Joachim Fernau
Joachim Fernau (born September 11, 1909 in Bromberg , German Reich ; † November 24, 1988 in Florence ) was a German journalist , war correspondent for the Waffen SS , bestselling author, painter and art collector . Some of his works appeared under the pseudonym John Forster .
Life and activities
Fernau's father was a civil servant in Bromberg in the province of Poznan . The family moved to Worms in 1919 and to Silesia in 1920 . After graduating from the Protestant Humanist High School in Hirschberg in 1929 , Fernau studied philosophy and history at the Friedrich-Wilhelms-Universität in Berlin without taking an exam. He worked in Berlin as a freelance journalist specializing in sports reports, primarily for Ullstein Verlag and the Telegraphen-Union . In Berlin Fernau met Gabriele Kerschensteiner, granddaughter of the teacher Georg Kerschensteiner , whom he married in 1943. During the Summer Olympics in 1936 , the Reichssportverlag published a total of 30 issues of the " Olympia Zeitung " from July 21 to August 19 , which reported on the current Olympic events. Fernau was one of the six editors responsible for reporting in accordance with the regime .
SS war reporter
After Fernau was called up for military service in 1939, he said he was transferred to the Waffen SS. The recruitment of specialist personnel for Propaganda Companies (PK) took place at the suggestion of the Reich Ministry for Public Enlightenment and Propaganda in coordination with military authorities. From spring 1940 Fernau was in SS-PK, the later SS standard Kurt Egger , in front-line propaganda. He achieved the rank of SS-Obersturmführer . In 1942 and 1943 he reported from the Eastern Front . Far from war reports were published in central propaganda media of the regime such as Das Reich , Völkischer Beobachter or Das Schwarze Korps .
Fernau was a specialist in endurance articles intended to promote the willingness to prolong the war and the population's belief in a positive turnaround in the war, the so-called final victory . Shortly after the strategic defeat of the Wehrmacht at Stalingrad on April 4, 1943, he published the article Uncertainty and Victory in the newspaper Das Reich under the heading Die Wende im Osten , in which he described the recapture of Kharkov by armed forces at the beginning of March 1943. SS-unit Leibstandarte SS depicted heroically Adolf Hitler . It began with “The SS was as rigid as a barrier in front of the Soviet army” and ended with “[…] the enemy is fleeing! The moment is here; the big twist! There is no longer any doubt! Finally, finally! "
Fernau was transferred to France in the spring of 1944. Immediately after the Allied landing in Normandy on June 6, 1944 , he wrote the address The Secret of the Final Phase of the War for Radio Paris . He declared: “Victory is really very close.” The text appeared in the Völkischer Beobachter on August 30, 1944 and was reprinted and widely received in other newspapers. On September 5, 1944, the journalist Ursula von Kardorff noted in her diary the great excitement caused by the article by the "PK man" Fernau because of the promise of a miracle weapon with which the whole of England could be "blown up". The article was “in circulation everywhere”, “it wandered from hand to hand for days, and here it was even read to the upper classes in school” wrote on September 12, 1944, film producer Ludwig Metzger to Ministerialrat Hans Fritzsche from the Propaganda Ministry. It was reprinted in: Feldblatt Posen. Wehrkreis XXI newspaper. The PK reporter Georg Schmidt-Scheeder recalled that in February 1945 an Waffen SS soldier in a hopeless situation prepared him for an allegedly impending turn of the war with the help of this article.
In a diary entry from September 1, 1944, the German-Jewish philologist Victor Klemperer commented on the article, which appeared in the Dresdner Zeitung on August 29, and which he compared with a report about the "complete abandonment of Paris" that appeared in the same issue. In his note, Klemperer expresses doubts as to the truthfulness of the far-away article. He criticized Fernau's slogan as a perseverance phrase: “This is the greatest thing you've done so far. Popularly mysterious. […] After all: with the slogan time versus space and the like. with the mysterious weapons one keeps the people in line. "
Joseph Goebbels assessed the effect more distantly in a diary entry from September 16, 1944: “[...] on the other hand, displeasure and depression among the people are growing. [...] The article by Fernau, which has already been cited many times, has caused a lot of harm. The people imagined that we would bring about a complete turnaround in the image of war in a very short time, especially with our new weapons, and now feel their hopes have been cheated. "
Fernau's articles were also noted by the Allied states. Daniel Lerner , who was editor-in-chief of the Psychological Warfare Division of the SHAEF from 1944 to 1945 and then head of the secret service of the Information Control Division of OMGUS (1945-1946) in the successor organization , evaluated Fernaus perseverance articles. In February 1945 Fernau was taken to a military hospital in Baden-Baden.
