DOCSLIB.ORG

Aeg & Peter Behrens

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aeg & Peter Behrens AEG & PETER BEHRENS: SYMBOLISM IN THE FIRST CORPORATE IDENTITY DESIGN A Thesis Submitted to the Graduate School of Engineering and Sciences of İzmir Institute of Technology in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in Architecture by Uygar BOZTEPE June 2012 İZMİR ACKNOWLEDGEMENT First of all, I owe sincere and earnest thankfulness to my supervisor Assoc. Prof. Dr. Şebnem Yücel for her patience, guidance, friendship and also for her challenging critiques that transformed my writing process into a learning process. I am equally indebted and thankful to my co-supervisor Prof. Dr. Hilde Heynen. One year of study period in Leuven under her guidance was invaluable and I am sure that this thesis would not have been possible without her understanding and encouragement. My gratitude also goes to my jury member Prof. Dr. Gülsüm Baydar for her grace and valuable comments. I would like to thank Assoc. Prof. Dr. Erdem Erten not only for his comments as my jury member but also for giving me the idea to write a paper on AEG which was the inception of this thesis. I would like to express my gratitude to Assoc. Prof. Dr. Deniz Güner and Assist. Prof. Dr. Ufuk Ersoy, they did not have chance to participate in my jury but their remarks helped a lot to enlighten my way. Assoc. Prof. Dr. Hedwig Schwall merits special thanks for her scholar generosity in helping an architect to find his way in European Literature. This thesis took the advantage of three archival works. In these archives there were several people supported me to find the right material. Martina Weiß in Klingpor Archives in Offenbach-am-Main, Ieva Akule in Mathildenhöhe Darmstadt, Claus Bründel and Jörg Schmalfuß in TechnikMuseum Berlin helped me a lot with their sincerity and scholarship. These archival visits were done in my one year exchange period in Katholieke Universiteit Leuven. Sıla Turaç Ayanoğlu in İzmir Institute of Technology and Anouck Brouwers and Pascale Conard in Katholieke Universiteit Leuven lent their kind assistance related with all bureaucratic staff. This exchange would remain just a dream without their help. While studying on the thesis lots of interesting things have happened. One of them was a moment of anagnorisis for me when I saw that I was born exactly at the same date with Peter Behrens and I would like to take this opportunity to thank to ‘life’ which is always full of surprises. This thesis is written in two cities; Leuven and İzmir. I want to thank to all of my friends in Leuven that shared my good and stressful times and made me to feel at home. Some of these wonderful friends hosted me as well at their places during my trips around Europe. Next to their friendship I owe sincere thanks to Nicola, Serena, Marco, Guiseppe, Manna, Eva, Marie, Murat, Arda and Gamze for their kind hospitality. In particular, I would like to thank to Nicole Nana for her help in translating Richard Dehmel’s poem Eine Lebensmesse. Also my thanks extend to my uncle Gündoğan for his kind support during my studies in Leuven. Writing a thesis needed sacrifice from the time that I could spend with my friends and my family in İzmir. I wish to thank to all of my friends in İzmir for their understanding and best wishes. I am very grateful for the friendship and cheerfulness of my ex-instructor and new colleague Hasibe Velibeyoğlu. Finally and most importantly, I would like to thank to my family Ulaş, Seher, Turan and Anna not only for their faith in me but also for standing by me through the good and the bad times, to whom this thesis is dedicated to. ABSTRACT AEG & PETER BEHRENS: SYMBOLISM IN THE FIRST CORPORATE IDENTITY DESIGN Some historians called Peter Behrens' designs for AEG as first corporate identity design without a detailed analysis. Another group of the historians claimed that his works for AEG were shaped by only function or machine-aesthetic. Even some of these historians saw Behrens' works as inceptors of functionalism or rationalism in modern architecture. This thesis attempts to fill the gap in literature by analyzing Behrens' works for AEG in order to understand whether his designs formed a corporate identity or not. In order to show the shortcomings of such readings, the thesis explores the symbols that were used in the designs of Behrens, even in his most-functionalist design-works. The discussion was carried out through analysis of Behrens’ and his contemporaries’ written and design works, with materials available in Klingspor, Mathildenhöhe and TechnikMuseum Berlin Archives. This analysis is done through a review of scientific management techniques and their reflections in architectural culture and by parallel readings of literature and architecture in Germany at the turn of the century. As the discussion of the thesis pointed out, Peter Behrens' designs for AEG can be called as first corporate identity design since they have a consistent design vocabulary. While designing for AEG Behrens used scientific management and mass- production techniques in his designs. However these were not the only forces that shaped his design-work. One can see the vestiges of the symbols in his