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New design, neoplasticism = Nieuwe beelding
Although Piet Mondrian was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Starting with a philosophical foray in which he describes art as a figurative expression of human existence, Mondrian embeds his concept of a 'New Design' in the various forms of artistic expression. He looks into the question of whether there is a prevailing hierarchy between painting and architecture and dares to take a far-reaching look at the future of neoplasticism. Harry Holtzman's renowned translations of Mondrian's five essays on 'New Design' appear in this volume in a complete compilation for the first time. The publication is true to the content and design of the German first edition of 1925.
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Weimar : from Enlightenment to the present
Historian Michael H. Kater chronicles the rise and fall of one of Germany's most iconic cities in this fascinating and surprisingly provocative history of Weimar. Weimar was a center of the arts during the Enlightenment and hence the cradle of German culture in modern times. Goethe and Schiller made their reputations here, as did Franz Liszt and the young Richard Strauss. In the early twentieth century, the Bauhaus school was founded in Weimar. But from the 1880s on, the city also nurtured a powerful right-wing reactionary movement, and fifty years later, a repressive National Socialist regime dimmed Weimar's creative lights, transforming the onetime artists' utopia into the capital of its first Nazified province and constructing the Buchenwald death camp on its doorstep. Kater's richly detailed volume offers the first complete history of Weimar in any language, from its meteoric eighteenth-century rise up from obscurity through its glory days of unbridled creative expression to its dark descent back into artistic insignificance under Nazi rule and, later, Soviet occupation and beyond.
eBook
Fairy tales and fables from Weimar days : collected utopian tales / Jack Zipes, editor ; translated by Jack Zipes
\"This is a collection of traditional German fairy tales and fables, deliberately transformed into utopian narratives and social commentary by political activists in the Weimar Republic (1919-1933). Against a backdrop of financial and political instability, widespread homelessness, and the reformation of public institutions, numerous gifted writers such as Berta Lask, Kurt Schwitters, Oskar Maria Graf and Joachim Ringelnatz responded to the need for hope among the common people by creating fairy tales and fables that offered a new and critical vision of social conditions. Though many of their tales deal with the grim situation of common people and their apparent helplessness, they are founded on the principle of hope. This revised edition includes over 50 illustrations by contemporary international artists who reveal how similar the Weimar conditions were to the conditions in which we presently live\"-- Provided by publisher.
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Translating the World
In Translating the World, Birgit Tautz provides a new narrative of German literary history in the late eighteenth and early nineteenth centuries. Departing from dominant modes of thought regarding the nexus of literary and national imagination, she examines this intersection through the lens of Germany's emerging global networks and how they were rendered in two very different German cities: Hamburg and Weimar.
German literary history has tended to employ a conceptual framework that emphasizes the nation or idealized citizenry, yet the experiences of readers in eighteenth-century German cities existed within the context of their local environments, in which daily life occurred and writers such as Lessing, Schiller, and Goethe worked. Hamburg, a flourishing literary city in the late eighteenth century, was eventually relegated to the margins of German historiography, while Weimar, then a small town with an insular worldview, would become mythologized for not only its literary history but its centrality in national German culture. By interrogating the histories of and texts associated with these cities, Tautz shows how literary styles and genres are born of local, rather than national, interaction with the world. Her examination of how texts intersect and interact reveals how they shape and transform the urban cultural landscape as they are translated and move throughout the world.
A fresh, elegant exploration of literary translation, discursive shifts, and global cultural changes, Translating the World is an exciting new story of eighteenth-century German culture and its relationship to expanding global networks that will especially interest scholars of comparative literature, German studies, and literary history.
eBook
La revolución conservadora en la República de Weimar. Definición, orígenes y grupos integrantes
El objetivo de este trabajo es ofrecer una reconstrucción de la llamada revolución conservadora de la República de Weimar. Para ello se dan tres pasos fundamentales. En primer lugar, se ofrece, de manera muy esquemática, una historia del pensamiento político conservador europeo, diferenciando cuatro de sus fases más importantes. Tras ello se analizan algunos de los orígenes intelectuales de la revolución conservadora. Por último, se reconstruyen los cinco grupos en que se divide el movimiento: los Völkisch, los Jungkonservativen o jóvenes conservadores, los Nationalrevolutionäre o nacionalrevolucionarios, los Bündischen o ligas juveniles, y el Landvolkbewegung o movimiento campesino.
