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Stefan Arvidsson

Journal of Religion in Europe 3 (2010) 183–196 © Koninklijke Brill NV, Leiden, 2010 DOI 10.1163/187489210X12597396698942 brill.nl/jre Journal of Religion in Europe Book Reviews Susannah Heschel, Th e Aryan Jesus: Christian Th eologians and the Bible in Nazi Germany (Princeton: Princeton

Werner Ustorf

'SURVIVAL OF THE FITTEST': GERMAN PROTESTANT MISSIONS, NAZISM AND NEOCOLONIALISM, 1933-19451 BY WERNER USTORF (Birmingham U.K.) In the late 1980s, when Victor Farias published his book on Heideg- ger's involvement in Nazism, the reaction in many places ranged from disbelieving astonishment to

Felix Wiedemann

Kopke Susannah Heschel: The Aryan Jesus. Christian Theologians and the Bible in Nazi Germany, Princeton/Oxford: Princeton University Press 2008, 340 S. Wenn die „arische Physik“ als Inbegriff ideologisierter Pseudowissenschaft wäh- rend des Nationalsozialismus gilt, so kann man die Figur des „arischen

Fidus (1868–1948)

A German Artist from Theosophy to Nazism

Massimo Introvigne

of the Theosophical Society, such as Piet Mondrian (1872–1944) in the Netherlands, 1 Jean Delville (1867–1953) in Belgium, 2 and Lawren Harris (1885–1970) in Canada, 3 denounced Nazism as antithetical to both Theosophical ideas and a genuine sense of art and beauty. Yet, in Germany, another member

James Neufeld

considers the ethical signifi cance of language in a Czech fi lm ( Divided We Fall , 2000) about the Nazi occupation of Czechoslovakia during the Second World War. It argues that linguistic shifts from Czech to German, to French, and to Yiddish, in both the dialogue and the lyrics to background music, expose

Li Ma

immediately after attracting public attention. For example, in 2012, the Chinese translation of the book Bending Spines , by Christian scholar Randall Bytwerk, quickly became a best-seller. But since it is a study of Nazi propaganda in Germany, it was soon forbidden to sell it. The book was actually a superb

Tenzan Eaghll

, German intellectuals of the Frankfurt School who fled Nazi Germany only to come to Hollywood. Ready to see the seeds of totalitarianism everywhere, they viewed all Hollywood films as commodities of capitalism which injected their ideologies into passive audiences, discouraging thought or questioning of