DOCSLIB.ORG

Hannah Höch, Til Brugman, Lesbianism, and Weimar Sexual Subculture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hannah Höch, Til Brugman, Lesbianism, and Weimar Sexual Subculture HANNAH HÖCH, TIL BRUGMAN, LESBIANISM, AND WEIMAR SEXUAL SUBCULTURE by JULIE NERO Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Julie Nero_____________ candidate for the Doctor of Philosophy degree*. _____________ Anne L. Helmreich _____________ (Chair of the committee) ______________ Ellen G. Landau _______________ _____________ Catherine B. Scallen _____________ _____________ T. Kenny Fountain ______________ September 10, 2012 *We also certify that written approval has been obtained for any proprietary material contained therein. ii TABLE OF CONTENTS Table of Contents iii List of Figures ix Acknowledgements xxi Abstract xxii Introduction 1 Chapter I Dada’s “Good Girl” and her Recurring Obsessions Introduction 20 Hannah Höch’s early life and career 24 Höch and the Dadaists 29 Photomontage: Conflict and Rupture 31 Höch and her Contemporaries: Aesthetic and Technique 34 Words not Pictures: Language and Sexism? 37 The 1920 Dada Fair and Höch’s Cut with the Kitchen Knife 40 Beyond Berlin: Höch and her Contemporaries 46 Höch and the Human Hybrid 48 Der Vater and Dada-Ernst: Höch and Female Sexual Agency 51 The Lighter Side of the New Woman: Höch’s Da-Dandy and Die Mädchen 60 Höch’s ‘fluid’ Sexual Identity? 63 iii Chapter II The Lesbian in Weimar and Hannah Höch’s Russian Dancer and English Dancer 71 Representations of Lesbians in Weimar 75 Mädchen in Uniform 78 Lesbian Books and Magazines and Popular Weimar Culture 83 Weimar Lesbian Representations of Female Nudity 85 Lesbian Subculture and Weimar Körperkultur 88 Berlin Lesbians and Weimar Entertainment and Dance Culture 92 Pornography, Sexual Depravity, and Lesbian Representation 97 Lesbian Ecstasy 102 Depicting Lesbianism: Mirroring 103 The Contribution of Weimar Lesbian Print Media 110 Conclusion 111 Chapter III Lesbian Representation, Weimar Ethnography, Politics, and Hannah Höch Visual Contrast and Lesbianism 112 Jeanne Mammen and Weimar Lesbian Representation 113 Weimar Ethnography and Lesbian Representation 117 Exoticism and Eroticism 118 Weimar Ethnography and the Russian 120 The Russian Ballet 126 Ballet and Weimar Eugenics 128 iv The Healthy Weimar Lesbian: the ultimate New Woman 130 Hannah Höch’s Liebe 132 Dreams and Utopia: Höch, Lesbian Representation, and the Rise of Nazism 137 Chapter IV Hannah Höch and Til Brugman: Creative Collaboration, Social Critique, and Political Resistance Introduction 144 Til Brugman 146 Til Brugman and the avant-garde 147 The literary Grotesque 149 Gender and the avant-garde 151 Hannah Höch and Til Brugman: A Lesbian Couple 156 Repression and Censorship 160 “Brave or foolish:” Höch hides Brugman’s Manuscripts 165 Hannah Höch and Til Brugman: Joint Commercial Projects 169 “Von Hollands Blumenfelder” 170 Scheingehacktes 180 “Scheingehacktes” 183 “Schaufensterhypnose” 186 Weimar Sexism: Brugman’s female Victims and Höch’s disturbed Brides 188 Brugman’s “Himilia” 189 Höch’s English Dancer and “Himilia” 194 The Fetishization of the Female Body in Weimar and Höch’s Marlene 197 v Conclusion 201 Chapter V Hannah Höch’s Tamer, Sexology, and Weimar Sexual Subculture Introduction 203 The New Woman 204 Nineteenth-century Sexology: Karl Heinrich