Paul B Jaskot (57 results)

Paperback. Condition: Used-Like New. Clean copy. May have remainder mark.

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Condition: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condition: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condition: New. Num Pages: 288 pages, 63 b/w illustrations, 13 colour plates. BIC Classification: 1DFG; 3JJP; ACX; AMC. Category: (G) General (US: Trade). Dimension: 254 x 178 x 20. Weight in Grams: 590. . 2012. paperback. . . . . Books ship from the US and Ireland.

Condition: New. Num Pages: 288 pages, 63 b/w illustrations, 13 colour plates. BIC Classification: 1DFG; 3JJP; ACX; AMC. Category: (G) General (US: Trade). Dimension: 254 x 178 x 20. Weight in Grams: 590. . 2012. paperback. . . . .

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

softcover. Condition: Collectible; Like New. First Edition; First Printing. 11 full page color plates. With an essay by Paul B. Jaskot. Published on the occasion of the exhibition at the Chicago Cultural Center - Michigan Avenue Galleries, Chicago, IL, October 13 - December 9, 2001. ; Tight, clean and crisp. No inscriptions. No remainder mark. Not ex-library. In excellent condition. As New.…

paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE PAPERBACK Standard-sized.

paperback. Condition: Acceptable. Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. PAPERBACK Standard-sized.

Paperback. Condition: Very Good. Who was responsible for the crimes of the Nazis? Party leaders and members? Rank-and-file soldiers and bureaucrats? Ordinary Germans? This question looms over German disputes about the past like few others. It also looms over the art and architecture of postwar Germany in ways that have been surprisingly neglected. In The Nazi Perpetrator, Paul B. Jaskot fundamentally reevaluates pivotal developments in postwar German art and architecture against the backdrop of contentious contemporary debates over the Nazi past and the difficulty of determining who was or was not a Nazi perpetrator.Like their fellow Germans, postwar artists and architects grappled with the Nazi past and the problem of defining the Nazi perpetrator-a problem that was thoroughly entangled with contemporary conservative politics and the explosive issue of former Nazis living in postwar Germany. Beginning with the formative connection between Nazi politics and art during the 1930s, The Nazi Perpetrator traces the dilemma of identifying the perpetrator across the entire postwar period. Jaskot examines key works and episodes from West Germany and, after 1989, reunified Germany, showing how the changing perception of the perpetrator deeply impacted art and architecture, even in cases where artworks and buildings seem to have no obvious relation to the Nazi past. The book also reinterprets important periods in the careers of such major figures as Gerhard Richter, Anselm Kiefer, and Daniel Libeskind.Combining political history with a close analysis of specific works, The Nazi Perpetrator powerfully demonstrates that the ongoing influence of Nazi Germany after 1945 is much more central to understanding a wide range of modern German art and architecture than cultural historians have previously recognized.…

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,750grams, ISBN:9780816678259.

Trade Paperback. Condition: New. 284 pp. NEW, no defects. "In "The Nazi Perpetrator," Paul B. Jaskot fundamentally reevaluates pivotal developments in postwar German art and architecture against the backdrop of contentious contemporary debates over the Nazi past and the difficulty of determining who was or was not a Nazi perpetrator.Like their fellow Germans, postwar artists and architects grappled with the Nazi past and the problem of defining the Nazi perpetrator a problem that was thoroughly entangled with contemporary conservative politics and the explosive issue of former Nazis living in postwar Germany. Beginning with the formative connection between Nazi politics and art during the 1930s, "The Nazi Perpetrator" traces the dilemma of identifying the perpetrator across the entire postwar period. Jaskot examines key works and episodes from West Germany and, after 1989, reunified Germany, showing how the changing perception of the perpetrator deeply impacted art and architecture, even in cases where artworks and buildings seem to have no obvious relation to the Nazi past. The book also reinterprets important periods in the careers of such major figures as Gerhard Richter, Anselm Kiefer, and Daniel Libeskind.".…