1945–1988
After the end of the Nazi era , Fernau went to Munich to work as a freelance writer and journalist. In the meantime he worked as an editor in Stuttgart .
In 1946 Fernaus, together with Kurt Kayser and Johannes Paul , was waiting in the Soviet occupation zone (SBZ) . A picture book of colonial politics (1942) added to the list of literature to be removed from the libraries . The list put together books "which have fascist or militaristic content, contain ideas of political expansion, represent the National Socialist racial doctrine or oppose the Allies".
In 1952, Gerhard Stalling Verlag Deutschland, Deutschland über alles… , published his best-selling book. He published numerous other books - including Die Genies der Deutschen or Rosen für Apoll , some of them bestsellers. Fernau's total circulation in the 1950s to 1970s was more than two million copies. His writings are non-fiction books on history and are classified as trivial entertainment literature.
1954 appeared under the pseudonym "John Forster" a "cheerful volume with escape adventures of German prisoners of war: 'Heroism after the store closes" "(Der Spiegel). From 1955, four episodes with the participation of were Erik Ode , Wolfgang Becker , Harald Juhnke , Wolfgang Wahl , Ed Tracey filmed . In 1956, in a film review of the fourth part of the box-office hit, Der Spiegel remarked: “Despite the semi-comical defeat, the nationally minded viewer can indulge himself in the fact that a German man outwits every winner, that the Russians don't know any water closets and the natives of Africa stick together with the Germans against the English. ”The film critic Uwe Nettelbeck contextualizes the four films in 1967 with the rearmament. It was about “war films”, “Goebbels would have been delighted”: “The old Nazi officers were washed clean. You needed them. The trick was clear: only the Fiihrer was to blame, and since a right-wing war has nothing to do with politics anyway, it was not to be blamed on the army for having fought for a bad cause. Suddenly they were a funny bunch again, where you can learn something and experience something. "
Fernau's book And They Were Not Ashamed ... was published in 1958. According to the blurb, the content is “the two thousand year history of love in Germany from Arminius to Adenauer, so to speak”. It was filmed in 1968 under the title Come on, my dearest little bird . Content: "2000 years of German moral history as reflected in the largely joke and irony-free sex wave of the 60s / 70s".
In 1959 Ascan Klée Gobert pointed out Fernau's Nazi past in a letter to the editor to Die Welt . Since the second half of the 1960s, there has been increased criticism of Fernau's attitude towards National Socialism . In 1966 Otto Köhler wrote a satire for pardon , in which he reproduced a fictional dialogue between Goebbels and Fernau: Goebbels had commissioned Fernau to write a great historical work about Germany, which (according to Köhler's satire) could only appear after 1945. At this point in time, Koehler was still unknown in the cited article in the Völkischer Beobachter . 1967 ordered Peter Wapnewski the " final victory -Text" from the Nationalist observers in the weekly Time in the work Fernaus one. Günter Scholdt counts Wapnewski's engagement with Fernau's Nazi past as one of the exemplary public controversies that brought about the democratization of German post-war literature. Wapnewski had read this Fernau article before the end of the war. Now he rated it as the “most shameful article of perseverance of this war”. He called on Fernau "to abandon the craft of writing, to give up the art of prophecy, to surrender to the interpretation of history, to spare one's own people with inventories in the future". Wapnewski accused Fernau of “ignorance”, “dreadful taste”, “lack of instinct” and “falsification of history”.
Fernau replied at the time that propaganda was just his job. He rejected all allegations that he had "never rushed and never written a glorifying word about National Socialism [...]." Even though he had written "not voluntarily" but was, as it were, obliged to go to war. The purpose of his final victory appeal was to weaken the French resistance against the German occupation, which he described as "terror" in "partisan territory". The idea that the war would soon end was to be shaken by the assertion of the ability to prolong the war. Besides, he should be left alone. References to Wapnewski can be found in many texts that deal with Fernau.
