American historian of modern Europe and Germany McClelland warns that he is offering a social rather than traditional art history, and approaches artists as social beings not isolated geniuses. He limits his study to visual artists in Germany only because his original plan proved too grand, but hopes readers can generalize to artists in other fields, elsewhere in Europe, and across the Atlantic. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).
From the late seventeenth century into the eighteenth, critics and authors in Germany defended the novel: indeed it depicted vice and immorality, but only with the intention of exhorting the reader to avoid such dangers to the soul. This book examines outstanding novels of life from the Thirty Years' War to the Vormärz, mostly written with this real or apparent moral aim, and evaluates them as documents of social history. The author finds that concepts of truth and plausibility are different in the early modern period. Initial and closing chapters deal with French novels, showing how approaches to society differ across national cultures.
To survey art history as a whole was a pressing task for a generation of German scholars around the mid-nineteenth century. Their projections of a historicist chain of artworks ranged from textual narratives without illustrations, to separate picture compendia as well as images of a more allegorical kind. Other means with which to picture art history as part of a virtually all-encompassing cultural history were the museums of art erected in Germany at the time, in Berlin and Munich especially. This book deals with practices of representing art history in various media. This includes post-Hegelian texts and engravings of art history from the 1840s onwards, by Franz Kugler, Julius Schnorr and others. In addition, works of art of the late twentieth century, by Andy Warhol, Anselm Kiefer and others, provide opportunities to speculate on the after-effects and discursive traces of the old regime. Extending the concept of historiography to include not just textual or institutional endeavours, but a host of different images as well, from reproductive prints to pop paintings and visual archives of the digital era, this study is intended to contribute in new ways to a critical historiography of the field of art history and visual culture today.
This study traces how Rudolf Steiner (1861-1925), founder of Anthroposophy and the Waldorf schools, and the sociologist Max Weber (1864-1920) confronted the societal transformations in fin-de-siècle Germany as their primary identity marker - Bildung or self-formation - began to break down. The book documents the German bourgeoisie's failure to modernise as an «imagined community», shedding new light on the larger question about the interrelationship of science, religion and culture by situating Weber's and Steiner's work into the broader context of the sociocultural and sociopolitical transformations during which it was created. Moreover, by exploring the influences across disciplines in a historical context the book provides insight into the cultural implications of new social science and religion at the beginning of the twentieth century.
This book explores the interplay between global and local influences in theatre festivals in the German-speaking border region around Lake Constance. Whilst opening up a fascinating yet under-researched theatre region to academic study, it also provides much-needed empirical grounding for often vague theories of place, globalisation and culture. Do we really live in a 'shrinking world' dominated by a homogenising global culture industry, or are we experiencing the revival of 'local particularism'? To what extent is an apparently place-dependent cultural form such as theatre affected by the processes of cultural globalisation? Through detailed analysis of theatrical case studies from Lake Constance and the application of an interdisciplinary theoretical framework, this book begins to answer such important questions. The empirical focus is on the defining features of the Lake Constance region: the beautiful and often romanticised natural landscape of lake and mountains, and the presence of the nation-state borders which make this the crossroads of the German-speaking world. The author thus examines both open-air summer theatre festivals, such as the internationally renowned Bregenzer Festspiele, and politically focused cross-border theatre festivals, such as the youth festival TRIANGEL.
Bringing together incisive contributions from an international group of colleagues and former students, Modern Germany in Transatlantic Perspective takes stock of the field of German history as exemplified by the extraordinary scholarly career of Konrad H. Jarausch. Through fascinating reflections on the discipline’s theoretical, professional, and methodological dimensions, it explores Jarausch’s monumental work as a teacher and a builder of scholarly institutions. In this way, it provides not merely a look back at the last fifty years of German history, but a path forward as new ideas and methods infuse the study of Germany’s past.
From 1937 to 1944 the National Socialist regime organised a series of art exhibitions, Grosse Deutsche Kuntstausstellung, in Munich. This book traces the history of the exhibitions, characterises the artists and artworks shown and investigates how the local Munich tradition of displaying art was reinvented for national purposes.
"In the second volume of his planned trilogy that will recast the history of the university in a fresh and surprising light, Adam R. Nelson aims to show how knowledge, which had been commodified starting in the late eighteenth century, became industrialized in the nineteenth century. Nelson explains how the idea of the modern university arose from a set of institutional and ideological reforms designed to foster the mass production and mass consumption of knowledge--that is, the industrialization of ideas. Fusing the history of higher education with the history of capitalism, Nelson suggests that this "marketization" of knowledge propelled the institutionalization of the university, far earlier than previously understood"--
This book examines the responses of visual artists, including architects, designers and photographers, to the technological and social modernisation of Germany during the first three decades of the twentieth century. It investigates how these aspects of the modernising process inform both the subject matter and formal innovations of their work. The study analyses how these visual practices were not just the concerns of isolated and enclosed art worlds but had wider social resonances, ranging from the debates concerning the reformist objectives of the Deutscher Werkbund (1907) to the National Socialist ideological onslaught on modernist culture culminating in the Entartete Kunst (Degenerate Art) exhibitions of 1937. Many of the artists encountered here were radicalised by the First World War, the Russian Revolution and the November 1918 Revolution in Germany, experiences which effected change in their conceptualising of cultural production and its social function: their modes of working, however, would also set challenging markers for what forms art might take for the twentieth century. The book is, therefore, both a study of art in complex political and sociocultural contexts and a reflection on how engagement with a social imagination can challenge a tradition based on the assumptions of individual imaginings.
