This book discusses the religious policies of the Soviet military authorities and their allies in the Socialist Unity Party in the Soviet zone, but more importantly, who devised them, how they did so, and how they attempted to implement them. In doing so, it illustrates how the Soviet authorities recreated the Soviet zone along Stalinist lines with regards to religious policy, a process which they implemented throughout all of Eastern Europe as well in East Germany. While I examine how these policies were devised, I place greater emphasis on their implementation in the Soviet zone, especially its most important province, Berlin-Brandenburg. Furthermore, this book demonstrates how the leadership of the Churches responded to the policies of the Soviet military authorities and their allies in the Socialist Unity Party, especially after they took and increasingly anti-religious tone during the late 1940s. The diverse responses of the Church leadership in the Evangelical Church during the Soviet occupation reveal the foundations of the eventual break within the leadership of the Evangelical church in the 1960s over the issue of how to deal with the atheist SED-regime. At the same time, the stances of Evangelical Bishop Otto Dibelius and the Catholic Bishop Konrad von Preysing as stalwart opponents of the creation of the "second German dictatorship" in the 1940s demonstrate how Churches would become central actors in the East German dissident movement in the 1970s and 1980s.

“This book brings fresh light to previously marginalized subject in German history. It is an original approach, up-to-date written without scholarly jargon, easily accessible to students, both at undergraduate and graduate. It is highly focused departing from the usual “histories” of a single country arguing for the “two German states”, and the three political systems.”- Prof. Dr. László Kürti, Institute of Applied Social Sciences, University of Miskolc, Hungary This book contrasts three very different incarnations of Germany – the totalitarian Third Reich, the communist German Democratic Republic, and the democratic Federal Republic of Germany up to 1990 – in terms of their experiences with and responses to nonconformity, dissent, opposition, and resistance and the role played by those factors in each case. Although even innocent nonconformity came with a price in all three systems and in the post-war occupation zones, the price was the highest in Nazi Germany. . It is worth stressing that what qualifies as nonconformity and dissent depends on the social and political context and, thus, changes over time. Like those in active dissent, opposition, or resistance, nonconformists are rebels (whether they are conscious of it or not), and have repeatedly played a role in pushing for change, whether through reform of legislation, transformation of the public’s attitudes, or even regime change.

Explores the ways in which the British Religious Affairs Branch aimed to organise religious life in post-war Germany.

Although “entanglement” has become a keyword in recent German history scholarship, entangled studies of the postwar era have largely limited their scope to politics and economics across the two Germanys while giving short shrift to social and cultural phenomena like gender. At the same time, historians of gender in Germany have tended to treat East and West Germany in isolation, with little attention paid to intersections and interrelationships between the two countries. This groundbreaking collection synthesizes the perspectives of entangled history and gender studies, bringing together established as well as upcoming scholars to investigate the ways in which East and West German gender relations were culturally, socially, and politically intertwined.

Latvia is a small country located in northern Europe, bordered by Estonia, Russia, Belarus, and Lithuania. After over 50 years of Soviet rule, Latvia gained its independence in 1991 and joined the European Union in 2004. The country is known for its picturesque countryside, dense forests, and stunning beaches along its 500-kilometer coastline. Latvia’s capital city, Riga, is a UNESCO World Heritage site famous for its well-preserved medieval architecture, lively nightlife, and cosmopolitan atmosphere. The country has a population of around 1.9 million, with most people living in urban areas. The official language is Latvian, a Baltic language spoken by the majority of the population, but many people also speak English, Russian, and German. The Latvian economy has undergone significant growth and transformation since independence. The country is a member of the eurozone and has a highly skilled workforce, making it an attractive destination for foreign investors. The economy is based on a mixture of industries, with a strong focus on manufacturing, agriculture, and services. The country is also known for its IT sector, and Riga is home to a number of international technology companies. Latvia has a rich cultural heritage, with a history that dates back to the 12th century. The country celebrates many festivals and holidays throughout the year, including the Latvian Song and Dance Festival, which takes place every five years and attracts thousands of performers and visitors. Overall, Latvia is a vibrant and diverse country with a range of cultural, economic, and natural attractions that make it an intriguing destination for tourists, expats, and investors alike.

This provocative study asks why we have held on to vivid images of the NazisÕ total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Pamela M. Potter investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. Potter maintains that although the persecution of Jewish artists and other Òenemies of the stateÓ was a high priority for the Third Reich, removing them from German cultural life did not eradicate their artistic legacies. Art of Suppression examines the cultural histories of Nazi Germany to help us understand how the circumstances of exile, the Allied occupation, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life during the Third Reich.