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Based on contemporary press articles and applying a comparative methodology, this study examines the responses of important British and American quality papers to the unfolding of Nazi anti-Semitism from September 1930 until April 1933. Besides reconstructing and comparing the press coverage, the study seeks to explain the patterns beneath the journalistic perceptions and interpretations of Nazi anti-Semitism in the liberal democracies. During the final years of the Weimar Republic the papers reported fully and critically on Nazi anti-Semitism, yet they underestimated its radical nature. The extent of the assault on the Jews following Hitler's seizure of power therefore surprised British and American observers. Between 30 January 1933 and the anti-Jewish boycott of 1 April 1933 the journalists struggled to grasp the nature of Nazi anti-Semitism and the role of Hitler therein. Ultimately, their reading of events in Germany was preconditioned by their own liberal democratic outlook. Even if they reached differing conclusions, they were united in their conviction that Hitler and the Nazis would not dare to continue their anti-Semitic campaign in the face of adverse ‘world opinion’. [ABSTRACT FROM PUBLISHER]

This case study documents the news reporting of Edward J. Meeman (1889–1966), who was among the first reporters from the Scripps-Howard newspaper chain to visit Germany after the Nazis consolidated their power in the summer of 1933. The completeness of the record surrounding Meeman's month-long visit makes his reporting from Germany an excellent way to examine the issues that visiting US journalists faced in the earliest days of the Nazi dictatorship and the quality of information they could obtain about the regime. This paper, in particular, contributes to our understanding of how much of Nazi Germany's anti-Semitic foundations were evident to visiting American journalists in 1933. [ABSTRACT FROM PUBLISHER]

The paper engages in a brief expose of responses to terrorist acts in mainstream (Western) music. In particular, this paper compares and contrasts the (West) German response to the RAF (Red Army Faction) between the years of 1968 and 1977 and the American music response to the terrorist attacks against the United States on September 11, 2001. The argument is advanced here that in both American and German society a left-oriented bastion of musicians show sympathy, and in some rare instances support, for these terrorist movements. The biggest difference between these two cultures is the existence of a pro-government, right-oriented country music scene in America. [ABSTRACT FROM AUTHOR]

The paper examines the intellectual and structural change that German economics experienced after the Second World War. This development often was described as ‘Americanisation’, since it seemed to rest upon the influences of the American occupation regime. In contrast, the paper applies another meaning of ‘Americanisation’. It is considered a ‘discourse’ that serves to structure the disciplinary procedures to produce progress. As it can be shown by the adoption of Keynesianism and neoclassical microeconomics, the change of the discipline was not primarily driven by direct American influences. Rather, in some respect the German reception took a path of its own. That contradiction can be solved by a theoretical modification of the classical concept of ‘Americanisation’. ‘Americanisation’ there meant a change of the operational procedure of German economics to generate progress. [ABSTRACT FROM PUBLISHER]

In the second half of the twentieth century, the volume, content and appearance of arts journalism in Western daily newspapers have changed significantly in accordance with wider transformations in the arts and journalism. Previous studies have focused on (1) which culture receives attention, (2) the way culture gets attention, and (3) economic pressures underlying transformations. In this article we aim to bring these strands together by analyzing how changes in the packaging of arts journalism have evolved in relation to the cultural content which is discussed and the volume of (cultural) advertising that is featured in newspapers. We conduct a content analysis of the coverage given to both “highbrow” and “popular” art forms in French, German, Dutch and US elite newspapers for four sample years: 1955, 1975, 1995 and 2005. The results show that newspapers all seem to converge into a balance between news reporting and reviewing. We find evidence for an increased catering for the needs and interests of audiences in some aspects (e.g. more popular culture) but not in others (e.g. no more human interest). Finally, most newspapers show an increase in cultural advertising, although the European newspapers in our sample contain much less advertising than the American ones. A stronger presence of advertising is positively related to both a lifestyle orientation of newspapers and a focus on popular culture. [ABSTRACT FROM AUTHOR]