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Masking Nazi Violence in the Beautiful Landscape of the Obersalzberg

Masking Nazi Violence in the Beautiful Landscape of the Obersalzberg N NOVEMBER, 1938, the British magazine Homes & Gardens featured an article detailing the delights of Hitler’s holiday chalet on the Obersalzberg, just above the Bavarian town of Berchtesgaden. “The site commands the fairest view in all Europe,” gushed the starry-eyed author and photographer Ignatius Phayre, who noted, “The curtains are of printed linen, or fine damask in the softer shades. The Führer is his own decorator, designer and furnisher, as well as architect” (194). The article goes on to describe the “delightful” and “lovely” daily routine maintained by Hitler on the Obersalzberg. Given the many accounts in the local and international press of Nazi violence during the first five years of the Hitler dictatorship, no one could legitimately have claimed, as the peaceful images of the Berghof suggest, that the Nazi regime would become a pacific force in Europe.1 That Homes & Gardens made the choice to fawn over Hitler and his chalet so conspicuously thus inevitably seems incredible, immoral, and ridiculous. In fact, the kinds of photographs that accompany the article were an important part of the Nazi propaganda machine, because the idealization of the Obersalzberg became a linchpin in the Nazi plan to rationalize the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Masking Nazi Violence in the Beautiful Landscape of the Obersalzberg

Comparative Literature , Volume 59 (3) – Jan 1, 2007

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Publisher
Duke University Press
Copyright
Copyright 2007 by University of Oregon
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/-59-3-241
Publisher site
See Article on Publisher Site

Abstract

N NOVEMBER, 1938, the British magazine Homes & Gardens featured an article detailing the delights of Hitler’s holiday chalet on the Obersalzberg, just above the Bavarian town of Berchtesgaden. “The site commands the fairest view in all Europe,” gushed the starry-eyed author and photographer Ignatius Phayre, who noted, “The curtains are of printed linen, or fine damask in the softer shades. The Führer is his own decorator, designer and furnisher, as well as architect” (194). The article goes on to describe the “delightful” and “lovely” daily routine maintained by Hitler on the Obersalzberg. Given the many accounts in the local and international press of Nazi violence during the first five years of the Hitler dictatorship, no one could legitimately have claimed, as the peaceful images of the Berghof suggest, that the Nazi regime would become a pacific force in Europe.1 That Homes & Gardens made the choice to fawn over Hitler and his chalet so conspicuously thus inevitably seems incredible, immoral, and ridiculous. In fact, the kinds of photographs that accompany the article were an important part of the Nazi propaganda machine, because the idealization of the Obersalzberg became a linchpin in the Nazi plan to rationalize the

Journal

Comparative LiteratureDuke University Press

Published: Jan 1, 2007

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