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The effects of the treaty of Versailles
Consequences of the treaty of Versailles
Effect of Versailles treaty on Germany
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Recommended: The effects of the treaty of Versailles
Gustav Stresemann
Gustav Stresemann was given the job of German Foreign Minister during
the six years commencing 1923. A foreign policy was needed. The German
Nationalists needed to be given confidence in the Republic as it was
not happy with the Republic's acceptance of the VersaillesTreat.
Throughout the time of 1923 to 1929 Stresemann had certain choices to
make which question whether he was acting as a 'Good German' or a
'Good European'
There are arguments for both sides to the question. This essay looks
at both sides to the argument and gives an overall outlook on how
Stresemann should be viewed.
Stresemann's ideology suggested he was working in an attempt for
Europe's gain. As part of this was to co-operate with the West. In
doing so he planned to use the method of 'Fulfilment' thus meaning he
planned to fulfil the Treaty of Versailles in whichever way possible,
in using this he hoped that relations with Britain and France would
improve, and the Treaty would be revised and Germany would benefit
from this, his relationship with the German Nationalists was not a
good one after his agreement to follow the rules and regulations of
the Treaty.
However in doing so this increased the relationship with the West and
Germanywas able to concentrate on bringing back afloat the German
economy
Stresemann realised that if the German economy was to be re-floated,
the only way to achieve this would be through cooperation with the
West, no longer could they be seen at the other side of the fence,
co-operation was vital, and it is this that gave Stresemann part of
the 'Good European' label.
Stresemann wanted the best for...
... middle of paper ...
... idea. The Nationalist's believed these terms of the Treaty should not
be followed which further influenced aggravation on Stresemann's
behalf.
In a way Stresemann failed to please either sides in his attempts and
the question of 'Good German' or 'Good European' is one of great
question itself. The re-floating of the economy had helped support the
Weimarto
increase proportionally, however it all still remained fragile and
weak.
There are both good and bad points to Stresemann's work from both
sides and thus is hard to determine if, at any at all, he pleased
most, and what advantages and disadvantages arose from his reign. I
think from a personal point of view both were achieved, Stresemann
tried in his best interests to satisfy both but in trying to do so,
could have been said to satisfy none to the full.
In this essay I will consider to what extent the German economy has been central to change regarding the development of Germany over the whole period, 1890-1991. I will consider the German economy under the Kaiser in accordance with World War 1, during Hyperinflation under the Weimar Republic in 1923, in Nazi Germany under Hitler and in East and West Germany leading to the building of the Berlin Wall. It appears that the German economy to a large degree has been exceedingly central to change in the country over this entire period. It is evident though that the economy itself has not solely been the derivation of precise events over the course of the period. There have been other ideas and proceedings that must be taken into consideration and I aim to assess the prominence of these notions in opposition to the German economy. These include the radical ideas of the Kaiser and Hitler leading to the occurrence of World War 1 and 2, the ‘Stab in the back’ theory strengthening support for radical parties and anti-fascist ideals prompting the construction of the Berlin Wall.
In the passage by Igor Stravinsky, he uses not only comparison and contrast, but also language to convey his point of view about the conductors of the time and their extreme egotism. Stravinsky believes that conductors exploit the music for their own personal gain, so rather, he looks on them in a negative light.
"We could describe (Heinrich) Schliemann's excavations on the hill of Hissarlik and consider their results without speaking of Troy or even alluding to it," Georges Perrot wrote in 1891 in his Journal des Savants. "Even then, they would have added a whole new chapter to the history of civilization, the history of art" (qtd. in Duchêne 87). Heinrich Schliemann's life is the stuff fairy tales are made of. A poor, uneducated, and motherless boy rises through his hard work and parsimonious lifestyle to the heights of wealth (Burg 1,2). He travels the world and learns its languages ("Heinrich Schliemann"), takes a beautiful Greek bride, and together they unearth the treasures of Troy and the citadel of Agamemnon, thereby fulfilling the dream he has chased since childhood (Calder 18,19; Burg 8). Indeed, by presenting his life in romantic autobiographies as a series of adventures, starring Heinrich Schliemann as the epic hero (Duchêne 14), he ensured his status as a lasting folk hero and perennial bestseller (Calder 19).
Taylor’s perspective on the origins of the Second World War, although controversial, is not one so easily dismissed. Taylor’s approach is one of, “innocent until proven guilty,” which allowed him to distribute accountability to both the Allied and Axis powers. Taylor carefully constructs a historical chain of cause and effect through his unbiased evaluation. The First World War left a structurally sound Germany bent on restoring its independence, and a weakened balance of power in Europe. These facts, along with a morally revolting yet rational leader, faced only with a strict policy of appeasement combined to form the perfect storm, one that would ravage the world in the Second World War.
Wolfgang Amadeus Mozart, as he is generally known, was baptized in a Salzburg Cathedral on the day after his birth as Joannes Chrysostomus Wolfgangus Theophilus. The first and last given names come from his godfather Joannes Theophilus Pergmayr, although Mozart preferred the Latin form of this last name, Amadeus, more often Amadé, or the Italiano Amadeo, and occasionally the Deutsch Gottlieb. Whatever the case may be, he rarely - if ever - used Theophilus in his signature. The name Chrysostomus originates from St. John Chrysostom, whose feast falls on the 27th of January. The name Wolfgang was given to him in honor of his maternal grandfather, Wolfgang Nikolaus Pertl.
