" . . . the range, power, and archival resourcefulness of Barnouw's book will make it impossible for anyone working in the field to ignore this powerful and disturbing historical meditation on the societal function and responsibility of the intellecutual." —The German Quarterly " . . . a work of real value for patient readers." —American Journal of Sociology " . . . a forceful and compelling thesis that challenges our understanding of several seminal figures writing during the first half of the century." —Monatshefte In this challenging study of a complex period, Barnouw investigates the works of seven representative figures of the Weimar republic: Walter Rahtenau, Robert Musil, Thomas Mann, Walter Benjamin, Ernst Jünger, Hermann Broch, and Alfred Döblin.
In this work David C. Durst explores the development of modernism in the philosophy, politics, and culture of the first German Republic between 1918 and 1933. Through a reasoned critique of various Weimar intellectual figures such as Ernst Bloch, Martin Heidegger, and Theodor Adorno, Durst offers clarity and insight into the various aesthetic postures of the interwar period. From the cultural vibrancy of the early Weimar period to the eventual decay towards fascism and Nazi rule, Weimar Modernism provides a new and coherent way to examine this important era, which has often been presented in a fragmented manner
A comprehensive look at the intellectual and cultural innovations of the Weimar period During its short lifespan, the Weimar Republic (1918–33) witnessed an unprecedented flowering of achievements in many areas, including psychology, political theory, physics, philosophy, literary and cultural criticism, and the arts. Leading intellectuals, scholars, and critics—such as Hannah Arendt, Walter Benjamin, Ernst Bloch, Bertolt Brecht, and Martin Heidegger—emerged during this time to become the foremost thinkers of the twentieth century. Even today, the Weimar era remains a vital resource for new intellectual movements. In this incomparable collection, Weimar Thought presents both the specialist and the general reader a comprehensive guide and unified portrait of the most important innovators, themes, and trends of this fascinating period. The book is divided into four thematic sections: law, politics, and society; philosophy, theology, and science; aesthetics, literature, and film; and general cultural and social themes of the Weimar period. The volume brings together established and emerging scholars from a remarkable array of fields, and each individual essay serves as an overview for a particular discipline while offering distinctive critical engagement with relevant problems and debates. Whether used as an introductory companion or advanced scholarly resource, Weimar Thought provides insight into the rich developments behind the intellectual foundations of modernity.
This book focuses on the popular fiction of Weimar Germany and explores the relationship between women, the texts they read, and the society in which they lived. A complex picture emerges that shows women talking center stage, not only in the fiction but also in the reality that shaped its fictional representations. One of the author's significant conclusions is that it was the growing strength of female subjectivity, its strong positioning, and its insistent claim to visibility that occupied the imaginations and fears of Weimar culture and contributed in an important way to the crisis that afflicted the Weimar Republic.
Bringing together the work of scholars in many disciplines, Women in the Metropolis provides a comprehensive introduction to women's experience of modernism and urbanization in Weimar Germany. It shows women as active participants in artistic, social, and political movements and documents the wide range of their responses to the multifaceted urban culture of Berlin in the 1920s and 1930s. Examining a variety of media ranging from scientific writings to literature and the visual arts, the authors trace gendered discourses as they developed to make sense of and regulate emerging new images of femininity. Besides treating classic films such as Metropolis and Berlin: Symphony of a Great City, the articles discuss other forms of mass culture, including the fashion industry and the revue performances of Josephine Baker. Their emphasis on women's critical involvement in the construction of their own modernity illustrates the significance of the Weimar cultural experience and its relevance to contemporary gender, German, film, and cultural studies.
A laboratory for competing visions of modernity, the Weimar Republic (1918-1933) continues to haunt the imagination of the twentieth century. Its political and cultural lessons retain uncanny relevance for all who seek to understand the tensions and possibilities of our age. The Weimar Republic Sourcebook represents the most comprehensive documentation of Weimar culture, history, and politics assembled in any language. It invites a wide community of readers to discover the richness and complexity of the turbulent years in Germany before Hitler's rise to power. Drawing from such primary sources as magazines, newspapers, manifestoes, and official documents (many unknown even to specialists and most never before available in English), this book challenges the traditional boundaries between politics, culture, and social life. Its thirty chapters explore Germany's complex relationship to democracy, ideologies of "reactionary modernism," the rise of the "New Woman," Bauhaus architecture, the impact of mass media, the literary life, the tradition of cabaret and urban entertainment, and the situation of Jews, intellectuals, and workers before and during the emergence of fascism. While devoting much attention to the Republic's varied artistic and intellectual achievements (the Frankfurt School, political theater, twelve-tone music, cultural criticism, photomontage, and urban planning), the book is unique for its inclusion of many lesser-known materials on popular culture, consumerism, body culture, drugs, criminality, and sexuality; it also contains a timetable of major political events, an extensive bibliography, and capsule biographies. This will be a major resource and reference work for students and scholars in history; art; architecture; literature; social and political thought; and cultural, film, German, and women's studies.
About half of Kolb's compact book is devoted to a "Historical Survey," chronologically divided at the conventional watersheds of 1923-24 and 1929-30. A briefer second part, a historiographical essay in seven topical chapters, is followed by a seven-page chronology, a 676-item classified and topical bibliography, and an index. The bibliography, updated to February 1987, includes some English-language titles not in the original German edition, and is a list of tremendous value. Frequent references to individual entries (as well as to some works not found there) tie the bibliography to the historiographical essay, which is characterized by fair and judicious appraisal of interpretations of the period, even when Kolb clearly disagrees. There is a chapter on the revolution of 1918 and its aftermath in the first section, and one on art and mass culture in the second; each section of the survey also has one chapter focusing on foreign policy, and one on domestic developments.
In a unique application of critical theory to the study of the role of ideology in politics, Jeffrey Herf explores the paradox inherent in the German fascists' rejection of the rationalism of the Enlightenment while fully embracing modern technology. He documents evidence of a cultural tradition he calls 'reactionary modernism' found in the writings of German engineers and of the major intellectuals of the. Weimar right: Ernst Juenger, Oswald Spengler, Werner Sombart, Hans Freyer, Carl Schmitt, and Martin Heidegger. The book shows how German nationalism and later National Socialism created what Joseph Goebbels, Hitler's propaganda minister, called the 'steel-like romanticism of the twentieth century'. By associating technology with the Germans, rather than the Jews, with beautiful form rather than the formlessness of the market, and with a strong state rather than a predominance of economic values and institutions, these right-wing intellectuals reconciled Germany's strength with its romantic soul and national identity.
In the 1960s and 70s, a new youth consciousness emerged in Western Europe which gave this period its distinct character. This volume demonstrates how international developments fused with national traditions, producing specific youth cultures that became leading trendsetters of emergent post-industrial Western societies.
