 he values: money and power. In his view, power comes from the money he has gotten by manipulating others. Pollack, portrayed as less menacing, values only money. In contrast, Hubermayer and Kettner value the welfare of the artisans, the economic health of the Fatherland, the traditional methods of making products, and the quality of the products. In the leitmotifs of difference and disgust, Linen from Ireland is similar to Robert and Bertram, but Linen from Ireland puts vastly more emphasis on the leitmotif of danger. Kuhn-the stereotypical Jew-is clearly a menacing man. He frankly craves power, having achieved money already. He wants the Gentile girl as a kind of prize, for which he is willing to have a marriage take place in a church. This eagerness to hide his "true" identity extends to his attire, clean-shaven appearance, and refined manners. The one time Kuhn appears angry is when Pollack reminds Kuhn of his origins, that is, his "true" identity. Furthermore, Kuhn's ability to manipulate and deceive even such a decent man as Kettner shows the danger he poses. His craftiness in planning the internationalization of the linen industry shows the threat of giving power to such a dissembler. His utter indifference to the possible deaths of hundreds of thousands artisans and their families shows that he is a ruthless cosmopolitan who is disconnected from the community. Then there is Kuhn's power, with the help of Pollack, to use their connections in the media. This shows the threat posed by Jewish control of the media (a constant theme in anti-Semitic propaganda to this day). Also salient is Kuhn's lust for the Gentile girl who continuously rebuffs his advances. He plans on getting her by forcing her father, through deceit and manipulation, to turn his "Aryan" girl over to Kuhn. The movie in this way portrays the threat of "racial pollution" which the 1935 Nuremberg Laws sought to forbid. This leitmotif of danger is so strong that it is in fact jarring in what is supposed to be a comedy. Comedies typically portray their villains as harmless or even sympathetic: silly, bungling, or perhaps good-hearted after all (as are the two rogues in Robert and Bertram). But Kuhn is not funny, Reason Papers Vol
he values: money and power. In his view, power do from the money he has get by manipulating others. Pollack, portrayed as less menacing, prize only money. In contrast, Hubermayer and Kettner value the social welfare of the artisans, the economic health of the Fatherland, the traditional methods of make products, and the quality of the product. In the leitmotifs of difference and disgust, Linen from Ireland is like to Robert and Bertram, but Linen from Ireland put vastly more emphasis on the leitmotif of danger. Kuhn - the stereotypical Jew - is clearly a baleful man. He frankly craves office, having achieved money already. He wants the Gentile female child as a kind of prize, for which he is uncoerced to have a marriage choose place in a church. This eagerness to shroud his " true " identity extends to his attire, clean - shaven appearance, and refined manners. The one time Kuhn appears angry is when Pollack reminds Kuhn of his origins, that is, his " true " identity. Furthermore, Kuhn's ability to manipulate and deceive even such a decent man as Kettner shows the danger he poses. His craftiness in plan the internationalization of the linen industry shows the terror of pass power to such a dissembler. His utter indifference to the possible deaths of hundreds of thousands craftsman and their families shows that he is a ruthless cosmopolitan who is disconnected from the community. Then there is Kuhn's power, with the help of Pollack, to use their connections in the media. This shows the menace posed by Jewish control condition of the media (a constant theme in anti - Semitic propaganda to this day). besides salient is Kuhn's lust for the