[Epub] ↠ The Shameful Peace: How French Artists and Intellectuals Survived the Nazi Occupation Author Frederic Spotts – Natus-physiotherapy.co.uk

The Shameful Peace: How French Artists and Intellectuals Survived the Nazi Occupation The German Occupation Of France From 1940 To 1945 Presented Wrenching Challenges For The Nation S Artists And Intellectuals Some Were Able To Flee The Country Those Who Remained Including Gide And C Line, Picasso And Matisse, Cortot And Messiaen, And Cocteau And Gabin Responded In Various Ways This Fascinating Book Is The First To Provide A Full Account Of How France S Artistic Leaders Coped Under The Crushing German Presence Some Became Heroes, Others Villains Most Were Simply Survivors.Filled With Anecdotes About The Artists, Composers, Writers, Filmmakers, And Actors Who Lived Through The Years Of Occupation, The Book Illuminates The Disconcerting Experience Of Life And Work Within A Cultural Prison Frederic Spotts Uncovers Hitler S Plan To Pacify The French Through An Active Cultural Life, And Examines The Unexpected Vibrancy Of Opera, Ballet, Painting, Theater, And Film In Both The Occupied And Vichy Zones In View Of The Longer Term Goal To Supplant French With German Culture, Spotts Offers Moving Insight Into The Predicament Of French Artists As They Fought To Preserve Their Country S Cultural And National Identity.

  • Hardcover
  • 288 pages
  • The Shameful Peace: How French Artists and Intellectuals Survived the Nazi Occupation
  • Frederic Spotts
  • English
  • 12 April 2018
  • 9780300132908

About the Author: Frederic Spotts

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10 thoughts on “The Shameful Peace: How French Artists and Intellectuals Survived the Nazi Occupation

  1. says:

    After such knowledge, what forgiveness Spotts quotes Eliot, in brief, above, and it sums up well his thesis throughout this examination of French artists thinkers which include non French who worked chiefly in France and their response or lack thereof to Nazi occupation between 1940 and 1944 Organised chiefly through sections on the various arts themselves, it is most readable when it dwells in biographic form, but somewhat disjointed structurally overall It interweaves through various lives quite fluidly and segues neatly from one to the other, though there is much backtracking some repetition But, throughout it all, interesting parallels are drawn and weighed, amounting to an assessment of what constitutes collaboration for an artist or an intellectual in the context of a nation occupied from outside through the vehicle of State sanctioned violence.Spotts contention is that Nazi Germany deliberately maintained a policy to make France, and the world that held France in such high regard for its arts and ideas, appear to be in a ...

  2. says:

    Spotts does not wish to re litigate who is and who isn t a collaborator For him, any contact short of rebellion by a Frenchman with a Nazi was collaboration I m okay with that But in a wonderful concluding chapter, the author notes the unfairness of government collaborators going unpunished while artists paid severely, even with their lives The author seemed to struggle in the beginning with structure, pretentiousness and style He has a habit, for example, of writing, He it was who The chapters became arranged by art form writing, painters, musicians, theater and film And in those divisions, Spotts tells wonderful anecdotes and quick, pertinent bios In particular, Spotts delivers on Gide, Celine, Cocteau, Picasso and Matisse Sartre and Camus were less fully fleshed out I would have liked on Messiaen, for whom Spotts gives no than could be found on an album s linear notes Yet, there were numerous artists that I didn t really know that Spotts cert...

  3. says:

    This is a great book on a lesser known aspect of life in France under Nazi occupation It is focused on Paris than anywhere else, still it does cover the cultural life in Vichy and in provinces as well The narrative is detailed and includes many personal experiences It does not condone collaboration, but it does condemn the excesses after liberation Any by doing so it tried to offer a balanced picture of ...

