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Constructing the Nation CH •X ANG DF E P w Click to buy NOW! w m o w c .d k. ocu•trac CONSTRUCTING THE NATION: THE ROLE OF THE BALLAD IN TWENTIETH CENTURY GERMAN NATIONAL IDENTITY WITH SPECIAL REFERENCE TO SCOTLAND. Kirsten Kearney Submitted for the award of Doctor of Philosophy School of Languages, Cultures and Religions • German University of Stirling January 2007 CH •X ANG DF E P w Click to buy NOW! w m o w c .d k. ocu•trac ii Abstract This thesis focuses on the importance of the ballad in constructing national identity in Germany during the 20th century from 1918•1978. It presents a comparative approach using Scotland as a comparator, based on three significant time periods throughout the century: the Weimar Republic, the Nazi era and the German folk revival. In each of these eras the issue of national awareness was most in evidence and national identity was being created or was a particular object of tension. The modern Scottish literary renaissance and the Scottish folk revival will be used for comparative purposes. The comparative approach will also aid a deeper understanding of the concept of national identity itself. The hypothesis is that the ballad has contributed to the development of national identity in specific and differing ways in the two countries. Selected artists; poets, singers and Liedermacher have been chosen as representatives for each particular stage. The ballad in the 20th century has previously received little critical attention, thus this period has been chosen as the time frame of the thesis in an attempt to redress this balance and create new knowledge. The 20th century is also a rewarding area of study because it saw specific developments in the notion of nationalism and evidenced both the devastating results of the abuse of national identity and the positive power of the concept for nation building. The foundation of this thesis is the recognition that national identity is not necessarily natural, inherent and straightforward, but is rather a deliberate construction, created by people or groups within the nation for distinct political, social and cultural ends. CH •X ANG DF E P w Click to buy NOW! w m o w c .d k. ocu•trac iii Dedication To Clare Kennedy and Bronwen Kearney for believing I would make it. In memory of our parents Maureen Ann Kearney & James Roy Kearney CH •X ANG DF E P w Click to buy NOW! w m o w c .d k. ocu•trac iv Acknowledgements and Declaration This thesis would never have come to completion had it not been for the steady, determined and wise support of my supervisor, Professor Brian Murdoch, whose encouragement has seen me through and for whose friendship and understanding I am unreservedly grateful. Thanks are also due to Professor Rory Watson of the English Studies Department at Stirling, whose input during the early stages of this thesis was so helpful. Jane Barber• Fleming in the School of Languages, Cultures and Religions has provided over a decade of support and friendship, which has been a source of strength. This thesis would not have been possible without the generous scholarship provided by the University of Stirling. The library staff at Stirling have been extremely helpful in dealing with the complexities of working away from Stirling and my thanks are due to many specific individuals there. The input from my colleagues and friends at the Johannes Gutenberg University in Mainz has been vital in all the stages of working on this thesis. Thanks are particularly due to Dr Sigrid Rieuwerts for her ballad input, to Dr Katrin Thomas for her endless encouragement and proofreading skills, and to both Veit Straȕner and Sonja Küster for on site support and linguistic improvements. Barbara Boock at theDeutsches Volksliedarchiv in Freiburg and David Atkinson of theKommission für Volksdichtung have both provided timely and helpful input and suggestions. Staff at theDeutsches Kabarettarchiv in Mainz and the Centre for Political Song in Glasgow also provided invaluable help. Many Scottish ballad scholars, in particular Dr Valentina Bold and Dr Emily Lyle have been sources of inspiration. In the final stages of the thesis Dr David Robb at Queens University in Belfast was very generous in providing both his expertise and unpublished chapters of his forthcoming book. On a personal note, the support of many of my friends has been a source of constant strength in the years of battle with this thesis. In Stirling thanks are particularly due to Polly and Donald Rodger for their unstinting encouragement and hospitality, to Dr Fiona Darroch and Dr Clare Bird for leading the way, Lorna McAllister for calm common sense, Jo•Anne Bell and Hazel Bielinski for lightening the load, the boys in A101 for proving success comes in many forms and to many friends in Dunblane for their prayers and faith in me. In Germany many fellow•travellers come to mind and my thanks are due to all of them. Back in Belfast, thanks are especially due to Christine O’Toole for bringing light relief, lunches and small children into the PhD mix. I am also extremely grateful to Richard Kimber for his help, to John Sharp for his support and to David Lewis and Tom Magill for their understanding and encouragement in the final months of this thesis. I owe the existence of this thesis in no small part to the encouragement of my family past and present. Without the doses of sanity that they all provide this thesis would have faltered at many times over the years. My thanks and love to them all. CH •X ANG DF E P w Click to buy NOW! w m o w c .d k. ocu•trac v I declare that this thesis is my own work and that all critical and other sources (literary and electronic) have been specifically and properly acknowledged, as and when they occur in the body of my text. Signed: Date: CH •X ANG DF E P w Click to buy NOW! w m o w c .d k. ocu•trac vi Contents Abstract........................................................................................................................................ii Dedication...................................................................................................................................iii Introduction .................................................................................................................................2 Plate 1: Quotation from Andrew Fletcher of Saltoun (1653•1716)...................... 3 i.i National Identity...............................................................................................................4 i.ii Germany and Scotland..................................................................................................19 i.iii Comparative Literature ................................................................................................24 i.iv Time Frame...................................................................................................................26 i.v Ballad Theory.................................................................................................................27 i.vi Orality / Literacy Debate..............................................................................................40 i.vii Outline..........................................................................................................................46 Chapter One...............................................................................................................................49 1.1 Introduction...................................................................................................................50 1.2 Kurt Tucholsky .............................................................................................................60 1.3 Klabund .........................................................................................................................67 Plate 2: Otto Dix, ‘Grossstadt Triptych’..............................................................79 1.4 Brecht ............................................................................................................................88 Plate 3: Georg Grosz, ‘k.v.’..................................................................................94 1.5 Kästner.........................................................................................................................103 Plate 4: Cover of Herz auf Taille. ......................................................................108 1.6 Conclusion...................................................................................................................122 Chapter Two ............................................................................................................................128 2.1 Introduction.................................................................................................................129 2.2 Gleichschaltung and Nazi National Identity.............................................................132 2.3 National Socialist Song ..............................................................................................139 2.4 Agnes Miegel..............................................................................................................152 2.5 Hans Friedrich Blunck................................................................................................170 2.6 Hans Leip ....................................................................................................................178 2.7 Conclusion...................................................................................................................188 Chapter Three ..........................................................................................................................191
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