Journal Article
Tame Modernism: The Manifestos of Sedad Hakkı Eldem and Orhan Veli Kanik
This study aims at comparing the two most influential manifestos of the early Republican Period in Turkey, Sedad Hakkı Eldem’s Towards A Local Architecture (Yerli Mimarîye Doğru, 1940) and Orhan Veli Kanık’s Foreword to the Strange Anthology (Garip Antolojisi Önsözü, 1941). The texts include several common features along with comparable differences exemplifying the cultural shift in Turkey in the late 1930s. The international economic crises in 1929 triggered a process of enclosed economies and nationalist governments around the world followed by a cultural shift from international avant-garde to an intrinsic populism. Especially the countries founded after the First World War, such as the Weimar Republic, the Soviet Union, and Turkey, experienced the process as a very sharp turn. The discrimination in Nazi Germany and the total control of arts in the Soviet Union were the extremes, which Turkey has not undergone, but the change of focus towards folk culture and popular taste accompanied by intolerant Statist restoration was conspicuous. Eldem and Veli’s manifestos are based on the principal traits of the transformational role of arts, the search for a social self-identity, and the need for communication with the masses. Whereas their ideological attitude toward society’s identity differs, they separately argue that art should be part of the social transformation and modernization. They assert that their respective fields should be suitable for the lifestyle, taste, and the country’s conditions. In terms of style, they argue that a regionalist attitude in architecture and the use of daily language in poetry could facilitate the necessary communication with the masses. The manifestos of Eldem and Veli constitute essential and rare theoretical ventures, which have determined the framework of art in popular opinion for a few decades, while their parallelism exemplifies the outlines of the cultural shift in the 1930s.
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Weimar Thought
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 Thoughtpresents 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 Thoughtprovides insight into the rich developments behind the intellectual foundations of modernity.
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Why Democracies Survive
Experts worry that de facto single-person regimes in previous multiparty states (Russia, Turkey, Venezuela) and norm-defiance in existing democracies (Brazil, Hungary, the United States) signal a coming authoritarian age. Without examining the broader record, however, it is hard to know whether such tremors presage a global convulsion. A century's worth of evidence (1920–2019) shows that contemporary democracies are sturdier than they look. Above all, high levels of economic development continue to sustain multipartism; OECD democracies have faced less risk than often intimated. Further, competition among political parties, regardless of national affluence, contains a momentum that even the most willful demagogues have had trouble stopping. These economic and institutional bulwarks help explain why democratic backsliding, which seems so portentous, has preceded democratic survival more often than breakdown. Even as executive aggrandizement and rancorous partisanship roil the world's most venerable democracies, they are unlikely to produce new autocracies absent permissive material conditions.
Journal Article
Traces of a Jewish Artist
Graphic artist, illustrator, painter, and cartoonist Rahel
Szalit (1888-1942) was among the best-known Jewish women artists in
Weimar Berlin. But after she was arrested by the French police and
then murdered by the Nazis at Auschwitz, she was all but lost to
history, and most of her paintings have been destroyed or gone
missing. Drawing on a range of primary and secondary sources, this
biography recovers Szalit's life and presents a stunning collection
of her art.
Szalit was a sought-after artist. Highly regarded by art
historians and critics of her day, she made a name for herself with
soulful, sometimes humorous illustrations of Jewish and world
literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles
Dickens, and others. She published her work in the mainstream
German and Jewish press, and she ran in artists' and queer circles
in Weimar Berlin and in 1930s Paris. Szalit's fascinating life
demonstrates how women artists gained access to Jewish and
avant-garde movements by experimenting with different media and
genres.
This engaging and deeply moving biography explores the life,
work, and cultural contexts of an exceptional Jewish woman artist.
Complementing studies such as Michael Brenner's The Renaissance
of Jewish Culture in Weimar Germany , this book brings Rahel
Szalit into the larger conversation about Jewish artists,
Expressionism, and modern art.
eBook
gegen alles Nachtheilige bestens verwahrt.“: Wielands clandestine Publikationsstrategien
Der Beitrag geht der Frage nach, inwieweit und in welchen Hinsichten sich Wielands Werke der clandestinen Literatur der Aufklärung zurechnen lassen. Entscheidend hierfür ist sein Verhältnis zur Zensur, das sein Schreiben und seine Tätigkeit als Herausgeber eigener Werksammlungen und des Teutschen Merkur entscheidend prägte. Anhand seiner Auseinandersetzungen mit den Zensurbehörden in Zürich, Wien und Kurmainz wird gezeigt, daß Wieland clandestine Publikationswege ab dem Zeitpunkt vermeidet, an dem er sich für die Existenz als freier Schriftsteller entschieden hatte. Allerdings formte und belieh er, um weiterhin seinem Ideal aufgeklärten Schreibens folgen zu können, clandestine Schreibweisen. Mit ihnen vermochte er es, sich Freiräume unbevormundeten Denkens zu schaffen. Um sich gegen Zensureingriffe abzusichern, deklarierte er darüber hinaus Clandestinität auch zu einem Modus der Rezeption, die dem Schriftsteller nicht zur Last gelegt werden dürfe. This contribution is devoted to the question to what degree and in what regard can Wielands works be assigned to the clandestine literature of the Enlightenment. Decisive in these matters is his relationship to censorship, which was a formative influence upon his writing and his activities as the publisher of collections of his own works as well as the journal Teutscher Merkur. On the basis of his disputes with the censorship authorities in Zurich, Vienna and Mainz it will be shown that Wieland avoided clandestine publishing activities after he had decided to live as an independent author. On the other hand he continued to practice forms of clandestine writing in order to pursue his ideals of Enlightenment authorship. On this basis, he was able to open up new possibilities for free and independent thinking. In order to protect himself against the obstructions of censorship, he also declared clandestinity to a mode of reception for which the author carried no responsibility.
Journal Article