works that are coming from literature and antiquity. The thesis argues that it is not possible to fully understand the architecture of Behrens without understanding symbols. The thesis hopes to make a new reading of modern architecture from a different point of view, which includes a discussion on symbolism in modern architecture, avoiding oversimplification and reductionism present in readings with functionalist focus. iv ÖZET AEG VE PETER BEHRENS: İLK KURUMSAL KİMLİK TASARIMINDA SEMBOLİZM Bazı tarihçiler ve uzmanlar Peter Behrens'in AEG için yaptığı tasarımları ilk kurumsal kimlik örneği olarak göstermektedir. Fakat Behrens’in tasarımlarının ilk kurumsal kimlik örneğini oluşturacak bir dil bütünlüğüne sahip olup olmadığı derinlemesine tartışılmamıştır. Diğer bir grup ise Peter Behrens'in AEG firması için tasarladıklarını sadece işlevselciliğin ve makine estetiğinin bir yansıması olarak adlandırmaktadır. Bu tez önerisi literatürdeki boşluğu doldurmak üzere Peter Behrens’in AEG için tasarladıklarına kurumsal kimlik perspektifinden bakmaktadır. Bu tezdeki tartışma aynı zamanda Behrens'in tasarımlarında işlevselciliğin yanı sıra kullanılan sembolleri açığa çıkararak literatürde pek çok tarihçinin yaptığı yanlış okumayı gidermeyi hedeflemiştir. Bu tezdeki tartışma için Peter Behrens ve çağdaşlarının yazılı metinlerinin incelenmesinin yanı sıra Offenbach'taki Klingspor, Darmstadt'taki Mathildenhöhe ve Berlin'deki Teknik Müzede arşiv çalışmaları yapılmıştır. Bu kaynaklardan toplanan veriler mimarlıkla edebiyat ve yine mimarlıkla bilimsel yönetim ilkeleri arasında iki farklı karşılaştırmalı çalışma ile tartışılmıştır. Bu çalışmalarla bilimsel yönetim ilkelerinin ve edebiyatın yirminci yüzyıl dönümündeki Alman mimarlığına olan yansımaları incelenmiştir. Sonuç olarak Peter Behrens’in AEG için tasarımlarının ortak bir dil oluşturarak ilk kurumsal kimlik olarak adlandırılabileceği öne sürülmüştür. Behrens'in tasarımlarında endüstrileşme ile gelen bilimsel yönetim tekniklerinin ve makine estetiğinin yansımalarının bulunduğu fakat bunların tek başına belirleyici olmadığı savlanmıştır. Bu tez o dönemde kullanılan sembolleri anlamadan, Behrens’in tasarımlarının tam anlamıyla kavranamayacağı sonucuna varmıştır. Bu sayede, bu çalışmanın yeni bir modern mimarlık okuması yaparak modern mimarlığı algılayışımızdaki bazı genellemelere engel olabileceği ve hatta modern mimarlıkta sembolizm tartışmalarını da başlatabileceği umut edilmektedir. v To my family vi TABLE OF CONTENTS LIST OF FIGURES ........................................................................................................ ix CHAPTER 1. INTRODUCTION .................................................................................... 1 CHAPTER 2. PETER BEHRENS & AEG: FORMATION OF A DESIGNER .............. 7 2.1. Pre-AEG Period ..................................................................................... 7 2.1.1. Darmstadt Artists’ Colony and the Emergence of the Crystal........ 7 2.1.2. Düsseldorf Academy of Arts: Architecture of Geometry ............. 12 2.1.3. Deutscher Werkbund: Meeting with Power ................................. 13 2.2. AEG Period .......................................................................................... 16 2.2.1. Collaboration of AEG & Behrens ................................................ 16 2.2.2. History of AEG ............................................................................ 18 2.2.3. AEG & Scientific Management: Inferences fromIndustrialization ................................................... 20 CHAPTER 3. DESIGNS FOR AEG: IN THE SEARCH OF FIRST CORPORATE IDENTITY .................... 29 3.1. Architecture: Building for AEG ........................................................... 29 3.1.1. Turbine Factory: Reflections of Industrialization ........................ 37 3.2. Industrial Design: Products for AEG ................................................... 44 3.2.1. Kettles: Reflections of Industrialization ....................................... 51 3.3. Advertisements and Printed Materials ................................................. 55 3.4. Logos .................................................................................................... 61 3.5. Typefaces ............................................................................................. 64 3.6. Behrens’ Designs for AEG: First Corporate Identity Design
Load more

Recommended publications
  • Literary Clusters in Germany from Mid-18Th to Early-20Th Century
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kuld, Lukas; O'Hagan, John Working Paper Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century TRiSS Working Paper Series, No. TRiSS-WPS-03-2019 Provided in Cooperation with: Trinity Research in Social Sciences (TRiSS), Trinity College Dublin, The University of Dublin Suggested Citation: Kuld, Lukas; O'Hagan, John (2019) : Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century, TRiSS Working Paper Series, No. TRiSS-WPS-03-2019, Trinity College Dublin, The University of Dublin, Trinity Research in Social Sciences (TRiSS), Dublin This Version is available at: http://hdl.handle.net/10419/226788 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence.