The first edition of Thistles for Hagen was published by Herbig in 1966. Sybil Countess Schönfeldt reviewed it in the same year for Die Zeit :
- “This 'inventory of the German soul' (so the subtitle) takes place in that Wagnerian opera Valhalla, which the Nazis liked as much as today's Federal Republicans like it: heroic clap of thunder in a fabulous distance always sounds good. Fernau is right what Wagner was cheap. Why should the German soul also be explained from the materials of the present? The Nibelungs, who weren't 'Germans' at all, the scenes of the Nibelungenlied, which for the most part are not in the area that has been called Germany since 1870, are much more decorative and malleable. […] Fernau thus dissects the German soul by retelling the Nibelungenlied and interpreting it with interim remarks. That sounds amusing and reads away like that. The incessantly crackling cabaret gags gradually paralyze the critical or even historical feeling. "
Michael Schulte wrote in the FAZ in 1970 about Fernau's work Brötchenarbeit , a compilation of feature pages and film scripts: “What is hidden here under the guise of lively chat of reactionary ideas is difficult to bear”. Ekkehardt Rudolf reviewed Fernau's book Caesar lets greetings in the evangelical-conservative weekly newspaper Christ und Welt in 1971 . After a detailed quotation, he commented: “There is an attitude in these quotes that could be called reactionary and euphemistic: to me it appears anti-democratic and demagogic. Almost needless to say that a commitment to the Führer principle can be read between the lines . ”In 1977 Rolf Becker's review of Fernaus Halleluja was published. The history of the USA in the news magazine Der Spiegel . Becker identifies “völkisch-educated bourgeois resentment”: “Just as Fernau describes the American Indian annihilation here [...] and touches Hitler, it is probably clear where the bigger crimes can be seen. Germany, he suggests, was innocent in both world wars. What happened between 1914 and 1945 is simply 'The Thirty Years War Against Germany'. And an obligation to 'come to terms with the past' can only be 'imagined' - it leads to the Germans (as well as the Americans) 'behaving accordingly idiotic'. "
The political orientation of his representations was criticized. In 1989 the Killy literary dictionary described it as "controversial". In his books there is “a latent völkisch-national conception of history”. His book Deutschland, Deutschland über alles is exemplary . From Arminius to Adenauer . He endeavors "to get the reader's consent in the sense of a 'healthy people's feeling'". He offers a “historical sheet of images” that “ subtly confirms racist and anti-democratic stereotypes”. "Subliminally, this suggestive narrative strategy provokes a regret over the loss of the national myth of the Greater German Reich."
In 1973, the literary scholar Christa Bürger made a similar judgment : " Germany, Germany above everything [...] represents a new attempt at 'writing history' insofar as the author knows how to present a reactionary, even fascist, concept in a witty way." The author's "fascist tendencies." ”Showed up“ in many places ”. This includes the “political tendency of the book”, the “rejection of democracy”. In general, his book characterizes "the thesis of the foreign conspiracy against Germany, the ideology of the great historical personality, the devaluation of social and democratic principles and achievements, the trivialization of Nazi crimes, an undifferentiated cultural pessimism, racism, etc. - in a harmlessly funny presentation" . His irony serves as a means of spreading “reactionary ideologies”. With this offer Fernau corresponds to the expectations "in the lower middle class". The statement referred to the post-National Socialist society determined by the generation of Nazi experience.
Fernau also wrote poetry ( Suite No. 1 ). With the volume of poetry, according to Der Spiegel , Fernau “wanted to send a grape shot on to the modernist 'murderers of German poetry'.” (Quote in the quote: Fernau) The Deutsche Zeitung stated that he “should have gone to the artillery”.
Posthumous reception
In 1994 and 1995, the publicists Otto Köhler and Hans Sarkowicz critically described Fernau's Nazi propaganda activities during National Socialism and related them to his post-war publications and the policies of his publishers.
The German and mediaevalist Nine Miedema interpreted Fernau's representation of Hagen in thistles for Hagen in 1999 . Taking stock of the German soul as inappropriate.
- “Fernau misuses medieval narrative material to give his interpretation of people, especially of German, as they supposedly always have been. This irritates Fernau mainly because he (despite his interpretation of the text inappropriately in the Middle Ages) polemicizes against 'the' Germanists several times and claims that he is the first to understand the 'Nibelungenlied' correctly. "" He [Fernau] wants to that Hagen is not viewed as 'the last one to fall standing upright' but as the one who destroys out of hatred and envy, out of inability to accept Siegfried in his superiority; he understands Hagen as 'the principle itself. He lives in the pure, deadly empty ideology.' "
Miedema then refers to the fact that Hagen's opponent Siegfried was regarded as the German hero par excellence in the Nazi reception, which went as far as the stab in the back legend . When describing Hagen, Fernau had also used his external appearance as a counter-image to Siegfried: "... Hagen's lips were still half open so that one could see the rows of his small rake teeth".