Ulrichs, Carl Westphal, and Richard von Krafft-Ebing 207 Magnus Hirschfeld 212 Hirschfeld and Sexual Intermediacy 215 Hirschfeld: Sexology and Photography 218 Hirschfeld’s Transvestites, 1910 220 Sexual Deviancy and Weimar “Life through the eyes” 221 Weimar Culture and the Cross-dresser 222 The Feared Masculinization of Women and the Garçonne 226 Bearded Women and “Terrifying News” 229 Weimar Subculture and the Cross-dresser 230 Gertrud Liebherr’s “Moderne Fotokunst” 231 The Weimar Transvestite Voo-Doo and Höch’s Tamer 234 Sexual Intermediacy and Höch’s Tamer 235 Höch’s Tamer and Weimar Criminology 239 Conclusion 241 vi Chapter VI The Wonders of Weimar Endocrinology: Höch’s gender-hybrids and Brugman’s literary Grotesques Introduction 243 Eugen Steinach and Surgical Rejuvenation 245 Der Steinach Film 248 Hannah Höch’s Strong Men 252 Til Brugman and Weimar Sexology 256 “Revision am Himmel” 257 “Warenhaus der Liebe” 257 Weimar Sexology and “Extreme Transvestites” 263 Gender Reassignment Surgery 267 Gender Reassignment and the Weimar Print Media 269 Hannah Höch’s Sweet One: The Surgical Construction of Gender? 271 Einar Wegener: “Aus Mann wird Frau” 273 Einar becomes Lili: Constructing Femininity 275 Transsexuals, Homosexuals and Gender Montage 279 Conclusion 280 Chapter VII Conclusion 283 Hannah Höch’s Nazi-era Oeuvre: Nature Studies and Abstraction 292 “Ich fühlte die Freiheit—die Freiheit!” 297 Certain recurring Obsessions: Höch and the ‘new’ New Woman 299 vii Figures 303 Bibliography 445 viii LIST OF FIGURES 1.1 Hannah Höch, 1915. Hannah Höch Archiv (HH Archiv), Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Berlin. 303 1.2 Til Brugman, ca. 1905. HH Archiv, Berlinische Galerie. 304 1.3 Hannah Höch, Dada-Puppen (Dada-Dolls), 1916-1918. Cloth and diverse materials, c. 60 cm. Berlinische Galerie. 305 1.4 Hannah Höch, Entartet (Degenerate), 1969. Collage, 34. 4 x40.5 cm. Collection Landesbank Berlin AG. 306 1.5 Entwurf für das Denkmal eines bedeutendes Spitzenhemdes (Design for a Memorial for an Important Lace-Shirt) 1922. Collage, 27.6 x 17 cm. Hamburger Kunsthalle. 307 1.6 Raoul Hausmann, Photo Hannah Höch, 1919. Berlinische Galerie. 308 1.7 Hannah Höch, Oz, der Tragöde (Oz, the Tragic Actor) 1919. Photomontage, dimensions unknown. Lost. 309 1.8 Raoul Hausmann, ABCD, 1923-24. Photomontage, 40.6 x 28.6 cm. Musée National d’Art Moderne, Centre Georges Pompidou, Paris. 310 1.9 Kurt Schwitters, Miss Blanche, 1923. Collage, 15.9 x 12.7 cm. Collection Dr. Werner Schmalenbach, Düsseldorf. 311 1.10 Hannah Höch, Collage (Dada), 1922-24. Collage, 24.7 x 32.8 cm. Collection Merrill C. Berman, Scarsdale, New York. 312 1.11 George Grosz and John Heartfield, Sonniges Land (Sunny Land), 1919. Photographic reproduction, dimensions and whereabouts of original unknown. Berlin, Akademie der Künste, John Heartfield Archiv. 313 1.12 Hannah Höch, Schnitt mit dem Küchenmesser Dada durch die letzte weimarer Bierbauchkulturepoche Deutschlands (Cut with the Kitchen Knife Dada through ix the last Weimar Beer Belly Cultural Epoch of Weimar Germany), 1919-20. Photomontage, 114 x 90 cm. Neue Nationalgalerie Staatliche Museen, Preussischer Kulturbesitz Berlin. 314 1.13 Hannah Höch, Die Mädchen (The Girls), 1921. Photomontage, dimensions unknown. Lost. 315 1.14 Hannah Höch, Da-Dandy, 1919. Photomontage, 30 x 23 cm. Private Collection. 