This article uses bare URLs, which are uninformative and vulnerable to link rot. Please consider converting them to full citations to ensure the article remains verifiable and maintains a consistent citation style. Several templates and tools are available to assist in formatting, such as reFill (documentation) and Citation bot (documentation). (September 2022) (Learn how and when to remove this message) |
Paul B. Jaskot (born 1963) is a historian and professor at Duke University. His research interests include architectural history, urban planning, and Nazi Germany.
Works
- Jaskot, Paul B. (2002). The Architecture of Oppression: The SS, Forced Labor and the Nazi Monumental Building Economy. Routledge. ISBN 978-1-134-59461-0.
- Rosenfeld, Gavriel D.; Jaskot, Paul B., eds. (2008). Beyond Berlin: Twelve German Cities Confront the Nazi Past. University of Michigan Press. ISBN 978-0-472-03631-8.
- Jaskot, Paul B. (2012). The Nazi Perpetrator: Postwar German Art and the Politics of the Right. University of Minnesota Press. ISBN 978-1-4529-4822-5.
References
- http://onlinebooks.library.upenn.edu/webbin/book/lookupname?key=Jaskot%2C%20Paul%20B%2E%2C%201963%2D
- "Paul B. Jaskot | Art, Art History & Visual Studies". aahvs.duke.edu. Retrieved 27 January 2021.
- Frank, Hartmut (2002). "P. B. Jaskot, The Architecture of Oppression. The SS, Forced Labour and the Nazi Monumental Building Economy, 2000". Francia. 29 (3). doi:10.11588/fr.2002.3.63110.
- Rollins, William H. (2002). "Review of The Architecture of Oppression. The SS, Forced Labor and the Nazi Monumental Building Economy". German Politics & Society. 20 (3 (64)): 128–131. ISSN 1045-0300. JSTOR 23740758.
- Geyer, Michael (2003). "Review: The Architecture of Oppression: The SS, Forced Labor and the Nazi Monumental Building Economy by Paul B. Jaskot". Journal of the Society of Architectural Historians. 62 (2): 271–272. doi:10.2307/3592487. JSTOR 3592487.
- Swett, Pamela E. (2010). "Beyond Berlin: Twelve German Cities Confront the Nazi Past . Edited by Gavriel D. Rosenfeld and Paul B. Jaskot. Social History, Popular Culture, and Politics in Germany. Edited by, Geoff Eley. Ann Arbor: University of Michigan Press, 2008. Pp. x+321. $70.00". The Journal of Modern History. 82 (1): 240–242. doi:10.1086/649485.
- Loeffel, R. (2014). "Nazi Perpetrator: Post-war German Art and the Politics of the Right". German History. 32 (1): 173–175. doi:10.1093/gerhis/ght072.
- Pickford, Henry W. (2014). "Review of The Nazi Perpetrator: Postwar German Art and the Politics of the Right". The German Quarterly. 87 (1): 139–141. ISSN 0016-8831. JSTOR 42751622.
- Potter, Pamela M. (2014). "Review of The Nazi Perpetrator: Postwar German Art and the Politics of the Right". Monatshefte. 106 (3): 526–528. doi:10.1353/mon.2014.0087. ISSN 0026-9271. JSTOR 24550068. S2CID 219194409.
- Potter, P. M. (2014). "The Nazi Perpetrator: Postwar German Art and the Politics of the Right. By Paul B. Jaskot. Minneapolis: University of Minnesota Press, 2013. ix + 275 pages + 63 b/w and 13 color illustrations. $30.00". Monatshefte. 106 (3): 526–528. doi:10.1353/mon.2014.0087. S2CID 219194409.
- Luke, Megan R. (2015). "Paul B. Jaskot, The Nazi Perpetrator: Postwar German Art and the Politics of the Right; Alex Potts, Experiments in Modern Realism: World Making, Politics and the Everyday in Postwar European and American Art; Hannah Feldman, From a Nation Torn: Decolonizing Art and Representation in France, 1945–1962: Minneapolis: University of Minnesota Press, 2012. 288 pp.; 13 color ills., 63 b/w. $90.00; $30.00 paper; New Haven: Yale University Press, 2013. 488 pp.; 60 color ills., 120 b/w. $60.00; Durham, N.C.: Duke University Press, 2014. 336 pp.; 21 color ills., 63 b/w. $99.95; $ 27.95 paper". The Art Bulletin. 97 (2): 231–234. doi:10.1080/00043079.2015.1009735.
- "Whalen on Jaskot, 'The Nazi Perpetrator: Postwar German Art and the Politics of the Right' | H-War | H-Net". networks.h-net.org. Retrieved 27 January 2021.
This biographical article about an American art historian is a stub. You can help Misplaced Pages by expanding it. |