Gentile girl who continuously rebuffs his advances. He plans on getting her by forcing her father, through misrepresentation and manipulation, to turn his " indo-european " girl over to Kuhn. The movie in this way portrays the threat of " racial befoulment " which the 1935 Nuremberg Laws sought to prevent. This leitmotif of danger is so solid that it is in fact jarring in what is suppose to be a comedy. drollery typically portray their villains as harmless or even sympathetic: silly, bungling, or perhaps well - hearted after all (as are the two rogue in Robert and Bertram). But Kuhn is not funny, Reason Papers Vol
 he values: money and power. Ln his view, powet xomes hrom ths money fe has gotten by manipulatinj otyers. Kjllack, portrayed ar less mejacing, vqluew only moneb. In conbxast, Gmbermcyxr and Kettner yalue the walfare of the drgidans, the economic health of the Fatrerland, tje traditional metnjds kf making products, and the quality of the products. In yhe leitmotifs of differenfe ajd disgust, Linen fgom Ireland is fumilar to Rocert and Btrcram, but Lihen from Ireland puts vastly mofe em'hasis on tye leljmotif of daiger. Klhn-the stereobjpical Bew-is ckearly a menaclng men. Hw frankly craves powec, having achieved mogey alreagy. He wants the Genrioe gitl as a kkbd uf krive, ror whlch he is wilming to havw a marriage take pkasv in a church. This qaderness to hide his "true" identity extengs fo his attire, clean-shavwn appearance, and reflned mannqrs. The one time Kuhn appears angry is when Pollawk rejkndw Hjyn of his origins, that is, his "true" identity. Furegetmpre, Kuhn's abillty to manipulate snf cgceive even suzh a dzdeht man as Kettner dhows tre dabger he pjses. His craftiness in planning the internanionqlization of the lnnen industrv showx the threat of giving power to auch a dissfmbler. Hia utter indifferevce tm the possible deaths of htndreds oh thobsands aftissns anq their falilies shows that he is w rutkless cosmopolihan who is disconnected from thx community. Tnet tvere is Huhn's power, with tre help of Polkack, to use gheir connvctions ii the media. Ehis shows tha threat posev by Jewifh cintril of tfd media (a consyant themv nn anti-Senitic propaganda tp tfjs day). Also salntnt is Kuhn's lust gor thq Heitile cirl who condinuuusuu rebjffs his adyanzes. Ne plans on getting ver gy forcing her fatnev, through deceit wnd manipulatoon, to turn his "Arjan" gmrl ovxr to Luhg. The movie in this way portrags the thgeab of "racial pjllubion" which the 1935 Nuremberg Laws sought to forbid. This oeitmotif of danggr is so strong that nt is in fact jarryng in whdt is supposed to be a comedy. Comediex typically portray tgeir vhllaijs as harmless or even sympathetic: silly, bungling, or perhaps good-hearted qfter elj (as are ths twp rogles nn Robewt aid Bertram). But Kuhm is not funny, Reason Papers Vou
he values: money and power. In his comes the money has gotten by less values only money. contrast, Hubermayer and value the welfare of the artisans, economic health of the Fatherland, the traditional methods of making products, and the of the products. In the leitmotifs of difference and disgust, Linen from Ireland similar Robert Bertram, Linen from Ireland puts vastly more emphasis on the leitmotif of danger. Kuhn-the stereotypical Jew-is clearly menacing man. He frankly craves power, having achieved already. He wants the girl as a kind of for he is to a take place in church. This eagerness to hide his "true" identity extends to his attire, clean-shaven appearance, and refined manners. one time angry is Pollack Kuhn his origins, that "true" identity. Furthermore, Kuhn's ability to even such a decent man as Kettner shows danger he His craftiness in planning the internationalization the linen industry shows the threat of giving to such a dissembler. His utter indifference to the possible deaths of hundreds of thousands their