316 1.15 Hannah Höch, Dada-Ernst (Dada-Serious/Grave), 1920-21. Photomontage, 18.6 x 16.6 cm. Collection Vera and Arturo Schwarz, Milan. 317 1.16 Max Ernst, Le Cygne est bien paisable (The Swan is quite Peaceful), 1920. Gouache on photographic enlargement of photomontage, 21 x 29 cm. Collection Düsseldorf WestLB. 318 1.17 Johannes Baargeld, Typical Vertical Misrepresentation as a Depiction of the Dada Baargeld (Self-portrait), 1920. Photomontage, 37.1 x 31 cm. Kunsthaus Zürich. 319 1.18 Max Ernst, Jean Hatchet and Charles the Bold, 1929. Collage, 34 x 20 cm. Cleveland Museum of Art. 320 1.19 Marcel Janco, Oscar Dominguez, Jean Arp, Sophie Taeuber-Arp, Cadavre Exquis, 1937. Mixed media on paper, 30.6 x 23.6 cm. Stiftung Arp, Rolandseck. 321 1.20 Hannah Höch, Grotesque, 1963. Photomontage, 25 x 17 cm. Institut für Auslandsbeziehungen, Stuttgart. 322 1.21 Hannah Höch, Der Vater (The Father), 1920. Galerie Berinson, Berlin. 323 1.22 Abtreibungsinstrumente (Abortion-instruments). Magnus Hirschfeld, Vol. 4. Bilderteil: Geschlechtskunde auf Grund dreissigjähriger Forschung und Erfahrung bearbeitet (Stuttgart: Julius Püttmann Verlags- buchhandlung, 1930), 341. 324 1.23 Gustave Courbet, L’Origine du Monde (1866). Oil on Canvas, 46 x 55 cm. Musée d’Orsay, Paris. 325 x 1.24 Sheela-na-Gig, Corbel in the Church of St. Mary and St. David, Kilpeck, Ireland, 12th-century. Pictured in Monica Sjöö, The Great Cosmic Mother of All (San Francisco: Harper and Row, 1987), p. 320. 326 1.25 Max Ernst, Les Hommes n’en Sauront Rien (Of this Men Shall Know Nothing), 1923. Oil on canvas, 81 x 64 cm. Tate Gallery, London. 327 1.26 Eric von Stroheim as Count Karamzin. Foolish Wives, Universal Jewel (1922). 328 2.1 Hannah Höch, Rüssische Tänzerin (Russian Dancer), 1928. Photomontage, 30.5 x 22.5 cm. Herzog Anton Ulrich-Museums Braunschweig, Kunstmusem des Landes Niedersachsen. 329 2.2 Hannah Höch, Englische Tänzerin (English Dancer), 1928. Photomontage, 23.7 x 18 cm. Institut für Auslandsbeziehungen, Stuttgart. 330 2.3 Romaine Brooks, Una, Lady Troubridge, 1923. Oil on Canvas, 127.3 x 76.4 cm. Smithsonian American Art Museum. 331 2.4 Anonymous cover photograph (Three Nude Women). Liebende Frauen, 3. Jg., no. 36 (1927). 332 2.5 Hannah Höch, Album (Scrapbook), undated, ca. 1933, unpaginated. Berlinische Galerie. 333 2.6 Hannah Höch, Equilibre (Equilibrium), 1925. Photomontage, 30.5 x 20.3 cm. Institut für Auslandsbeziehungen, Stuttgart. 334 2.7 Nacktkultur im Film. Aus der Zeitschrift: Schönheit [Wilhelm Prager, Film Still, Wege der Kraft und Schönheit, 1925]. Albert Moll, Polizei und Sitte: Die Polizei in Einzeldarstellungen, mit Genehmigung des Preuss. Ministerium des Innern. Herausgegeben von Dr. W. Abegg, Staatssekretär im Preussischen Ministerium des Innern (Berlin: Gersbach und Sohn Verlag G.M.B.H., 1926), vol. 9., p. 31. 335 2.8 Kupfer und Meyer, Tänzerinnen (Female Dancers). Die Freundin, August 8, 1927. 336 2.9 Anonymous cover photograph (Three Nude Women on a Beach). Die Freundin 7. Jg., no. 39, Sept., 16, 1931. 337 xi 2.10 Anonymous cover Illustration. Ruth Margarete Roellig, Berlins lesbische Frauen, mit einem Vorwort von Dr. Magnus Hirschfeld (Leipzig: Bruno Gebauer Verlag für Kulturprobleme, 1928). 338 2.11 Otto Hahn, cover Illustration. Marie-Renée Mecke-Daumas, Die klugen Jungfrauen, eine Sittenbild aus Berlin W. (Leipzig: W. Borngräber, 1924).
