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3.3 Factors leading to the ‘Final Solution’

Activity 4

Two questions:

  1. What was east of Nazi-occupied Poland?

  2. On what would this new resettlement depend?


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2.2 Early anti-Jewish policies in the Nazi government

Hitler's government was sworn in on 30 January 1933. On 28 March all Nazi Party organisations were urged to carry out a boycott of Jewish businesses and professionals on 1 April. The exhortation came from ‘the Party Leadership’ and claimed that the boycott was in response to the lies spread in the foreign press by Jewish emigrants; in reality, though, it was an attempt to impose some discipline on the freelance, anti-Semitic vandalism and violence of Nazi activists (especially the SA) in
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2.1 Anti-Semitism and Hitler

Anti-Semitism was central to Hitler's world view and to that of most Nazi activists. Hitler considered Jews to have been foremost among profiteers and racketeers during World War I; they engineered the ‘stab in the back’ of November 1918; they were hand-in-glove with Bolshevism. In August 1919 Hitler was an instructor at a military camp at Lechfeld, near Augsburg. His task was to inject nationalist and anti-Bolshevik ideas into the men in the camp, many of whom were recently released pris
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8 Voice

Is the speaker in a poem one and the same as the writer? Stop and consider this for a few moments. Can you think of any poems you have read where a writer has created a character, or persona, whose voice we hear when we read?

Wordsworth's The Prelude was written as an autobiographical poem, but there are many instances where it is obvious that poet and persona are different. Charlotte Mew's poem, ‘The Farmer's Bride’ (1916) begins like this:

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6 Poetic inversion

Poetic inversion, or changing the usual word order of speech, is often linked to the need to maintain a rhythm or to find a rhyme. We noticed Pope's poetic inversion in An Essay on Criticism and saw how the rhyme was intimately linked to the rhythm of the verse. The song ‘Dancing in the Street’, first recorded by Martha and the Vandellas in the 1960s, does violence to word order in the interests of rhyme – ‘There'll be dancing in the street/ A chance new folk to meet’
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2 Using this unit

In what follows, section headings like ‘Rhyme’, ‘Rhythm’, ‘Line lengths and line endings’, ‘Alliteration’, and so on, are intended to act as signposts to help you use this unit (if terms are unfamiliar, look them up in the glossary at the end of this unit). But these headings indicate only the main technique being discussed. While it is something we need to attempt, it is very difficult to try to isolate devices in this way – to separate out, for example, the effects
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1.5.2 What is the significance of the numbers?

In seeking the significance of these numbers, there is more information on the tablet that we have not yet taken into account, namely the text of the column headings themselves. The heading of column A is partly destroyed, but the text headings for B and C are clearer. B says something like ‘ib-sa of the front’, and C ‘ib-sa of the diagonal’, where ib-sa is a Sumerian word whose significance here is not precisely known. The geometrical
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4.1 Why was our immortality an issue?

When reading about Hume's death you may have been puzzled as to why people became so worked up about Hume's attitude. The question of what, if anything, happens after death is something most of us are at least curious about, just as most of us are curious to know what we will be doing in a few years’ time. But curiosity cannot explain the venom evident in the condemnations of Hume.

The reason for the hostility can be approached by considering the opera Don Giovanni. The opera i
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References

Arasse, D. (1991) The Guillotine and the Terror, trans. Christopher Miller, Harmondsworth, Penguin.
Blanning, T.C.W. (1987) The French Revolution: Aristocrats versus Bourgeois?, Basingstoke, Macmillan Education.
Blanning, T.C.W. (ed.) (2000) The Eighteenth Century: Europe 1688–1815, Oxford, Oxford University Press.
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1.10 Other considerations

While visitors to Aberdulais Falls seem genuinely to enjoy the experience, there is a possibility that only when they arrive at the site do they realise it is primarily an industrial site, with an attractive waterfall. There is no mention in the Aberdulais Falls title of it being an industrial site. Even the National Trust Handbook and website are a little ambiguous, using the phrase ‘Famous waterfalls and fascinating industrial site’ in its literature. Clearly not all visitors are member
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1.8 Conflict and tension

The management of a site such as Aberdulais Falls by its very nature highlights conflicting interests and tensions. Some relate to problems caused by the decision-making process itself, which can be slow and has to accommodate a range of interests of the various client bodies.