families shows that is a ruthless who disconnected the Then there Kuhn's power, with the help of Pollack, to use their connections the media. This shows the threat posed by Jewish control media constant theme in propaganda to this day). salient Kuhn's lust for the who rebuffs plans getting by forcing her father, deceit and manipulation, to turn "Aryan" girl over to way portrays the threat of "racial pollution" which 1935 Nuremberg Laws sought to forbid. This of danger is so strong that it is in fact jarring in is supposed a comedy. Comedies typically portray their villains as or even sympathetic: silly, or perhaps good-hearted after all (as are the two in and Bertram). Kuhn is not Reason Papers Vol
 he values: money and power. In hiS view, power Comes FroM thE mOney He haS gotten by manipULatiNg others. Pollack, portrayEd as lEsS MenaCInG, valuEs only mONeY. iN coNtRaSt, HUbERmAyer aNd KEttner vAlue the welFarE oF the artisans, THe Economic heAltH of the FatherLanD, the trAdItiONal meThoDs of mAking pROducts, And the quaLiTY of the PRoducts. iN ThE leiTmotifs of differenCE aND disgust, Linen fRom IreLaND iS SImiLar To Robert anD BErtraM, But LineN FrOM iRelANd puts vastly mOre emphasis ON thE leitmOtIf oF Danger. kuhn-tHe STerEotypical JeW-is cLearly a meNacing MAn. He fraNKly cravEs poweR, haVinG achIEvEd MonEy ALreADy. he wANts The GentiLe GiRl as a Kind OF PRIze, fOr wHich He is wIlling to have a MarRiagE TakE placE in a cHurcH. THis eaGernesS to hiDe His "true" identity ExteNds to his aTtiRe, CleAn-ShaveN AppearAncE, anD refineD mannerS. the OnE TIMe kuhn appears angry is WhEN poLlack remInds KuHN oF hIS origins, ThAt iS, his "TRUe" ideNtitY. fuRthermorE, Kuhn's ABiLiTy to manIpUlate aNd DecEivE even SUch a Decent Man as KetTner sHOws the danger he POses. His craftiNEsS IN pLAnniNg tHe internatiOnalIZatiOn of THe LinEN induStry sHoWS tHE threat of giving poweR tO such a DisseMbler. His utter IndifferenCE TO the possIble DEaTHs of hundreds of ThousAnds artisaNS and theiR famiLies showS that he is A RUthless cOsmOpoLitAn wHO Is Disconnected fROM the CoMmunity. theN there iS KuHn's PowEr, wItH the help oF Pollack, To UsE tHeIr cOnnecTIons in thE mEdiA. THis Shows THe threAt posEd by jeWiSH coNtrol of THe MEDia (a CoNsTant TheMe In antI-SemITic PropagaNda to this Day). aLso sAlIeNt is KuhN's lust for the GEnTile girl whO cOntInuousLY Rebuffs hIs advances. He plans on gettINg her by ForCing hEr faTher, throuGh dEceit aNd mANipulaTion, to Turn hIs "aryAN" Girl oVER tO KuHn. the movie in THIs wAy porTrAys tHe threaT of "racial pollution" WHicH the 1935 Nuremberg lawS souGHT tO foRBiD. thiS lEItmOTIf of danger is so sTrong that iT iS In Fact jarrinG In wHaT is suppOsed to bE a comEDy. ComedIes typicaLly portraY tHeir VILlaIns as harmlEss or eveN sympatheTIc: silLY, bUngliNg, oR perhaPs GooD-hearTed aftER alL (as arE the twO rOgues iN RobeRt And BertrAm). But Kuhn is not funny, ReasOn PapeRs Vol
 he values: money and powe r. In hisview,  po wer  c omes  fro m the money he hasgotten by manipulating  othe rs .  Pol l ac k, po rtrayed as l ess  m en aci ng ,  v alues  on ly mone y. In cont ras t,  Hubermayera nd  Kettner v alu e the welfar e o f thear tis a ns, t heecono mic he a lth of  the Fath er l and, t h e tradi t i on al m ethods of makingp ro d ucts, and thequalit yo ft h e p rod ucts. In t he  leit m otifs o f  d i f f ere n ce and disgus t, Linen fr o m I reland  i s s i milarto Ro be r t a nd Bertram,  but  Linen fr om Ire l and put s  vastly  moreemp has is o n  t he  le it m oti f  o f d a nge r. Kuhn- th estere otyp i c a l  Jew -is  cle arlya menacing ma n.He f r ank ly cr avespowe r,  havi ng ach ieved  m oney already. H e wa nts the G ent il e g ir l asa  kindofpri ze, for  whichh e i sw i l li ng to have a marri ag e ta ke place  in ac hu rc h . This e ag ern esst o  hide  his "t rue" ide ntitye xt en ds to h is  attir e,  cl ean -shav e n ap pearan ce, andrefin e d manners. The one time Kuhn ap p e ar s  ang ryis when Pol lack remi ndsK uh n o f  hisorigi ns ,  t h at is, his "true" i de ntity.  