Looking back at the 1970s, Jessica Gienow-Hecht described Fernau in the American Historical Review in 2006 as “Germany's most polemical conservative critic” and as an apocalyptic. His book Alleluia. She named the history of the USA as an example of West German anti-Americanism at the time and cited the Fernau prognosis that a “victory” of “Americanism” would “wipe out the human race”. In an article on “German Homeland” in Africa, published in the USA in 2013, the author Willeke Sandler referred to the book Africa is waiting , published in 1942, as an example of the colonialist Nazi view of the continent and its inhabitants, and a bachelor's degree that appeared the following year - The work that the Official Olympia Zeitung of 1936 , which Fernau was partly responsible for, examined, came to the conclusion that its content was measured to “manipulate and Nazi indoctrinate” the population, which presupposes loyalty to the regime on the part of the makers.
Not only the political dimension of Fernau's books is criticized, but also the aesthetic one. The literary scholar Thomas Anz certified 2008 Fernaus Was it beautiful in Marienbad. Goethe's last love from 1982, it was about "classic hero transfiguration kitsch from the tradition of the 19th century".
As far as appreciative attention can be seen, it now only comes from the right edge of the political spectrum. On his 100th birthday in 2009, Fernau experienced a renaissance in the extreme right-wing spectrum. Götz Kubitschek , the owner of the new right publishing house Antaios , published a biography with pictures and texts by Fernau in 2009. In the volume of conversations “ Tristesse Droite. Die Evenings von Schnellroda ”(2015) quoted Martin Lichtmesz Fernau with the sentence“ Act as if your own integrity could stop the disintegration of the world, the chaos ”.
The Nazi and anti-Semitism researcher Wolfgang Benz affirmed from a non-literary perspective: Fernau, SS war reporter and author of perseverance articles, remained “even after 1945 on the far right”.
Art collector
Fernau was also active as an art collector. In 1996 his widow Gabriele Fernau bequeathed sixteen old master paintings from the 14th to 17th centuries as part of a donation from the Klassik Stiftung Weimar . The future exhibits were to be gradually restored and exhibited in the Weimar City Palace. In view of the Fernau criticism, the Foundation for taking over the exhibits declared that it was not about ennobling the writer Fernau, but rather to give the exhibits “a worthy setting”. The works exhibited in 2005 as the "Fernau Collection" have since been included in the existing holdings of old German and Dutch painting. A "Fernau Collection" no longer exists in the Foundation's holdings.
Fonts (selection)
- Africa is waiting. A picture book of colonial politics. Edited with Kurt Kayser & Johannes Paul . Rütten & Loening, Potsdam 1942. Edited on behalf of the Reichskolonialbund founded in 1936 .
- The secret of the last phase of the war. In: Völkischer Beobachter. No. 243 of August 30, 1944. p. 2.
- under the pseudonym John Forster: Mystery in the Moor: An unusually exciting crime novel . Kauka Verlag , Munich 1950
- "Germany, Germany above all ..." From Arminius to Adenauer. Verlag Gerhard Stalling , Oldenburg 1952.
- Farewell to the geniuses. The geniuses of the Germans and the world of tomorrow. Stalling, Oldenburg 1953 (later published as Die Genies der Deutschen ).
- Primer of Democracy. A book for those who ask a lot and those who have to answer a lot. Lange, Duisburg 1953.
- And they were not ashamed . Herbig, Berlin 1958.
- Roses for Apollo. The history of the Greeks. Herbig, Berlin 1961. (Many other editions, 32nd edition. Herbig 2007.)
- Weinsberg or The Art of Prickly Love. Herbig, Berlin 1963.
- Thistles for Hagen. Inventory of the German soul. Herbig, Berlin 1966. (12th edition. Herbig 2009).
- The proof of God. Econ, Düsseldorf 1967.
- Bun work. Herbig, Berlin a. a. 1970.
- Caesar sends his regards. The story of the Romans. Herbig, Berlin a. a. 1971.
- A spring in Florence. Roman, Herbig, Munich a. a. 1973.