Paperback. Condition: Fine. ix, 274 pages, illustrations (some colour); 26 cm. Firm binding, clean inside copy. *** "Who was responsible for the crimes of the Nazis? Party leaders and members? Rank-and-file soldiers and bureaucrats? Ordinary Germans? This question looms over German disputes about the past like few others. It also looms over the art and architecture of postwar Germany in ways that have been surprisingly neglected. In The Nazi Perpetrator, Paul B. Jaskot fundamentally reevaluates pivotal developments in postwar German art and architecture against the backdrop of contentious contemporary debates over the Nazi past and the difficulty of determining who was or was not a Nazi perpetrator. Like their fellow Germans, postwar artists and architects grappled with the Nazi past and the problem of defining the Nazi perpetrator--a problem that was thoroughly entangled with contemporary conservative politics and the explosive issue of former Nazis living in postwar Germany. Beginning with the formative connection between Nazi politics and art during the 1930s, The Nazi Perpetrator traces the dilemma of identifying the perpetrator across the entire postwar period. Jaskot examines key works and episodes from West Germany and, after 1989, reunified Germany, showing how the changing perception of the perpetrator deeply impacted art and architecture, even in cases where artworks and buildings seem to have no obvious relation to the Nazi past. The book also reinterprets important periods in the careers of such major figures as Gerhard Richter, Anselm Kiefer, and Daniel Libeskind. Combining political history with a close analysis of specific works, The Nazi Perpetrator powerfully demonstrates that the ongoing influence of Nazi Germany after 1945 is much more central to understanding a wide range of modern German art and architecture than cultural historians have previously recognized." - Publisher. *** CONTENTS: Introduction: Political History and Postwar German Art; National Socialists and Art: Becoming the Perpetrator; Gerhard Richter and the Advent of the Nazi Past: The Persistence of the Perpetrator; Anselm Kiefer and the Ascendance of Helmut Kohl: The Changing Perception of the Perpetrator; Daniel Libeskind and the Neo-Nazi Specter: The Resurgence of the Perpetrator; The Nuremberg Party Rally Grounds and Local Politics: The Historicized Perpetrator; Afterword: The Nazi Past in Postwar Germany's Cultural History. Size: 8vo.…

Condition: New. 1st edition. Paperback, F. x+274pp, 8pp b/w plates, b/w illustrations, index, a fine copy. A study of Post War German art and architecture, and the problem of determining who had been a Nazi collaborator within the artistic community. 625 grams.

Condition: New. 1st edition. Paperback, F. x+274pp, 8pp b/w plates, b/w illustrations, index, a fine copy. A study of Post War German art & architecture, and the problem of determining who had been a Nazi collaborator within the artistic community. 625 grams.

Paperback. Condition: New. Who was responsible for the crimes of the Nazis? Party leaders and members? Rank-and-file soldiers and bureaucrats? Ordinary Germans? This question looms over German disputes about the past like few others. It also looms over the art and architecture of postwar Germany in ways that have been surprisingly neglected. In The Nazi Perpetrator, Paul B. Jaskot fundamentally reevaluates pivotal developments in postwar German art and architecture against the backdrop of contentious contemporary debates over the Nazi past and the difficulty of determining who was or was not a Nazi perpetrator.Like their fellow Germans, postwar artists and architects grappled with the Nazi past and the problem of defining the Nazi perpetrator-a problem that was thoroughly entangled with contemporary conservative politics and the explosive issue of former Nazis living in postwar Germany. Beginning with the formative connection between Nazi politics and art during the 1930s, The Nazi Perpetrator traces the dilemma of identifying the perpetrator across the entire postwar period. Jaskot examines key works and episodes from West Germany and, after 1989, reunified Germany, showing how the changing perception of the perpetrator deeply impacted art and architecture, even in cases where artworks and buildings seem to have no obvious relation to the Nazi past. The book also reinterprets important periods in the careers of such major figures as Gerhard Richter, Anselm Kiefer, and Daniel Libeskind.Combining political history with a close analysis of specific works, The Nazi Perpetrator powerfully demonstrates that the ongoing influence of Nazi Germany after 1945 is much more central to understanding a wide range of modern German art and architecture than cultural historians have previously recognized.…

Condition: New. Brand New.

2001, Art, Pamphlet, Chicago Cultural enter, 11 color plates, very good paperback.

