Blood and Soil
The blood - and - soil ideology sees the blood ( as a symbol of the lineage ) and the bottom ( for food production through agriculture and habitat ) as the main livelihood of the people, and at the same time raises thus the importance of the local peasantry ancient ancestry forth. It originated from the racism and nationalism of the late 19th century and was a central component of Nazi ideology.
According to critics, the blood - and - soil ideology, a war-mongering sufficiency of ( own ) race (blood) to legitimize a nation to expand and to guarantee the continued existence of their own people by the destruction of other peoples and the appropriation of another's land.
Origin
Detected as two terms is blood and soil, although in conflict standing and not as a unit, for the first time in the 1922 published work The Decline of the West by Oswald Spengler, in which the " struggle between blood and soil around the inner form of a transplanted animal and human species " is spoken. The image was then taken over by August winnig whose font liberation from 1926 as well as his book The Kingdom of the Republic ( 1928), each with the phrase " blood and soil are the fate of nations ( people ) " begin.
Only by Richard Walther Darré, a member of the Artamanen, who gave his published in 1930 writing the title new aristocracy of blood and soil, the concise formula has become a central concept of the Nazi ideology, to a specific relationship between racial, economic and agricultural policy ideas trying to prove.
Use
"We want the blood and the floor again make it the basis of a German agricultural policy "
As an expression of blood - and - soil ideology in Nazism occurred in September 1933, the Hereditary into force. The first two introductory sentences to illustrate this law, the protection of the peasantry: " The Reich Government wants to get under Backup old German Erbsitte the peasantry as a blood source of the German people. The farms should be protected inheritance over-indebtedness and fragmentation, so that they remain permanently as the heir of the clan in the hands of free farmers "And again: ". Farmer can only be one who is a German citizen, of German or kindred of the same blood and honorable. "
In addition, however, the blood - and - soil ideology of the Nazis includes non- culturally - sozialisatorisch, but Lamarckian faith belief that the ethnic characteristics of a population are determined by certain geographically limited areas - so this hang as it were with their blood on the ground. Only there could the full development of their personality, their own national system access.
Martin Heidegger used the pair of terms in a philosophical context, of course, only a relativistic ::
" Blood and soil are indeed powerful and necessary, but not sufficient condition for the existence of a people "
On January 6, 1934, the blood and soil Verlag GmbH was founded in Berlin in 1935 to Goslar, later moved its headquarters back to Berlin. Its program was explicitly the blood - and-soil ideology of National Socialism committed. After 1945, the publishing activity was discontinued in 1958 extinguished the publisher.
Blood - and-soil sealing
The blood - and-soil seal (called " Blubo - seal " or " Blubo literature ") is a literary direction in which the idea of a artreinen peasant leadership race comes to light. It comprises mainly farmers, settlers and land acquisition novels. Representatives are Gerhard Schumann, Herbert Böhme, Heinrich Anacker, Herybert Menzel, Josefa Berens - Totenohl and others.
Blood - and - soil - Art
In the visual arts, especially painting and monumental sculpture, the Nazis considered an important means of ideological influence of the population. As a recurring motifs, the Aryan myths of industrious German farmers, the brave German soldiers, the fertile German woman or the intact large German family were summoned. There were plenty of technical and manual activities, which could implement the ideological imagery of National Socialists optical- visually. The name Adolf Ziegler, Paul Mathias Padua, Werner Peine, Arthur Kampf, Arno Breker, Josef Thorak are representative stand for many here. Some of these so-called Nazi artists were given important positions in the arts and cultural policy of the NSDAP. The works of the well known and famous in part in the Weimar Republic until 1933, German artist, whose work is based on freedom and independence were banished after Hitler's seizure of power as degenerate art from museums and partially destroyed. They even had many into exile.