Load more

Recommended publications
  • And Gold 80 Years Ago
    HIGHLIGHTS Welcome from our AAAA President ............. 3 AA Superintendent ..................................... 4 The Blue AA High School Principal ........................... 5 AA Elementary Principal ........................... 5 and Gold 80 years ago ............................................... 6 Past Yearbook Dedications ....................... 9 Outstanding Service Award ...................... 11 2019 Sports Hall of Fame Inductees ................. 12 Alfred Almond Central School Spotlight on Alumni ................................... 16 Alumni Newsletter Scholarships Class of 2018 ..................... 20 Summer Campers say Thank You ............ 23 Reunion News ........................................... 24 Alumni News .............................................. 29 Dues Payers .............................................. 33 Donations ................................................... 36 ALMOND--- More than 260 Alfred-Almond Central School alumni gathered at Alfred Memorials ................................................... 42 State’s Central Dining Hall on July 21 for their 58th annual alumni banquet. The theme, Condolences ............................................. 45 “A Blue and Gold Christmas in July” was carried out in the room décor, printed pro- Notice of Annual Membership meeting ..... 46 grams and table decorations. RSVP/Reservation Form ........................... 49 Special guests for the event were the 2018 scholarship winners, who received $40,000 in awards presented by AAAA President Lisa Patrick,
    [Show full text]
  • Wavebid > Buyers Guide
    Auction Catalog March 2021 Auction Auction Date: Sunday, Feb 28 2021 Bidding Starts: 12:00 PM EST Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 02/28/2021 07:36 AM Lot Title & Description Number 12" x 16" Wyland Lucite Limited Edition Orca Family Statue - Free form clear lucite form reminiscent of ice with sun softened edges 1 holding family pod of 3 Orcas/ killer whales, etched Wyland signature lower left, numbered 105/950 lower right - in house shipping available 2 6" x 4" Russian Lacquerware Box Signed and Numbered with Mythic Cavalry Scene - Black Ground, Bright Red Interior - In House Shipping Available Tiffany & Co. Makers Sterling Silver 6 1/2" plate - 16052 A, 7142, 925-1000, beautiful rimmed plate. 5.095 ozt {in house shipping 3 available} 2 Disney Figurines With Original Boxes & COA - My Little Bambi and Mothe # 14976 & Mushroom Dancer Fantasia. {in house shipping 4 available} 2 Art Glass Paperweights incl. Buccaneers Super Bowl Football - Waterford crystal Super Bowl 37 Buccaneers football #1691/2003 & 5 Murano with copper fleck (both in great condition) {in house shipping available} 6 Hard to Find Victor "His Master's Voice" Neon Sign - AAA Sign Company, Coltsville Ohio (completely working) {local pick up or buyer arranges third party shipping} 7 14K Rose Gold Ring With 11ct Smokey Topaz Cut Stone - size 6 {in house shipping available} 8 5 200-D NGC Millennium Set MS 67 PL Sacagawea Dollar Coins - Slabbed and Graded by NGC, in house shipping available Elsa de Bruycker Oil on Canvas Panting of Pink Cadillac Flying in to the distance - Surrealilst image of cadillac floating above the road 9 in bright retro style, included is folio for Elsa's Freedom For All Statue of Liberty Series - 25" x 23" canvas, framed 29" x 28" local pick up and in house shipping available 10 1887 French Gilt Bronze & Enamel Pendent Hanging Lamp - Signed Emile Jaud Et Jeanne Aubert 17 Mai 1887, electrified.
    [Show full text]
  • Literature and Film of the Weimar Republic (In English Translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 Weeks), 10:00 A.M
    Instructor: Marion Gerlind, PhD (510) 430-2673 • [email protected] Literature and Film of the Weimar Republic (in English translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 weeks), 10:00 a.m. — 12:30 p.m. University Hall 41B, Berkeley, CA 94720 In this interactive seminar we shall read and reflect on literature as well as watch and discuss films of the Weimar Republic (1919–33), one of the most creative periods in German history, following the traumatic Word War I and revolutionary times. Many of the critical issues and challenges during these short 14 years are still relevant today. The Weimar Republic was not only Germany’s first democracy, but also a center of cultural experimentation, producing cutting-edge art. We’ll explore some of the most popular works: Bertolt Brecht and Kurt Weill’s musical play, The Threepenny Opera, Joseph von Sternberg’s original film The Blue Angel, Irmgard Keun’s bestseller The Artificial Silk Girl, Leontine Sagan’s classic film Girls in Uniform, Erich Maria Remarque’s antiwar novel All Quiet on the Western Front, as well as compelling poetry by Else Lasker-Schüler, Gertrud Kolmar, and Mascha Kaléko. Format This course will be conducted in English (films with English subtitles). Your active participation and preparation is highly encouraged! I recommend that you read the literature in preparation for our sessions. I shall provide weekly study questions, introduce (con)texts in short lectures and facilitate our discussions. You will have the opportunity to discuss the literature/films in small and large groups. We’ll consider authors’ biographies in the socio-historical background of their work.