Condition: New. In English.

Paperback. Condition: Very Good. 255 x 180 mm. x, 274 pp + plates. Pictorial card covers. Bookseller's small label inside bottom corner of front cover. A little light creasing in back cover. Spine not creased. B&w illustrations in the text. 8 pp colour plates. Includes endnotes, bibliography and index. Book.…

Paperback. Condition: Brand New. 288 pages. 10.00x7.00x1.50 inches. In Stock.

Condition: as new. Minneappolis : University of Minnesota Press, 2012. Paperback. ix,274 pp. - Who was responsible for the crimes of the Nazis? Party leaders and members? Rank-and-file soldiers and bureaucrats? Ordinary Germans? This question looms over German disputes about the past like few others. It also looms over the art and architecture of postwar Germany in ways that have been surprisingly neglected. In The Nazi Perpetrator, Paul B. Jaskot fundamentally reevaluates pivotal developments in postwar German art and architecture against the backdrop of contentious contemporary debates over the Nazi past and the difficulty of determining who was or was not a Nazi perpetrator.Like their fellow Germans, postwar artists and architects grappled with the Nazi past and the problem of defining the Nazi perpetrator-a problem that was thoroughly entangled with contemporary conservative politics and the explosive issue of former Nazis living in postwar Germany. Beginning with the formative connection between Nazi politics and art during the 1930s, The Nazi Perpetrator traces the dilemma of identifying the perpetrator across the entire postwar period. Jaskot examines key works and episodes from West Germany and, after 1989, reunified Germany, showing how the changing perception of the perpetrator deeply impacted art and architecture, even in cases where artworks and buildings seem to have no obvious relation to the Nazi past. The book also reinterprets important periods in the careers of such major figures as Gerhard Richter, Anselm Kiefer, and Daniel Libeskind.Combining political history with a close analysis of specific works, The Nazi Perpetrator powerfully demonstrates that the ongoing influence of Nazi Germany after 1945 is much more central to understanding a wide range of modern German art and architecture than cultural historians have previously recognized. Condition : as new copy. ISBN 9780816678259. Keywords : ART.…

Condition: new.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: as new. Minneapolis : University of Minnesota Press, 2012. Paperback. 274 pp. - - "Who was responsible for the crimes of the Nazis? Party leaders and members? Rank-and-file soldiers and bureaucrats? Ordinary Germans? This question looms over German disputes about the past like few others. It also looms over the art and architecture of postwar Germany in ways that have been surprisingly neglected. In The Nazi Perpetrator, Paul B. Jaskot fundamentally reevaluates pivotal developments in postwar German art and architecture against the backdrop of contentious contemporary debates over the Nazi past and the difficulty of determining who was or was not a Nazi perpetrator.Like their fellow Germans, postwar artists and architects grappled with the Nazi past and the problem of defining the Nazi perpetrator--a problem that was thoroughly entangled with contemporary conservative politics and the explosive issue of former Nazis living in postwar Germany. Beginning with the formative connection between Nazi politics and art during the 1930s, The Nazi Perpetrator traces the dilemma of identifying the perpetrator across the entire postwar period. Jaskot examines key works and episodes from West Germany and, after 1989, reunified Germany, showing how the changing perception of the perpetrator deeply impacted art and architecture, even in cases where artworks and buildings seem to have no obvious relation to the Nazi past. The book also reinterprets important periods in the careers of such major figures as Gerhard Richter, Anselm Kiefer, and Daniel Libeskind.Combining political history with a close analysis of specific works, The Nazi Perpetrator powerfully demonstrates that the ongoing influence of Nazi Germany after 1945 is much more central to understanding a wide range of modern German art and architecture than cultural historians have previously recognized. " Condition : as new copy. ISBN 9780816678242. Keywords : ART, nazism, Nationalsozialismus. …

Paperback. Condition: Brand New. reprint edition. 321 pages. 9.00x6.25x1.00 inches. In Stock.

Soft cover. Condition: Fine. 1st Edition. 1st printing, fine condition.

Condition: New. In English.

Condition: New. pp. 336 Illus.