For example, when a new information centre was to be built on the site, the client bodies involved in making decisions about its overall appearance, form and fabric were: the National Trust Planning Committee, the
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1.2 Napier's bones

Before pursuing who logarithms were for (and what they are), we first look briefly at another of Napier's computational aids. For in the years following his death, it was in fact his numerating rods, the so-called Napier's bones, that were more widely known and used. These consisted of the columns of a multiplication table inscribed on rods, which could make the multiplying of two numbers easier by setting down the partial products more swiftly. This simple contrivance was derived from
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4 Conclusion

The biographical monograph is probably one of the best ways of writing appealing and accessible art history. Helen Langdon's Caravaggio is an attractive and well-written narrative of the life and work of an important and allegedly infamous artist. We learn about a set of artworks in a particular context and at the same time get to know a ‘new friend’ whose personality and environment seem to speak through the illustrations. The biographical structure is also a convenient way of con
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2.7 Art, life and the interpretation of pictures

David Carrier's book, Principles of Art History Writing (1991) considers the way that Caravaggio has been constructed as an artistic personality (the relevant chapter is below). The objective of Carrier's book as a whole is to demonstrate that the ‘appeal to the artist's intention adds nothing’ to the interpretation of his artworks (recall the discussion of Wimsatt and Beardsley in Author(s): The Open University

1.5 Further reading

Battersby, C. (1989) Gender and Genius: Towards a Feminist Aesthetics, London, Women's Press.

Kris, E. and Kurz, O. (1979) Legend, Myth, and Magic in the Image of the Artist: A Historical Experiment, New Haven and London, Yale University Press.

Soussloff, C.M. (1997) ‘The artist in nature: Renaissance biography’, The Absolute Artist: The Historiography of a Concept, Minneapolis, University of Minnesota Press, pp. 43–72.

White, H. (1990) Content
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4 Review

  1. We began by considering the meanings of ‘imagination’ and related terms in everyday contexts, and then looked at the twelve conceptions of imagination that Stevenson distinguishes. This suggested a first definition of ‘imagining’ – ‘thinking of something that is not present to th
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2.5 The problematic status of the imagination

Let us review the position we have reached. Stevenson's twelve conceptions of imagination suggest that ‘imagining’ might be defined as ‘thinking of something that is not present to the senses’. This definition succeeds in distinguishing imagining from perceiving, but is too general in including such things as remembering. Gaut defines ‘imagining’, in its core sense, as ‘thinking of something without commitment to its truth or falsity, existence or non-existence’. This succeeds
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2.2 Twelve conceptions of imagination

Can we say anything more systematic about the different ways in which we talk of imagination? In a paper entitled ‘Twelve conceptions of imagination’ (2003), Leslie Stevenson distinguishes the following meanings of imagination, which I list here (in italics) as he formulates them, together with my own examples to illustrate each one:

  1. The ability to think of something that is not presently perceived, but is, was or will be spatio-temporally real<
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1 Imagination

Imagination, a licentious and vagrant faculty, unsusceptible of limitations and impatient of restraint, has always endeavoured to baffle the logician, to perplex the confines of distinction, and burst the enclosures of regularity.

(Samuel Johnson, Rambler, no. 125, 28 May 1751)

In much of western thought, the imagination has an ambiguous status, seemingly poised between spirit and nature, m
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Introduction

This unit investigates certain philosophical issues concerning imagination, creativity and the relationships between them, and considers the conceptions and varieties of imaginative experience.

This unit is an adapted extract from the Open University course Thought and experience: themes in the philosophy of mind (AA308).


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