    [Show full text]
  • 1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
    Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic.
    [Show full text]
  • WG Sebald and Outsider
    Writing from the Periphery: W. G. Sebald and Outsider Art by Melissa Starr Etzler A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Winfried Kudszus, Chair Professor Anton Kaes Professor Anne Nesbet Spring 2014 Abstract Writing from the Periphery: W. G. Sebald and Outsider Art by Melissa Starr Etzler Doctor of Philosophy in German and the Designated Emphasis in Film Studies University of California, Berkeley Professor Winfried Kudszus, Chair This study focuses on a major aspect of literature and culture in the later twentieth century: the intersection of psychiatry, madness and art. As the antipsychiatry movement became an international intervention, W. G. Sebald’s fascination with psychopathology rapidly developed. While Sebald collected many materials on Outsider Artists and has several annotated books on psychiatry in his personal library, I examine how Sebald’s thought and writings, both academic and literary, were particularly influenced by Ernst Herbeck’s poems. Herbeck, a diagnosed schizophrenic, spent decades under the care of Dr. Leo Navratil at the psychiatric institute in Maria Gugging. Sebald became familiar with Herbeck via the book, Schizophrenie und Sprache (1966), in which Navratil analyzed his patients’ creative writings in order to illustrate commonalities between pathological artistic productions and canonical German literature, thereby blurring the lines between genius and madness. In 1980, Sebald travelled to Vienna to meet Ernst Herbeck and this experience inspired him to compose two academic essays on Herbeck and the semi-fictionalized account of their encounter in his novel Vertigo (1990).
    [Show full text]
  • Ginosko21.Pdf
    1 Ginosko Literary Journal #21 Summer 2018 GinoskoLiteraryJournal.com PO Box 246 Fairfax, CA 94978 Robert Paul Cesaretti, Editor Member CLMP Est. 2002 Writers retain all copyrights Cover Art “Giacometta” by Deborah Childress 2 ginosko A Greek word meaning to perceive, understand, realize, come to know; knowledge that has an inception, a progress, an attainment. The recognition of truth from experience. γινώσκω 3 The craft or art of writing is the clumsy attempt to find symbols for the wordlessness. In utter loneliness a writer tries to explain the inexplicable. And sometimes if he is very fortunate and if the time is right, a very little of what he is trying to do trickles through — not ever much. And if he is a writer wise enough to know it can't be done, then he is not a writer at all. A good writer always works at the impossible. There is another kind who pulls in his horizons, drops his mind as one lowers rifle sights. And giving up the impossible he gives up writing. Whether fortunate or unfortunate, this has not happened to me. The same blind effort, the straining and puffing go on in me. And always I hope that a little trickles through. This urge dies hard. John Steinbeck 4 C O N T E N T S Sparks 11 Chris Connolly Skater 14 Donna D. Vitucci TWO SECRETS 15 Norbert Kovacs Midnight’s mistress 19 Poor men’s currency 21 The weight of water in would-be mermaid lungs 23 Jessica Simpkiss Skinny 26 Birthday Gifts from A Lover 29 Refuge 30 Tattoo 31 Victoria Endres Ordering in Four Movements 33 Luanne Castle ON A SWEET RIVER 38 Elizabeth
    [Show full text]
  • Exhibitions 2021/22
    Press Release Berlin, 23.9.21 , © Privatsammlung © , 1910 Ferdinand Hodler , Der Frühling, ca. Ferdinand Hodler and Modernist Berlin 10.9.21 – 17.1.22 Ferdinand Hodler’s evocative figure paintings, moun- tain landscapes and portraits are Modernist icons. The Swiss artist (1853–1918), an influential force in symbolism, drew great international acclaim even in his own lifetime. Contemporaries valued Hodler above all as a master of human characterisation: as the artist Paul Klee noted in 1911, he could “create the soul by painting the body”. Few people realise today that Hodler’s path to fame lay through Berlin. At the dawn of the 20th century, the capital of the German Berlinische Galerie, © Foto: Noshe Reich had become a leading hub of European art alongside Paris, Vienna and Munich. These cities Exhibitions offered Hodler a chance to publicise his work outside Switzerland. The exhibition “Ferdinand Hodler and Modernist Berlin” traces his success on the banks of 2 021/22 the Spree. From 1898 until the outbreak of the First World War, the artist exhibited here almost annually: first at the Great Berlin Art Exhibition, then at the Berlin Secession and in a number of galleries. The presentation at the Berlinische Galerie will bring together about 50 paintings by Hodler from German and Swiss collections, including 30 from the Kunst- museum Bern, our partner in this collaboration. It will also feature works by artists who exhibited with Hodler in Berlin, including Lovis Corinth, Walter Leistikow, Hans Thoma and Julie Wolfthorn. The exhibition is a cooperation between the Berlinische Galerie and the Kunstmuseum Bern.
