top recording artists of the war years; the music of Broadway shows and other theater productions; and important composers and lyricists. The author also explores the development of the fledgling recording industry at this time. Provides an excellent resource for students investigating music during the First World War as well as for adults interested in WWI-era history or music of the pre-twenties Documents the variety of reasons songs were sung by soldiers in wartime-to cheer themselves up, boost courage, poke fun at or stimulate hatred of their enemies, or express grievances or protest against the war or against authority Covers stage music of the WWI era, including music hall (British), vaudeville, revues, operettas, and musicals

Best known to Americans as the ""singing cowboy,"" beloved entertainer Gene Autry (1907-1998) appeared in countless films, radio broadcasts, television shows, and other venues. While Autry's name and a few of his hit songs are still widely known today, his commitment to political causes and public diplomacy deserves greater appreciation. In this innovative examination of Autry's influence on public opinion, Michael Duchemin explores the various platforms this cowboy crooner used to support important causes, notably Franklin D. Roosevelt's New Deal and foreign policy initiatives leading up to World War II. As a prolific performer of western folk songs and country-western music, Autry gained popularity in the 1930s by developing a persona that appealed to rural, small-town, and newly urban fans. It was during this same time, Duchemin explains, that Autry threw his support behind the thirty-second president of the United States. Drawing on a wealth of primary sources, Duchemin demonstrates how Autry popularized Roosevelt's New Deal policies and made them more attractive to the American public. In turn, the president used the emerging motion picture industry as an instrument of public diplomacy to enhance his policy agendas, which Autry's films, backed by Republic Pictures, unabashedly endorsed. As the United States inched toward entry into World War II, the president's focus shifted toward foreign policy. Autry responded by promoting Americanism, war preparedness, and friendly relations with Latin America. As a result, Duchemin argues, ""Sergeant Gene Autry"" played a unique role in making FDR's internationalist policies more palatable for American citizens reluctant to engage in another foreign war. New Deal Cowboy enhances our understanding of Gene Autry as a western folk hero who, during critical times of economic recovery and international crisis, readily assumed the role of public diplomat, skillfully using his talents to persuade a marginalized populace to embrace a nationalist agenda. By drawing connections between western popular culture and American political history, the book also offers valuable insight concerning the development of leisure and western tourism, the information industry, public diplomacy, and foreign policy in twentieth-century America.

Growing up in Birmingham, Alabama, a city that he loved, Jonathan Foster was forced to come to grips with its reputation for racial violence. In so doing, he began to question how other cities dealt with similar kinds of stigmas that resulted from behavior and events that fell outside accepted norms. He wanted to know how such stigmas changed over time and how they affected a city's reputation and residents. Those questions led to this examination of the role of stigma and history in three very different cities: Birmingham, San Francisco, and Las Vegas. In the era of civil rights, Birmingham became known as ""Bombingham,"" a place of constant reactionary and racist violence. Las Vegas emerged as the nation's most recognizable Sin City, and San Francisco's tolerance of homosexuality made it the perceived capital of Gay America. Stigma Cites shows how cultural and political trends influenced perceptions of disrepute in these cities, and how, in turn, their status as sites of vice and violence influenced development decisions, from Birmingham's efforts to shed its reputation as racist, to San Francisco's transformation of its stigma into a point of pride, to Las Vegas's use of gambling to promote tourism and economic growth. The first work to investigate the important effects of stigmatized identities on urban places, Foster's innovative study suggests that reputation, no less than physical and economic forces, explains how cities develop and why. An absorbing work of history and urban sociology, the book illuminates the significance of perceptions in shaping metropolitan history.

The Cold War began almost immediately after the end of World War II and the defeat of the Nazis in Europe. As images of the Nazis' atrocities became part of American culture's common store, the evil of their old enemy, beyond the Nazis as a wartime opponent, became increasingly important. As America tried to describe the danger represented by the spread of Communism, it fell back on descriptions of Nazism to make the threat plain through comparison. At the heart of the tensions of that era lay the inconsistency of using one kind of evil to describe another. The book addresses this tension in regards to McCarthyism, campaigns to educate the public about Communism, attempts to raise support for wars in Asia, and the rhetoric of civil rights. Each of these political arenas is examined through their use of Nazi analogies in popular, political, and literary culture. The Nazi Card is an invaluable look at the way comparisons to Nazis are used in American culture, the history of those comparisons, and the repercussions of establishing a political definition of evil.