  4. says:

    This is very much a person by person account of artists by artistic category in Nazi occupied France Told with a journalist s sense of detail and narrative movement, the book works as a general consideration of the role of artists and intellectuals in a society that is at war with a brutal foreign power and, as a result, with itself The moral choices made seem largely dictated by individual personalities in this story That often leaves the broader social and cultural forces that help shape those choices with a secondary status in the book In that sense, then, the book becomes largely maybe a little too much of a catalog of the good actors and those who acted badly, some of whom get their just punishments and other who don t By presenting the story that way, of course, the personal responsibility of particular individuals seems too frequently to overshadow any collective sense of responsibility That seems to me somewhat dangerous in historical analysis because...

  5. says:

    The author is relentless in his research for the truth behind French collaboration during the Nazi occupation This research is difficult not only because much of the truth can take a partial viewpoint but also because the topic still remains terribly sensitive Spotts does an excellent job looking at all possible angles for motivations behind the acts of collaboration or non collaboration Those familiar with French literature, politics, popular cultur...

  6. says:

    Somewhat gossipy, anecdotal, the author writes with brio and so is never dull Though there is a section on Sources in the back, there are no footnotes, so it s generally impossible to check the source of the diverse material he presents Also, he s not averse to making snide and...

  7. says:

    There s been little written about artists, musicians, writers and intellectuals who lived in Paris at the time of the Nazi Occupation Given how many books have been written about regular residents of Paris, of Occupied and Unoccupied zones in the city, the lack of written material about the individuals who had been very much a part of the cultural identity of Paris, is glaringly sparse.Hitler himself, recognized the importance of culture and encouraged an artistic life among those in Occupied France, but an artistic life dictated by his belief in German cultural supremacy, and one subject to censorship.After the war, the artists and members of the social elite who were known to not only have lived, traded with, entertained or partied with the Occupiers, were denounced as collaborators and held responsible for France s defeat than her military and political figures But how does one define collaboration Was it accepting German hospitality to visit or perform in Germany, attending a reception hosted by a German official or even just seeking German approval to publish a book, perform a play or exhibit a painting And how is resistance defined fleeing the country, refusing to publish, to exhibit or to perform Or was it just the opposite staying to fling French culture into the face of the Occupier This is a detailed s...

  8. says:

    Nie jestem adn znawczyni II wojny wiatowej, we Francji czy gdzie indziej owszem, kojarz wi ksz cz nazwisk artyst w, pisarzy, muzyk w i intelektualist w, wzmiankowanych w ksi ce Spottsa, ale niekoniecznie w kontek cie tego, co robili podczas II wojny wiatowej, w Pary u czy w Vichy czy w innym miejscu na terenie Francji.Generalnie, Spotts deklaruje unikanie oceny, we wst pnych rozdzia ach zadaj c skazane na brak odpowiedzi pytania, co w og le mo na by o zrobi i co w tamtych warunkach by o uczciwym wyj ciem wyjazd z kraju ucieczka na wie emigracja wewn trzna wzbogacanie francuskiej kultury jako cichy bunt przeciw okupantom prze ycie w asne i bliskich za wszelk cen To nie znaczy, e zawsze od tej oceny moralnej si od egnuje ale stara si pokaza losy rozmaite i wybory bardzo r ne, pd heroicznej walki Jean Gabin po pe n kolaboracj z przekonania Celine i jednocze nie ...

  9. says:

    Frederic Spotts handles the subject with circumspection, and often provides astute and tart commentary There are few heroes and much cringe worthy behavior It s an admirable study of the dubious behavior of French intellectual and artistic personalities, and their often self serving collaboration with the Nazi occupiers WWII was especially hard for the French sensibility because it served as the basis for its decline as an intellectual center of gravity It also exposed the hollow notions of artistic integrity that served as an integral part of the French character It was bad enough that the Nazis were good at pitting intel...

  10. says:

    This is a very interesting account of how visual artist, writers, and actors fared under the German occupation of France during WWII Some collaborated with the Nazi party while others resisted and went into hiding It was shocking to see how Hitler tried to control free thought and freedom of expression In som...

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