    [Show full text]
  • Pierrot Lunaire.Indb
    Cover-Abbildung: Pierrot lunaire op. 21, Nacht. Skizze | Sketch © Universal Edition A. G., Wien; Arnold Schönberg, 1924 Diese Publikation erscheint anlässlich der Sonderausstellung »Pierrot lunaire = 100« am Arnold Schönberg Center, Wien 5. Oktober 2012 – 4. Januar 2013 Impressum Medieninhaber: Herausgeber und für den Inhalt verantwortlich: Arnold Schönberg Center Privatstiftung Christian Meyer Schwarzenbergplatz 6 A-1030 Wien Gestaltungskonzept und Satz: www.schoenberg.at Forte OG, Thomas Stark Cover: Christoph Edtmayr Texte, Zusammenstellung und Redaktion: Druck: Grasl Druck & Neue Medien GmbH, Eike Feß | Therese Muxeneder Bad Vöslau Universal Edition, Wien UE 26 313 ISMN 979-0-008-08505-5 UPC 8-03452-06885-3 ISBN 978-3-7024-7174-3 www.universaledition.com Distributed in North America, Canada and Mexico by Belmont Music Publishers BEL-1090 www.schoenbergmusic.com © Arnold Schönberg Center Privatstiftung, Wien 2012 ISBN 978-3-902012-13-7 Inhalt I Contents Seite I Page Vorwort | Preface. 5 Preface to the score of Pierrot lunaire Vorwort zur Partitur des Pierrot lunaire . 6 Pierrot lunaire | Dramatis personae | Synopsis . 10 Uneingeschränkte Tonfreiheit! Unrestricted freedom of tone! . 20 Pierrot lunaire ist nicht zu singen! Pierrot lunaire should not be sung! . 28 Ich gehe unbedingt … einem neuen Ausdruck entgegen I am definitely approaching … a new form of expression . 36 Nacht – eine Kontrapunktstudie Night – a study on counterpoint . 46 Pierrot aufführen Performing Pierrot . 54 Arnold Schönberg: Begleittext zur Schallplatte Arnold Schönberg: Recording notes . 62 Gravitationszentrum Pierrot Gravitational center Pierrot . 66 Conrad Felixmüller: Pierrot lunaire, 1913. 70 Pierrot lunaire Ensemble, Berlin 1912 (v. l. n. r.: Karl Essberger, Emil Telmányi, Arnold Schönberg, Albertine Zehme, Eduard Steuermann, Hans Kindler, Hans W.