    [Show full text]
  • INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessingiiUM-I the World's Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8812304 Comrades, friends and companions: Utopian projections and social action in German literature for young people, 1926-1934 Springman, Luke, Ph.D. The Ohio State University, 1988 Copyright ©1988 by Springman, Luke. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 COMRADES, FRIENDS AND COMPANIONS: UTOPIAN PROJECTIONS AND SOCIAL ACTION IN GERMAN LITERATURE FOR YOUNG PEOPLE 1926-1934 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Luke Springman, B.A., M.A.
    [Show full text]
  • Max Beckmann Alexej Von Jawlensky Ernst Ludwig Kirchner Fernand Léger Emil Nolde Pablo Picasso Chaim Soutine
    MMEAISSTTEERRWPIECREKSE V V MAX BECKMANN ALEXEJ VON JAWLENSKY ERNST LUDWIG KIRCHNER FERNAND LÉGER EMIL NOLDE PABLO PICASSO CHAIM SOUTINE GALERIE THOMAS MASTERPIECES V MASTERPIECES V GALERIE THOMAS CONTENTS MAX BECKMANN KLEINE DREHTÜR AUF GELB UND ROSA 1946 SMALL REVOLVING DOOR ON YELLOW AND ROSE 6 STILLEBEN MIT WEINGLÄSERN UND KATZE 1929 STILL LIFE WITH WINE GLASSES AND CAT 16 ALEXEJ VON JAWLENSKY STILLEBEN MIT OBSTSCHALE 1907 STILL LIFE WITH BOWL OF FRUIT 26 ERNST LUDWIG KIRCHNER LUNGERNDE MÄDCHEN 1911 GIRLS LOLLING ABOUT 36 MÄNNERBILDNIS LEON SCHAMES 1922 PORTRAIT OF LEON SCHAMES 48 FERNAND LÉGER LA FERMIÈRE 1953 THE FARMER 58 EMIL NOLDE BLUMENGARTEN G (BLAUE GIEßKANNE) 1915 FLOWER GARDEN G (BLUE WATERING CAN) 68 KINDER SOMMERFREUDE 1924 CHILDREN’S SUMMER JOY 76 PABLO PICASSO TROIS FEMMES À LA FONTAINE 1921 THREE WOMEN AT THE FOUNTAIN 86 CHAIM SOUTINE LANDSCHAFT IN CAGNES ca . 1923-24 LANDSCAPE IN CAGNES 98 KLEINE DREHTÜR AUF GELB UND ROSA 1946 SMALL REVOLVING DOOR ON YELLOW AND ROSE MAX BECKMANN oil on canvas Provenance 1946 Studio of the Artist 60 x 40,5 cm Hanns and Brigitte Swarzenski, New York 5 23 /8 x 16 in. Private collection, USA (by descent in the family) signed and dated lower right Private collection, Germany (since 2006) Göpel 71 2 Exhibited Busch Reisinger Museum, Cambridge/Mass. 1961. 20 th Century Germanic Art from Private Collections in Greater Boston. N. p., n. no. (title: Leaving the restaurant ) Kunsthalle, Mannheim; Hypo Kunsthalle, Munich 2 01 4 - 2 01 4. Otto Dix und Max Beckmann, Mythos Welt. No. 86, ill. p. 156.
