Сталин и Гитлер

77. Ermolaev, Censorship in Soviet Literature, p. 46.

78. H.-W. Strätz ‘Die studentische “Aktion wider den undeutschen Geist” im Frühjahr 1933’, Vierteljahrshefte für Zeitgeschichte, 16 (1968), pp. 347–53; Brecht, Poems, pp. 294, 568; Richard, Nazisme et la Culture, p. 211; Ritchie, German Literature, p. 68–9. Strictly speaking there were two fi rst authors, Marx and the German socialist Karl Kautsky.

79. Roberts, House that Hitler Built, p. 248.

80. See for example G. Neesse Die NSDAP: Versuch einer Rechtsdeutung (Stuttgart, 1935), frontispiece.

81. Moritz, ‘Film Censorship’, p. 188; R. Taylor Film Propaganda – Soviet Russia and Nazi Germany (London, 1998), pp. 145–6.

82. D. Welch Propaganda and the German Cinema 1933–45 (London, 2001), p. 14.

83. K. B. Eaton (ed.) Enemies of the People: the Destruction of Soviet iterary, Theater, and Film Arts in the 1930s (Evanston, Ill., 2002), pp. xx – xxi.

84. E. Braun ‘Vsevolod Meyerhold: the Final Act’, in Eaton, Enemies, pp. 151–9.

85. J. Rubinstein Tangled Loyalties: the Life and Times of Ilya Ehrenburg (London, 1996), pp. 45, 49–50, 69, 176.

86. Ermolaev, Censorship in Soviet Literature, p. 50.

87. J. E. Curtis (ed.) Mikhail Bulgakov: Manuscripts Don’t Burn, A Life in Diaries and Letters (London, 1991), p. 284, letter from Bulgakov to V. Veresayev, 11 March 1939.

88. L. Milne Mikhail Bulgakov: a Critical Biography (Cambridge, 1990), pp. 259–60.

89. Milne, Bulgakov, pp. 220–25; Curtis, Manuscripts Don’t Burn, pp. 229–30.

90. Taylor, Literature and Society, p. 215.

91. Strätz, ‘“Aktion wider den undeutschen Geist”’, p. 350; Taylor, Literature and Societyp, p. 218. In general see A. E. Steinweis ‘Cultural Eugenics: Social Policy, Economic Reform, and the Purge of Jews from German Cultural Life’, in Cuomo, National Socialist Cultural Policy, pp. 23–37.

92. Levi, Music in the Third Reich, p. 48.

93. Levi, Music in the Third Reich, pp. 30–31; E. Levi ‘Music and National Socialism: The Politicisation of Criticism, Composition and Performance’, in B. Taylor and W. van der Will (eds) The Naziftcation of Art: Art, Music, Architecture and Film in the Third Reich (Winchester, 1990), pp. 162–4; B. Geissmar The Baton and the Jackboot: Recollections of Musical Life (London, 1988), p. 69.

94. G. BennBriefeanF. W. Oetze 1931–1945 (Wiesbaden, 1977), pp. 33–5, letter from Benn to Oetze, 25 April 1934.

95. G. Benn Briefe an Tilly Wedekind 1930–1955 (Stuttgart, 1986), pp. 267–8, letter from Benn to Tilly Wedekind, 11 January 1938.

96. Benn, Briefe an F. W. Oetze, pp. 186–7, President, Reich Chamber of Writers, to Benn, 18 March 1938; see too F. J. Raddatz Gottfried Benn: Leben – niederer Wahn: Eine Biographie (Munich, 2001), pp. 168–73.

97. Taylor, Literature and Society, pp. 271–3.

98. D. L. Burgin ‘Sophia Parnok and Soviet-Russian Censorship, 1922–1933’, in Eaton (ed.), Enemies, pp. 44–5; Gottfried Benn described his years in the wilderness as a ‘double life’, Doppelleben.

99. On Beckmann see Barron, ‘Degenerate Art’, p. 203; on Pasternak, Gladkov, Meetings with Pasternak, pp. 88–90; on exile see M. Durzak (ed.) Die deutsche Exilliteratur 1933–1945 (Stuttgart, 1973), pp. 10–19. Some German artists and writers moved to the Soviet Union. See K. Kudlinska ‘Die Exilsituation in der USSR’, in Durzak, deutsche Exilliteratur, pp. 159–72.

100. Y. Yevtushenko (ed.) Twentieth-Century Russian Poetry (London, 1993), p. 180, ‘Requiem. 1935–40’, written 1961.

101. Yevtushenko, Russian Poetry, p. 184, ‘To Death’, 19 August 1939.

102. Barron, ‘Degenerate Art’, pp. 203, 269–70; N. Wolf Kirchner (London, 2003), pp. 86–90.

103. Lahuson, How Life Writes the Book, pp. 152–9.

104. G. D. Hollander Soviet Political Indoctrination: Developments in Mass Media and Propaganda since Stalin (New York, 1972), p. 210.

105. R. Stites Russian Popular Culture: Entertainment and Society since 1900 (Cambridge, 1992.), pp. 74–6; Fitzpatrick, Cultural Front, p. 212.

106. M. Kater ‘Forbidden Fruit? Jazz in the Third Reich’, American Historical Review, 94 (1989), pp. 16–20; H. Bergmeier and R. E. Lotz Hitler’s Airwaves: the Inside Story of Nazi Radio Broadcasting and Propaganda Swing (New Haven, Conn., 1997), pp. 138–44; C. Lusane Hitler’s Black Victims (New York, 2002), pp. 201–3.

107. Bergmeier and Lotz, Hitler’s Airwaves, p. 139, 145; Lusane, Hitler’s Black Victims, pp. 202–3.

108. Stites, Russian Popular Culture, p. 82; M. W. Hopkins Mass Media in the Soviet Union (New York, 1970), p. 94; A. Inkeles Public Opinion in Soviet Russia: a Study in Mass Persuasion (Cambridge, Mass., 1950), pp. 226–7, 235–6, 255. In 1947 music supplied 60 per cent of programmes, political broadcasts 19.4 per cent, literary programmes 8.6 per cent, children’s programmes 7.9 per cent.

109. Bergmeier and Lotz, Hitler’s Airwaves, p. 6.

110. Bergmeier and Lotz, Hitler’s Airwaves, p. 7.

111. Bergmeier and Lotz, Hitler’s Airwaves, p. 8.

112. M. Turovskaya ‘The 1930s and 1940s: cinema in context’, in R. Taylor and D. Spring (eds) Stalinism and Soviet Cinema (London, 1993), p. 43.