    [Show full text]
  • Rottschäfer, Readingsample
    Veröffentlichungen der Literaturkommission für Westfalen 44 Peter Hille (1854-1904) Eine Chronik zu Leben und Werk von Nils Rottschäfer 1. Auflage Peter Hille (1854-1904) – Rottschäfer schnell und portofrei erhältlich bei beck-shop.de DIE FACHBUCHHANDLUNG Thematische Gliederung: Einzelne Autoren: Monographien & Biographien Aisthesis 2010 Verlag C.H. Beck im Internet: www.beck.de ISBN 978 3 89528 791 6 Leseprobe Nils Rottschäfer Peter Hille (1854-1904) Eine Chronik zu Leben und Werk AISTHESIS VERLAG Bielefeld 2010 Abbildung auf dem Umschlag: Hille-Porträt (Datum unbekannt), Archiv der deutschen Jugendbewegung, Burg Ludwigstein, Nachlass Hugo Höppener (Fidus), Sig. N 384/460. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © Aisthesis Verlag Bielefeld 2010 Postfach 10 04 27, D-33504 Bielefeld Satz: Germano Wallmann, www.geisterwort.de Druck: docupoint GmbH, Magdeburg Alle Rechte vorbehalten ISBN 978-3-89528-791-6 www.aisthesis.de Inhalt Hinweise zur Benutzung .......................................................................... 10 I. Peter-Hille-Chronik 1854-2007 ......................................................... 11 Kindheit und Jugend in Holzhausen ....................................................... 13 Gymnasialvorbereitung in Nieheim ........................................................ 29 Gymnasien in Warburg und Münster
    [Show full text]
  • Read Book Verklarte Nacht and Pierrot Lunaire Ebook
    VERKLARTE NACHT AND PIERROT LUNAIRE PDF, EPUB, EBOOK Arnold Schoenberg,Music Scores | 144 pages | 27 Jun 2008 | Dover Publications Inc. | 9780486278858 | English | New York, United States Verklarte Nacht and Pierrot Lunaire PDF Book About this Item: Macmillan, Trade Paperback Nonfiction Books. But the performer must take great care not to lapse into a singsong speech pattern. Pierrot Lunaire, one of Schoenberg's best-known and most striking works, was composed in Free atonality. More information about this seller Contact this seller 1. This product has limited availability outside the US. Skip to main content. The piece is his opus 21, contains 21 poems, and was begun on March 12, Such works as Pierrot Lunaire are in a fully atonal style. Want to Read Currently Reading Read. Genevieve rated it it was ok Jan 02, Condition: Very Good-. More information about this seller Contact this seller 2. More information about this seller Contact this seller 3. Owner's name discreetly at base of last page. But, according to Eduard Steuermann , student of Schoenberg and pianist of the premiere, "the music was not strong enough, and someone advised her to approach Schoenberg. Arnold Schoenberg wrote Pierrot Lunaire in at the request of actress Albertine Zehme, whose aquaintence the composer had made soon after he moved from Vienna to Berlin in Melodrama by Arnold Schoenberg. Peyee rated it really liked it Jun 02, Doug Wieboldt rated it it was amazing Sep 05, Pierrot lunaire, Op. Published by Dover Pubns About this Item: White Star, Text good and legible. Works for String Quartet. Sports Music Paperback Books.
    [Show full text]
  • Court Counsellor to Berlin Bohemian: Geography and Age in German Literary Production
    Appendix: Court Counsellor to Berlin Bohemian: Geography and Age in German Literary Production Lukas Kuld∗and John O'Hagan† Contents 1 Figures1 2 Tables9 1 Figures ∗TU Dortmund †Trinity College Dublin 1 Figure 1: Years of writers aged 18 to 50 per location (a) Before unification 43 10 13 11 21 10 22 26 37 27 25 329 33 15 36 13 10 101 32 27 20 125 12 55 65 58 10 18 168 30 10 23 26 10 15 37 14 32 32 11 25 22 19 28 20 13 19 82 70 23 70 (b) After Unification 29 10 11 372 16 12 15 14 12 19 160 10 2 Notes: The maps show the sum of years that German writers reside in a district before and after the unification in 1871. Numbers are shown for districts with more than nine writer-years. Figure 2: Location by year by agglomeration and city type (a) Agglomerations 20 Romanticism Vormärz Enlightenment Classicism Realism Modernism Biedermeier Napoleonic era Unification Revolutions WWI 3rd Reich Territorial consolidation Berlin capital 15 10 #Writers 5 0 1800 1900 Year City Berlin Maulbronn Munich Naumburg (b) Categories 20 15 10 #Writers 5 0 1800 1900 Year City Large Small, uni Abroad Other Notes: The plots show the number of adult writers per category. The first plot shows writers in circles with a radius of 60km. Naumburg importantly contains the cities Weimar, Jena, and Leipzig. Maulbronn contains Stuttgart, T¨ubingen,and Heidelberg. 3 The second plot shows writers per category: major cities, small university cities, cities outside modern Germany and Poland, and other known locations within Germany/Poland.
