According to Crick’s understanding of totalitarianism, the process of ‘co-ordination’ after Hitler became chancellor in 1933, led to the destruction of politics. The process of “co-ordination” consisted of aligning the state according to Nazi principles. It brought the Weimar Republic to an end since it allowed the Nazis to take over several political parties including the Social Democrats, the Communists and the Centre Party. The Nazis also ‘co-ordinated’ other civil society organizations and movements such as the avant-garde and the Steel Helmets along with other trade unions. Additionally, they created laws like the ‘Enabling Act’ and the ‘Restoration of the Professional Civil Service’, that resulted in the increase of their power and the
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These laws sought to empower the party along with ‘co-ordinating’ anything that could be a possible threat to them. For example, The ‘Reichstag fire decree’, which was passed after the Reichstag fire occurred, removed several civil liberties from Germans, such as “freedom of expression, freedom of the press and freedom of assembly and association” (332). Additionally, it was used as an excuse by the Nazis to blame the Communists of high treason and give them a reason to end their party. It undoubtedly benefited the Nazis as it allowed them to ‘co-ordinate’ anyone who opposed their regime. Evans notes this when Rudolf Diels, head of the Prussian political police describes, “Every Communist functionary will be shot where he is found. The Communist deputies must be hanged this very night. Everybody in league with the Communists is to be arrested. Against Social Democrats and Reichsbanner too there will be no more mercy!” (331). This demonstrates how the event of the Reichstag fire was used as propaganda by the Nazis in order to eliminate the Communist party. Not only did they sought to exterminate the Communists, but also wanted to destroy any other organizations that went against Nazism. If anyone opposed their ideology, they would be considered traitors and also “trying to put …show more content…
The Nazis thought of this as necessary in order to keep everything under control. They reckoned that if everything was brought into line, they would restore Germany’s legacy and eventually get rid of “un-German” elements of society. The Nazis not only wanted to ‘co-ordinate’ political parties, they also wanted to impose their regime in society and culture, including the musical life of Germany. The Nazis attributed the modern music of the Weimar Republic as ‘un-German’ and had to be subverted. Evans notes this when he claims, “Musical associations of all kinds, right down to male voice choirs in working-class mining villages and music appreciation societies in the quiet suburbs of the great cities, were taken over by the Nazis and purged of their Jewish members” (394). This reflects how the Nazis saw it as their task to purge ‘Jewishness’ from, not only from politics and civil services but also from the cultural and musical aspects of Germany. And this notion of purging Jewishness from society became, even more persistent through the use of propaganda attacking Jewish composers of being ‘un-German’. Consequently, several Jewish musicians were dismissed and some managed to emigrate in order to prevent dismissal. Similarly, the film industry was also a target of ‘co-ordination’. The Nazis were not only able to “regulate the employment of actors, directors, cameramen and
These laws sought to empower the party along with ‘co-ordinating’ anything that could be a possible threat to them. For example, The ‘Reichstag fire decree’, which was passed after the Reichstag fire occurred, removed several civil liberties from Germans, such as “freedom of expression, freedom of the press and freedom of assembly and association” (332). Additionally, it was used as an excuse by the Nazis to blame the Communists of high treason and give them a reason to end their party. It undoubtedly benefited the Nazis as it allowed them to ‘co-ordinate’ anyone who opposed their regime. Evans notes this when Rudolf Diels, head of the Prussian political police describes, “Every Communist functionary will be shot where he is found. The Communist deputies must be hanged this very night. Everybody in league with the Communists is to be arrested. Against Social Democrats and Reichsbanner too there will be no more mercy!” (331). This demonstrates how the event of the Reichstag fire was used as propaganda by the Nazis in order to eliminate the Communist party. Not only did they sought to exterminate the Communists, but also wanted to destroy any other organizations that went against Nazism. If anyone opposed their ideology, they would be considered traitors and also “trying to put …show more content…
The Nazis thought of this as necessary in order to keep everything under control. They reckoned that if everything was brought into line, they would restore Germany’s legacy and eventually get rid of “un-German” elements of society. The Nazis not only wanted to ‘co-ordinate’ political parties, they also wanted to impose their regime in society and culture, including the musical life of Germany. The Nazis attributed the modern music of the Weimar Republic as ‘un-German’ and had to be subverted. Evans notes this when he claims, “Musical associations of all kinds, right down to male voice choirs in working-class mining villages and music appreciation societies in the quiet suburbs of the great cities, were taken over by the Nazis and purged of their Jewish members” (394). This reflects how the Nazis saw it as their task to purge ‘Jewishness’ from, not only from politics and civil services but also from the cultural and musical aspects of Germany. And this notion of purging Jewishness from society became, even more persistent through the use of propaganda attacking Jewish composers of being ‘un-German’. Consequently, several Jewish musicians were dismissed and some managed to emigrate in order to prevent dismissal. Similarly, the film industry was also a target of ‘co-ordination’. The Nazis were not only able to “regulate the employment of actors, directors, cameramen and