Wolfgang Amadeus Mozart baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart lived from January 27, 1756 to December 5, 1791. Mozart was a very influential and prolific composer of more than 600 works, including symphonies, concertante, chamber, piano, opera, and choral music. Regarded as a child prodigy, Mozart composed and performed in the European courts from the age of five, and was engaged at the Salzburg court at 17. Mozart’s musical style can be classified as Classical, although he learned from many of his contemporaries throughout his musical career. In order to better understand Mozart’s genius it is best to begin looking at his earliest contributions to the musical world as a child. From there, an exploration of his composition work in the employ of various patrons gives a more rounded picture of the development of Mozart’s musical style. Mozart is one of the most enduring composers, with his work continuing to resonate with modern audiences.
Between the 1600s and the 1700s, many would think more of Kings or Queens who ruled their vast kingdoms for years upon years rather than a great composer such as Johann Sebastian Bach, a man who greatly contributed to Germany and many other specific regions of Europe during his life. Born in 1685 Eisenach on March 21, Bach was a member of one of the most excellent musical families of all time as, for over 200 years, the Bach family had birthed some of the most superb composers and performers, many supported by churches, the government, and nobles for their extraordinary works ("Wikipedia"). However, having been orphaned so early on, Bach grew up in the home of his brother, Johann Christoph Bach, in Ohrdruf. During his early life, he attended schools of dance, acted as an organist on many occasions, particularly in Arnstadt, Mühlhausen, Weimar, as well as a court music director in Cöthen, and, later in his life, in 1723 to be precise, he became the grand choirmaster of St.Thomas in Leipzig for twenty-seven years and oversaw many events of the school, going so far as to divide the students into four individual choirs and recruiting the talents of the citys professional musicians and university students (pg 1 - 14, Eidam). He continued as a choirmaster until the end of his days, writing various and exquisite pieces that were preformed in front of many audiences, quite a few of which were preformed by those of the four individual choirs he created while he lead them through each piece (pg 1 - 14, Eidam). Though this may not seem as important as the rulings of Kings and Queens at the time, Bach's contribution to his homeland of Germany and its people was mostly certainly memorable and worth consideration. In fact, because of his contr...
Gustav Holst once said that, “Failure is the most important part of an artist's training, and one you cannot afford to do without”. A composer’s life is often one of many peaks and valleys that, in the end, help to forge them into a world renowned composer whose legacy stands the test of time. The life of composer Gustav Holst is no exception to this. From an early age he had to overcome several physical and emotional hurdles. However, by the time of his death Holst had become a mainly self-taught composer, who learned from experience and experimentation, constantly searching for the right sound.
Faced with harsh peace terms at the end of World War I, Germany was put in the perfect position for extreme political turmoil to rise, along with the need to place the blame for the German defeat. The Treaty of Versailles, which was the Allies’ peace treaty with Germany following World War I, “... took territories from Germany in the east and west, destroyed the Austro-Hungarian Empire, humiliated Germans by including a “war guilt” clause, imposed disarmament, and demanded heavy reparation payments for war damage” (Weisser). This “peace” treaty, littered with bitter terms for Germany, did great harm to the nation. Germany was not only stripped of its once powerful nation by depriving it of its territories and armaments; but also by the destruction of its economy through hyperinflation, a result of printing more money in order to pay reparations. This treaty therefore ruined Germany, putting it in an atrocious state, which would eventually allow for dramatic political change and the placing of blame for the...
Ludwig van Beethoven was born in 1770 in Bonn, Germany, to Johann and Maria Magdelna van Beethoven. His father was also a musician and had dreams of young Ludwig becoming the Next Mozart. Beethoven's father was tenor singer in the court chapel of Prince archbishop of Cologne, where his grandfather a native of Holland had for a number of years the post of musical director. He was therefore brought up from his earliest youth in a musical atmosphere. While the father was rigorous and not always reasonable in his rule over the young genius, his mother was often over lienent with him, a fact which may account for some of the traits of character the young man developed later on.
...After we consider all these points mentioned we begin to see how everything worked and connected to form one huge disaster for Germany. We start to see how all these things played a part, the reparations led to unemployment that led to no money that led to overprinting of money. How the huge consequence of the reparations led to the unsuccessful paying of it leading to the French invasion of the Ruhr which led to strikes and therefore no products to trade with. How the unstable Weimar government led to extremist parties that damaged the economy further and brought inflation to its highest. The effects were probably the worst, the starvation coupled with the disease epidemic that killed people off and the worthless tonnes of paper notes roaming around the nation. It all in all was a very bad time in Germany one that they always found it hard to recover from.
Feuchtwanger, E. J. From Weimar to Hitler: Germany, 1918-33. New York: St. Martin's Press, 1993.
Wolfgang Amadeus Mozart was probably the greatest genius in Western musical history. He was born in Salzberg, Austria on January 27, 1756. The son of Leopold Mozart and his wife Anna Maria Pertl. Leopold was a successful composer and violinist and assistant concertmaster at the Salzberg court.
German people were unused to a democracy and blamed the government “November criminals”, for signing the Treaty of Versailles. From the very beginning, the new Weimar government faced opposition from both sides of the political spectrum. The Left wing Spartacist group, lead by Liebknecht and Luxemburg, looked up to the new Soviet councils in Russia, wanted to place Germany into a similar system.
The growth of the European super powers during the 19th century consisted of the great powers vying for territorial attainments, developing their international influence, and ensuring positive domestic attitudes of their diplomatic actions. Attempting to cement their hegemony of international politics, the Prussian Empire sought to create an ethnically and politically unified German state to rebuff the prominence granted to Austria at the Congress of Vienna. Through the machinations of Chancellor Otto von Bismarck and his determination to unite the German lands through “blood and iron”, Germany quickly rose to become the epicenter of European politics and forever changed the geopolitical landscape of Europe. In examining the unification of Germany and its implications for the international system, this paper will explore the prehistory of the unification, significant diplomatic successes and failures during the bolstering of Germany’s power, and the change in the power structure of Germany that ultimately changed the military landscape of the international system and became the precursor for World War I.