- Alleluia. The history of the USA. Herbig, Munich / Berlin 1977; many more editions, 8th expanded Herbig 2004, ISBN 3-7766-2159-1 .
- The crucial question. Variations on a Theme by Goethe. Munich u. a. 1979, ISBN 3-7766-0895-1 .
- Let's talk about Prussia. The story of the poor people. Herbig, Munich a. a. 1981. ISBN 3-7766-1146-4 .
- It was nice in Marienbad. Goethe's last love. Herbig, Munich a. a. 1982, ISBN 3-7766-0895-1 .
- Good evening, Mr. Fernau. Herbig, Munich a. a. 1984, ISBN 3-7766-1321-1 .
- And he saw that it was good. The Old Testament tells. Munich u. a. 1989, ISBN 3-7766-1582-6 . (published posthumously).
literature
- Rolf Bothe and Armin Mohler : Joachim Fernau, the writer as a painter. Weimar art collections , Weimar 1998.
- Christa Bürger : J. Fernau, Germany, Germany above everything ... demythologizing as ideology. In: Text analysis and ideological criticism. For the reception of contemporary entertainment literature. Athenaeum, Frankfurt am Main 1973, pp. 92–118.
- Volker Busch: Fernau, Joachim. In: Walther Killy (Ed.): Literaturlexikon. 15 volumes. Bertelsmann, Gütersloh / Munich 1988–1991.
- Gustav René Hocke : writer and painter Joachim Fernau. His pictorial work. Limes, Wiesbaden 1976, ISBN 3-8090-2098-2 .
- Otto Köhler : The secret of the last hour of the war - Hitler's miracle weapon: Joachim Fernau. In other words: weird publicists. Droemer Knaur, Munich 1995, ISBN 3-426-80071-3 , pp. 102–119 (deals particularly with the continuity in Fernau's journalism before and after National Socialism) .
- Armin Mohler: author portrait Joachim Fernau. In: Criticón . 7 (1971), p. 140.
- Hans Sarkowicz : Herbert Fleissner's first big coup: Herbig and the bestselling author Joachim Fernau. In other words: Right business. The unstoppable rise of the German publisher Herbert Fleissner . Eichborn, Frankfurt a. M. 1994, ISBN 3-8218-0458-0 , pp. 25-28.
- Peter Wapnewski : With the other eye. Memories. Berlin-Verlag, Berlin 2005 (p. 119 ff), ISBN 3-8270-0380-6 .
- Götz Kubitschek / Erik Lehnert : Joachim Fernau. Life and work in texts and pictures. Verlag Antaios, Schnellroda 2009, ISBN 978-3-935063-34-0 .
Web links
- Literature by and about Joachim Fernau in the catalog of the German National Library
- Burkhart Berthold: Every time has its suitcase A tribute to Joachim Fernau's 90th birthday in the Junge Freiheit (without pictures and links)
- Erik Lehnert: Passionate about Prussia Junge Freiheit 38/09 September 11, 2009
- Entry via Fernau near Munzinger
Archives in public, scientifically managed archives
- Part of Joachim Fernau's estate in the Munich City Library
- Handwritten notes, explanations, notes on the last phase of the war by SS war reporter Joachim Fernau (copy) in the estate of Ernst Baumann (Prof. Dr. med., Private lecturer and honorary professor at the University of Bern, chief physician, major) in the archive for contemporary history at ETH Zurich
- Correspondence with Benno H. Schaeppi in the estate of Benno H. Schaeppi in the Archives for Contemporary History at ETH Zurich
Individual evidence
- ↑ Joachim Fernau: Disteln for Hagen , Herbig 1966, 2nd paragraph, 1st sentence.
- ↑ Maxime Bethke: The 1936 Summer Olympics in Berlin under the banner of propaganda? An analysis by the Official Olympia Zeitung , 2014, see: [1] .
- ↑ Fernau, Joachim (1992). In the house on the mountain. Munich: Herbig. P. 194.
- ↑ Miriam Y. Arani : Photographs of the propaganda companies of the Wehrmacht in World War II as sources for the events in occupied Poland 1939–1945. In: Journal for East Central Europe Research 60 (2011) H. 1, here p. 8.
- ↑ Erich Schmidt-Eenboom: Secret Service, Politics and Media: Opinion making undercover. Werder 2004, p. 107.
- ^ Norbert Frei, Johannes Schmitz: Journalism in the Third Reich. Munich 1989 p. 112.