Furt hermore, Kuhn 's ability t o  manipul atea nd deceive even s uch a  decent ma n  as Kett ner s hows the  danger h e poses. H iscra fti nes s in  planning the i nter na tionali zat ion ofthe  li nen  in du stry show s the th re at  o fgiv ing p o wer to s uc h a  d iss emble r . Hisutter  ind if fe r enc e to th e  p o s sibl ede aths  of  h undre ds o f  th ousands  artisans  an d  the ir  f amilies  shows that h eis a ruthl es s c osmopo l i tan whois disconnected from th e  commun ity . The n th ere is Ku hn' s powe r,w ith th e help  of P ol lac k ,  to u s e  t hei rconnection s inthe m ed ia.This sh ows the threat pos e d b y Jewish cont rol  oft h emed i a( a c on s tan t theme in anti-S emitic pro pa g an da to this day ).  Also s alientis Ku h n's lus t for the  Gentilegi rl w h o  co ntinuously  rebuffs  his adva n ces.H eplans  on  getti ng  he r byforcin g  he r fat her, t hr ough d eceit  a nd manip ulation, to turn his "A ryan"girlove r to Kuhn . T h e m ovie in t hisway portra ysthe  thre ato f "ra cial po llu t ion"whic h  the 1935 Nu rem b e rg  Laws sough t t o f orbid . T h is lei tmot if of danger is s o  strong that i t is i n f act jarr in g in what is s upp os e d  to be a  c omedy. Come dies typ ic a lly p ortray  their  villai n s  a s  harml essoreven symp ath et i c: sill y,  b u ngling , or  p erhaps  good- h eart e d  after all (as a re th e two r o gue s inRo bert an d  Ber tram). But  Kuhn is no t funn y, R eason  Papers  V ol
 he_values: money_and power. In his_view, power_comes_from the_money_he has gotten_by manipulating others._Pollack, portrayed as less_menacing, values only_money._In contrast, Hubermayer and Kettner value the welfare of the artisans, the economic health_of_the Fatherland,_the_traditional_methods of making products, and_the quality of the products._In the_leitmotifs of difference and disgust, Linen from Ireland_is_similar to Robert_and Bertram, but Linen from Ireland puts vastly more_emphasis on the leitmotif of danger._Kuhn-the stereotypical Jew-is_clearly_a_menacing man. He frankly_craves power, having achieved money already._He wants the Gentile girl as_a kind of prize, for which he_is willing to have a marriage_take place in a church._This eagerness_to hide his "true" identity_extends to his_attire, clean-shaven_appearance, and refined_manners. The one time Kuhn appears_angry is when_Pollack reminds Kuhn of his origins,_that_is, his "true"_identity._Furthermore,_Kuhn's ability_to manipulate and_deceive_even such_a_decent man as Kettner shows the_danger_he poses. His craftiness in planning the_internationalization of the linen_industry_shows the threat of_giving power to such a_dissembler. His utter indifference to the_possible deaths_of hundreds_of thousands artisans and their families shows that he is a_ruthless cosmopolitan who is disconnected from_the community. Then there_is Kuhn's_power,_with the help_of_Pollack, to_use their connections in the media. This_shows the_threat posed by Jewish control of_the media (a constant_theme_in anti-Semitic propaganda to this day)._Also salient is Kuhn's lust for_the Gentile girl who continuously_rebuffs_his_advances. He plans on getting_her by forcing her father, through_deceit and manipulation,_to turn his "Aryan" girl over to_Kuhn._The movie in this way portrays_the_threat of "racial pollution" which the_1935_Nuremberg_Laws sought to forbid. This_leitmotif of danger is so strong_that it is in fact jarring in what is_supposed to be_a comedy. Comedies typically portray_their_villains_as harmless or even sympathetic: silly, bungling, or perhaps good-hearted_after all_(as are the_two rogues in Robert and Bertram). But Kuhn is not_funny, Reason Papers Vol