Books in the Weimar & Now: German Cultural Criticism series

This provocative study asks why we have held on to vivid images of the Nazis' total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Pamela M. Potter investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. Potter maintains that although the persecution of Jewish artists and other ';enemies of the state' was a high priority for the Third Reich, removing them from German cultural life did not eradicate their artistic legacies. Art of Suppression examines the cultural histories of Nazi Germany to help us understand how the circumstances of exile, the Allied occupation, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life during the Third Reich.

For many Germans the hyperinflation of 1922 to 1923 was one of the most decisive experiences of the twentieth century. This title investigates the effects of that inflation on German culture during the Weimar Republic.

Explores the social, cultural, and ideological contexts in which Franz Kafka and his contemporaries flourished, revealing previously unseen relationships between politics and culture. This book identifies three fundamental areas of cultural inventiveness related to this Prague circle's political and cultural dilemma.

Offers a perspective on the short-lived romance of disenchanted Western Jews with the idea of a more authentic, more meaningful lifestyle in the East.

No documentation of National Socialism can be undertaken without the explicit recognition that the "e;German Renaissance"e; promised by the Nazis culminated in unprecedented horror-World War II and the genocide of European Jewry. With The Third Reich Sourcebook, editors Anson Rabinbach and Sander L. Gilman present a comprehensive collection of newly translated documents drawn from wide-ranging primary sources, documenting both the official and unofficial cultures of National Socialist Germany from its inception to its defeat and collapse in 1945. Framed with introductions and annotations by the editors, the documents presented here include official government and party pronouncements, texts produced within Nazi structures, such as the official Jewish Cultural League, as well as documents detailing the impact of the horrors of National Socialism on those who fell prey to the regime, especially Jews and the handicapped. With thirty chapters on ideology, politics, law, society, cultural policy, the fine arts, high and popular culture, science and medicine, sexuality, education, and other topics, The Third Reich Sourcebook is the ultimate collection of primary sources on Nazi Germany.

Details the construction of Berlin, and explores homes and workplaces, circulation, commerce, and leisure in the German metropolis as seen through the eyes of all social classes, from the humblest inhabitants of the city slums, to the great visionaries of the modern city, and the demented dictator resolved to remodel Berlin as Germania.

In the 1930s and 40s, Los Angeles became an unlikely cultural sanctuary for a distinguished group of German artists and intellectuals-including Thomas Mann, Theodore W. Adorno, Bertolt Brecht, Fritz Lang, and Arnold Schoenberg-who had fled Nazi Germany. During their years in exile, they would produce a substantial body of major works to address the crisis of modernism that resulted from the rise of National Socialism. Weimar Germany and its culture, with its meld of eighteenth-century German classicism and twentieth-century modernism, served as a touchstone for this group of diverse talents and opinions.Weimar on the Pacific is the first book to examine these artists and intellectuals as a group. Ehrhard Bahr studies selected works of Adorno, Horkheimer, Brecht, Lang, Neutra, Schindler, Doblin, Mann, and Schoenberg, weighing Los Angeles's influence on them and their impact on German modernism. Touching on such examples as film noir and Thomas Mann's Doctor Faustus, Bahr shows how this community of exiles reconstituted modernism in the face of the traumatic political and historical changes they were living through.

Herbert Marcuse, Erich Fromm, Max Horkheimer, Franz Neumann, Theodor Adorno, Leo Lowenthal-the impact of the Frankfurt School on the sociological, political, and cultural thought of the twentieth century has been profound. The Dialectical Imagination is a major history of this monumental cultural and intellectual enterprise during its early years in Germany and in the United States. Martin Jay has provided a substantial new preface for this edition, in which he reflects on the continuing relevance of the work of the Frankfurt School.

Features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. This title is suitable for students and scholars of film and media, critical theory, and European culture and history.

Offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it.

An exploration of a work that was the epitome of German literary modernism illuminates in detail the death of the Weimar Republic's left-leaning culture of innovation and experimentation. It examines Alfred Doblin's "Berlin Alexanderplatz" (1929), a novel that questioned the autonomy and coherence of the human personality in the modern metropolis.