- ↑ See Hans Dieter Müller (Hrsg.): Facsimile cross section through Das Reich . Scherz Verlag, Munich 1964.
- ↑ Ursula von Kardorff: Berlin records from the years 1942 to 1945. Munich 1962. After: Köhler, p. 105.
- ^ Joseph Wulf: Culture in the Third Reich. Press and radio. Frankfurt a. M. 1989, p. 385 f.
- ↑ Volume 6, No. 37. Posen, September 8, 1944. pp. 1f., Based on: Achim Kilian : Mühlberg 1939–1948. Böhlau Verlag, Cologne / Weimar 2001, p. 154 . See also: Börsenblatt, Köhler p. 105.
- ↑ Köhler, p. 111.
- ↑ Victor Klemperer: The Diaries 1933-1945. Annotated complete edition. Edited by Walter Nowojski, collaboration: Christian Löser. Aufbau Verlag Berlin 1999, 138, 1164. Digital edition on CD ROM: Digital Library, Vol. 150, Direct Media, Berlin 2007, pp. 3983 f.
- ↑ Elke Fröhlich (ed.): The diaries of Joseph Goebbels. Munich, New Providence, London, Paris 1995. Vol. 13, p. 493, further entries on Fernau are not included in the long edition of the diaries according to the personal register.
- ↑ The directory of the material he has collected is available online. [2] (PDF; 211 kB) in the collected German propaganda material you can also find: Fernau: "The mystery of the present phase of the war" (# 750).
- ^ German administration for popular education in the Soviet occupation zone, list of literature to be sorted out. Preliminary edition, Berlin: Zentralverlag, 1946
- ↑ Christa Bürger: Text analysis as a critique of ideology. On the reception of contemporary entertainment literature , Frankfurt a. M. 1973, passim.
- ↑ [3]
- ↑ [4]
- ↑ [5]
- ↑ Uwe Nettelbeck: The explanation is a long time coming . In: The time . No. 30/1963 ( online ).
- ↑ Love in every style . In: Die Zeit of October 30, 1958.
- ^ Klaus M. Schmidt, Ingrid Schmidt: Lexikon Literaturverfilmungen. Directory of German-Language Films 1945–2000. Page 430. Verlag JB Metzler 2001, ISBN 9783476018014
- ↑ http://www.filmgalerie-berlin.de/cgi-bin/film.pl?filmId=11594&listId=91
- ↑ [6]
- ↑ Koehler p. 102.
- ^ Günter Scholdt: Emigration and literary valuation , in: Matthias Beilein , Claudia Stockinger , Simone Winko (eds.): Canon, valuation and mediation: Literature in the knowledge society. Walter de Gruyter 2012, p. 138
- ↑ Peter Wapnewski : Joachim Fernau and the German soul . In: Die Zeit , No. 5/1967. Sequels in No. 5: The luck of not having slit eyes , seasoned with a bit of sex .
- ↑ a b c Koehler p. 112.
- ↑ Sybil Countess Schönfeldt: Thistles that don't hurt. Joachim Fernau, the Nibelungenlied and our German soul. In: Die Zeit of December 2, 1966.
- ↑ Michael Schulte: Brown rolls . In: FAZ of June 9, 1970, p. 21.
- ^ Hans Sarkowicz: Herbert Fleissner's first big coup: Herbig and the bestselling author Joachim Fernau. In other words: Right business. The unstoppable rise of the German publisher Herbert Fleissner. Eichborn, Frankfurt a. M. 1994, ISBN 3-8218-0458-0 , p. 27.
- ↑ Rolf Becker: German soul. Joachim Fernau: “Hallelujah. The history of the USA ” . In: Der Spiegel . No. 36 , 1977, pp. 158-161 ( Online - Aug. 29, 1977 ).
- ↑ Volker Busch: Fernau, Joachim , in: Walter Killy (Hrsg.): Literaturlexikon. Authors and works in the German language , Vol. 3, Gütersloh / Munich 1989, p. 357 f.
- ↑ Christa Bürger: Text analysis as a critique of ideology. For the reception of contemporary entertainment literature. Frankfurt a. M. 1973, pp. 93, 95, 96, 103.
- ↑ Only victory . In: Der Spiegel . No. 23 , 1967, p. 142-144 ( Online - May 29, 1967 ).