    [Show full text]
  • Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
    31 AUG 13 | 18—2 UHR Lange Nacht der Museen JUNGE WILDE & ALTE MEISTER Museumsinformation Berlin (030) 24 74 98 88 www.lange-nacht-der- M u s e e n . d e präsentiert von OLD MASTERS & YOUNG REBELS Age has occupied man since the beginning of time Cranach’s »Fountain of Youth«. Many other loca- – even if now, with Europe facing an ageing popula- tions display different expression of youth culture tion and youth unemployment, it is more relevant or young artist’s protests: Mail Art in the Akademie than ever. As far back as antiquity we find unsparing der Künste, street art in the Kreuzberg Museum, depictions of old age alongside ideal figures of breakdance in the Deutsches Historisches Museum young athletes. Painters and sculptors in every and graffiti at Lustgarten. epoch have tackled this theme, demonstrating their The new additions to the Long Night programme – virtuosity in the characterisation of the stages of the Skateboard Museum, the Generation 13 muse- life. In history, each new generation has attempted um and the Ramones Museum, dedicated to the to reform society; on a smaller scale, the conflict New York punk band – especially convey the atti- between young and old has always shaped the fami- tude of a generation. There has also been a genera- ly unit – no differently amongst the ruling classes tion change in our team: Wolf Kühnelt, who came up than the common people. with the idea of the Long Night of Museums and The participating museums have creatively picked who kept it vibrant over many years, has passed on up the Long Night theme – in exhibitions, guided the management of the project.We all want to thank tours, films, talks and music.
    [Show full text]
  • Catalog 208: New Arrivals Folded and Gathered Signatures
    BETWEENBETWEEN THETHE COVERSCOVERS RARERARE BOOKSBOOKS Catalog 208: New Arrivals Folded and Gathered Signatures 1 Ernest HEMINGWAY A Moveable Feast New York: Charles Scribner’s Sons (1964) $3500 Unbound folded and gathered signatures. Eight signatures (including one of photographs), the first and last signature with endpapers attached. Page edges untrimmed, and consequently the signatures have minor height variations. Fine. A collection of vignettes inspired by the author’s profound nostalgia for the halcyon days of his early career. This is the final pre-binding state before the signatures are sewn together and the pages trimmed. Rare in this format. [BTC#334030] 2 Robert LOWELL Notebook 1967-68 Farrar, Straus, Giroux: New York (1969) $2750 First edition. Fine in about fine dustwrapper with a small crease on the rear flap. From the library of Pulitzer Prize-winning author Peter Taylor and his wife, the National Book Award-nominated poet Eleanor Ross Taylor. Inscribed by Lowell using his nickname: “For Peter and Eleanor with all the love I can scribble. Cal.” Lowell and Peter Taylor were very close friends and colleagues and were instrumental on each other’s careers. They both attended Kenyon College where they were roommates and studied under Allen Tate and John Crowe Ransom. [BTC#355686] BETWEEN THE COVERS RARE BOOKS CATALOG 208: NEW ARRIVALS 112 Nicholson Rd. Terms of Sale: Images are not to scale. Dimensions of items, including artwork, are given width Gloucester City, NJ 08030 first. All items are returnable within 10 days if returned in the same condition as sent. Orders may be reserved by telephone, fax, or email.
    [Show full text]
  • Love Between Women in the Narrative of the Holocaust
    University of South Carolina Scholar Commons Theses and Dissertations 2015 Unacknowledged Victims: Love between Women in the Narrative of the Holocaust. An Analysis of Memoirs, Novels, Film and Public Memorials Isabel Meusen University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Meusen, I.(2015). Unacknowledged Victims: Love between Women in the Narrative of the Holocaust. An Analysis of Memoirs, Novels, Film and Public Memorials. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3082 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Unacknowledged Victims: Love between Women in the Narrative of the Holocaust. An Analysis of Memoirs, Novels, Film and Public Memorials by Isabel Meusen Bachelor of Arts Ruhr-Universität Bochum, 2007 Master of Arts Ruhr-Universität Bochum, 2011 Master of Arts University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2015 Accepted by: Agnes Mueller, Major Professor Yvonne Ivory, Committee Member Federica Clementi, Committee Member Laura Woliver, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Isabel Meusen, 2015 All Rights reserved. ii Dedication Without Megan M. Howard this dissertation wouldn’t have made it out of the petri dish. Words will never be enough to express how I feel.
    [Show full text]