This edited volume examines the experience of World War I of small nations, defined here in terms of their relative weakness vis-a-vis the major actors in European diplomacy, and colonial peripheries, encompassing areas that were subject to colonial rule by European empires and thus located far from the heartland of these empires. The chapters address subject nations within Europe, such as Ireland and Poland; neutral states, such as Sweden and Spain; and overseas colonies like Tunisia, Algeria and German East Africa. By combining analyses of both European and extra-European experiences of war, this collection of essays provides a unique comparative perspective on World War I and points the way towards an integrated history of small nations and colonial peripheries. Contributors are Steven Balbirnie, Gearoid Barry, Jens Boysen, Ingrid Bruhwiler, William Buck, AUde Chanson, Enrico Dal Lago, Matias Gardin, Richard Gow, Florian Grafl, Donal Hassett, Guido Hausmann, Roisin Healy, Conor Morrissey, Michael Neiberg, David Noack, Chris Rominger, Danielle Ross and Christine Strotmann.

Traveling in Europe in August 1938, one year before the outbreak of World War II, David Kurtz, the author's grandfather, captured three minutes of ordinary life in a small, predominantly Jewish town in Poland on 16 mm Kodachrome colour film. More than seventy years later, through the brutal twists of history, these few minutes of home-movie footage would become a memorial to an entire community, an entire culture that was annihilated in the Holocaust. Three Minutes in Poland traces Glenn Kurtz's remarkable four year journey to identify the people in his grandfather's haunting images. His search takes him across the United States to Canada, England, Poland, and Israel. To archives, film preservation laboratories, and an abandoned Luftwaffe airfield. Ultimately, Kurtz locates seven living survivors from this lost town, including an eighty six year old man who appears in the film as a thirteen year old boy. Painstakingly assembled from interviews, photographs, documents, and artifacts, Three Minutes in Poland tells the rich, funny, harrowing, and surprisingly intertwined stories of these seven survivors and their Polish hometown. Originally a travel souvenir, David Kurtz's home movie became the sole remaining record of a vibrant town on the brink of catastrophe. From this brief film, Glenn Kurtz creates a riveting exploration of memory, loss, and improbable survival, a monument to a lost world.

On June 22, 1941, Germany launched the greatest land assault in history on the Soviet Union, an attack that Adolf Hitler deemed crucial to ensure German economic and political survival. As the key theater of the war for the Germans, the eastern front consumed enormous levels of resources and accounted for 75 percent of all German casualties. Despite the significance of this campaign to Germany and to the war as a whole, few English-language publications of the last thirty-five years have addressed these pivotal events. In Ostkrieg: Hitler's War of Extermination in the East, Stephen G. Fritz bridges the gap in scholarship by incorporating historical research from the last several decades into an accessible, comprehensive, and coherent narrative. His analysis of the Russo-German War from a German perspective covers all aspects of the eastern front, demonstrating the interrelation of military events, economic policy, resource exploitation, and racial policy that first motivated the invasion. This in-depth account challenges accepted notions about World War II and promotes greater understanding of a topic that has been neglected by historians.

"Cultural Responses to Occupation in Japan" examines how the performing arts, and the performing body specifically, have shaped and been shaped by the political and historical conditions experienced in Japan during the Cold War and post-Cold War periods. This study of original and secondary materials from the fields of theatre, dance, performance art, film and poetry probes the interrelationship that exists between the body and the nation-state. Important artistic works, such as Ankoku Butoh (dance of darkness) and its subsequent re-interpretation by a leading political performance company Gekidan Kaitaisha (theatre of deconstruction), are analysed using ethnographic, historical and theoretical modes. This approach reveals the nuanced and prolonged effects of military, cultural and political occupation in Japan over a duration of dramatic change."Cultural Responses to Occupation in Japan" explores issues of discrimination, marginality, trauma, memory and the mediation of history in a ground-breaking work that will be of great significance to anyone interested in the symbiosis of culture and conflict.""