alteration into spaces, in which excess capital can produce even more income return, he says (orig. German: "Städte umgebaut [werden] zu Räumen, in denen überschüssiges Kapital noch mehr Rendite abwerfen kann"), which makes it hard for many of them to have feelings of "Heimat". It is quite frankly impossible to live in the same city twice, even if it's all one has ever done, adds Kontny (orig. German: "nicht zweimal in derselben Stadt leben, und wenn man sein Leben lang nichts anderes täte"). "People come for personal reasons or to find work, but then they stay because they can't get away from all the parties and alcohol." Without diversity management it is difficult to convey a sense of "Heimat" to immigrants according to their new place of residence. When we speak of language as a cultural "Heimat", talk is of an exiled German author, who names the German language or German literature his home. "Heimat" as a way of life describes the creed of a seaman : „My home is the ocean“. Modern history In the 19th century, Heimat acquired strong emotional connotations in the context of both German Romanticism and German nationalism (but also patriotism based on regional identity). The concept of a (typically rural, idyllic) native homeland as an expression of identity in the context of the exodus from rural areas into more urbanised communities (Landflucht) during the Industrial Revolution can be seen as a reaction to the onset of modernity, loss of individuality and intimate community. The specific aspects of Heimat—love and attachment to homeland—left the idea vulnerable to easy assimilation into the fascist "blood and soil" literature of the National Socialists. It was conceived by the National Socialists (Nazis) that the Volk community is deeply rooted in the land of their Heimat through their practice of agriculture and their ancestral lineage going back hundreds and thousands of years. The Third Reich was regarded at the deepest level as the sacred Heimat of the unified Volk community—the national slogan was One Reich, One Volk, One Führer. Those who were taken to Nazi concentration camps were those who were officially declared by the SS to be "enemies of the volk community" and thus a threat to the integrity and security of the heimat. The contemporary conception of Heimat is most readily seen in the Heimatfilm from the Heimat period c. 1946–1965, in which filmmakers placed a profound emphasis