- ^ Otto Köhler: Weird Publicists. The repressed past of the media makers. Munich 1994, passim.
- ^ Hans Sarkowicz: Right business. The unstoppable rise of the German publisher Herbert Fleissner. Frankfurt a. M. 1994, passim.
- ↑ Nine Miedema: The "Nibelungenlied". An introduction to a "natz = jonalen Eh = Poss". In: Volker Honemann , Tomas Tomasek: German Medieval Studies. LIT Verlag, Münster 1999, pp. 147–176, here p. 171
- ↑ Nine Miedema: The "Nibelungenlied". An introduction to a "natz = jonalen Eh = Poss". In: Volker Honemann, Tomas Tomasek: German Medieval Studies. LIT Verlag, Münster 1999, pp. 147–176, here p. 170.
- ↑ Nine Miedema: The "Nibelungenlied". An introduction to a "natz = jonalen Eh = Poss". In: Volker Honemann, Tomas Tomasek: German Medieval Studies. LIT Verlag, Münster 1999, pp. 147–176, here p. 171.
- ↑ Nine Miedema: The "Nibelungenlied". An introduction to a "natz = jonalen Eh = Poss". In: Volker Honemann, Tomas Tomasek: German Medieval Studies. LIT Verlag, Münster 1999, pp. 147–176, here p. 169 f.
- ↑ Jessica CE Gienow-Hecht: Always Blame the Americans: Anti-Americanism in Europe in the Twentieth Century ( Memento of May 15, 2007 in the Internet Archive ), The American Historical Review , October 2006, pp. 1067-1091.
- ^ Willeke Sandler: German homeland in Africa. Colonial Revisionism and the Construction of Germanness through Photography. In: Journal of Women's History, Volume 25, Number 1, Spring 2013. Similarly in Willeke Sandler: “Here Too Lies Habitat”: Colonial Space as German Space. In: Claus-Christian W. Szejnmann, Maiken Umbach: Heimat, Region, and Empire: Spatial Identities under National Socialism. Palgrave Macmillan 2012, p. 158.
- ↑ Maxime Bethke: The 1936 Summer Olympics in Berlin under the banner of propaganda? An analysis by the Official Olympia Zeitung , 2014, see: [7] .
- ↑ Thomas Anz: An offended man. Notes on Martin Walser's artificial Goethe novel. In: Die Zeitschrift literaturkritik.de (online edition: ISSN 1437-9317 ; print edition: ISSN 1437-9309 ) No. 4 from April 2008 [8]
- ↑ Robert Andreasch: "Unusual historiography". The renaissance of Joachim Fernau. In: Der Rechts Rand 121, Nov./Dec. 2009.
- ^ Marc Reichwein: Publishing house for dummies. www.welt.de, October 10, 2018
- ↑ Tobias Wallmeyer: Manned lifeboats. With heroism against decadence and the “mother ship”: The IfS and the Tristesse Droite. www. diss-duisburg .de
- ↑ Wolfgang Benz: Followers and Main Guilty - Facets of Political Engagement in the National Socialist State , in: Nazi past former member of the Hessian state parliament. Documentation of the symposium on March 14 and 15, 2013 in the Hessisches Landtag, Wiesbaden 2014, pp. 65–75, here p. 71, see: Archive link ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link became automatic used and not yet tested. Please check the original and archive link according to the instructions and then remove this notice. .
- ↑ Exhibition announcement .
- ↑ Radio Lotte Weimar, August 12, 2005, see: Archive link ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. .
- ^ "Fernau Collection in the Weimar Castle Museum", in: [9] .
- ↑ See information from the Klassik Stiftung Weimar on the collections it manages: [10] .
- ^ Willeke Sandler: Deutsche Heimat in Afrika Colonial Revisionism and the Construction of Germanness through Photography. In: Journal of Women's History, Volume 25, Number 1, Spring 2013.
- ^ At that time, Rolf Kazier Verlag was based in Munich: Sächsische Biographie Lemma Rolf Kauka
personal data | |
---|---|
SURNAME | Fernau, Joachim |
ALTERNATIVE NAMES | Forster, John |
BRIEF DESCRIPTION | German journalist, war correspondent for the Waffen SS, bestselling author, painter and art collector |
DATE OF BIRTH | September 11, 1909 |
PLACE OF BIRTH | Bromberg , German Empire |
DATE OF DEATH | November 24, 1988 |
Place of death | Florence |