    [Show full text]
  • Le Nuove Musiche
    Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-12-2005 Le Nuove Musiche School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation School of Music, "Le Nuove Musiche" (2005). School of Music Programs. 2801. https://ir.library.illinoisstate.edu/somp/2801 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Jllinois State Universit_y I School ot Music I I Charles W. I)olen f acult~ Recital Series I I LE_ NUOVE_ MU51CHE_ Illinois State Llniversit_y f acult_y New Music E_nsemble I Center tor the Fertorming Arts April 12,2005 T uesda_y E_vening I 8 :00 p.m. This is the one hundred and thirt_y-titth program ot the 2004-2005 season. I I I frogram Fart Ill 15 . Heimweh (Homesick) 16. Gemeinheit! (Mean Trick!) Schoenbert - Fierrot Lunaire I I 17. Parodie (Parody) 18. Der Mondfleck (The Moonspot) Round Table - PIERROT LUNAIRE: history, style, commedia d'arte 19. Serenade I I 20. Heimfahrt (Barcarole) (Journey Home) Dr. John Celona, U nive rsit.':J of Victo ri a - (!SU guest com poser/ theorist) 21. 0 alter Duft (0 Old Perfume) Dr. K im f' e reira, /S U School o f Theater D r. f' aul E:iorg, /SU S chool ofMu sic I I Miche lle Vought, sp rechstimme f' a ul E:iorg, piano Cezanne's Doubt *World Fremiere John Celona Kim l\.isinger, flute (also p iccolo) (born 1950) D avid Gresham, clannet (also bass clarfinet) E_ mil.':J Morgan & J ason A shle.':J, vio/,ns I I Sarah Gentr.':J, v,01,n C hristophe r K e lts, viola C hristo pher Kelts, viola E:irian E:iro mberg, cello E:irian E:iromberg, cello J essica f)oese, cfan'ne t I I Kim Fere ira, narrato r Glenn E:ilock, conductor Glenn E:ilock, conductor ~ Intermission ~ I I f' rogram Notes Pierrot Lunaire, Op.
    [Show full text]
  • Die Altenberg-Lieder Sind Vorläufer Der Großen Opernfresken Bergs
    Drei Orchesterstücke Op.6 Altenberg Lieder Op.4 - Sieben frühe Lieder CHRISTIANE IVEN soprano HY BRID MU LTICHANNEL A L B A N B E R G Orchestre Philharmonique de Strasbourg MARC ALBRECHT Alban Berg (1885 – 1935) Drei Orchesterstücke, Op. 6 (Three pieces for orchestra) 1 Präludium 4. 51 2 Reigen 5. 38 3 Marsch 10. 02 Altenberg Lieder, Op. 4 (Fünf Orchesterlieder nach Ansichtskartentexten von Peter Altenberg) (Five Orchestral Songs to Picture-Postcard Texts by Peter Altenberg) 4 Seele, wie bist du schöner 2. 42 5 Sahst du nach dem Gewitterregen den Wald 1. 24 6 Über die Grenzen des All 1. 33 7 Nichts ist gekommen 1. 29 8 Hier ist Friede 4. 07 Sieben frühe Lieder (Seven early songs) 9 Nacht (Carl Hauptmann) 3. 54 10 Schilflied (Nikolaus Lenau) 2. 11 11 Die Nachtigall (Theodor Storm) 2. 16 12 Traumgekrönt (Rainer Maria Rilke) 2. 52 13 Im Zimmer (Johannes Schlaf) 1. 14 14 Liebesode (Otto Erich Hartleben) 1. 52 15 Sommertage (Paul Hohenberg) 1. 49 Johann Strauss (1825 – 1899) 16 Wein, Weib und Gesang 11. 43 Christiane Iven, soprano Orchestre Philharmonique de Strasbourg conducted by Marc Albrecht Recording venue: Palais de la Musique et de Congrès, Strasbourg, France (Frühe Lieder, 1/2007; Orchesterstücke, Altenberglieder, Wein, Weib und Gesang, 1/2008) Recording producer: Wolfram Nehls Balance engineer: Philipp Knop Editing: Wolfram Nehls Surround Mix: Philipp Knop & Wolfram Nehls Total playing time: 59.46 Biographien auf Deutsch und Französisch finden Sie auf unserer Webseite. Pour les versions allemande et française des biographies, veuillez consulter notre site. www.pentatonemusic.com Alban Berg The Three Orchestral Pieces were writ- Three Orchestral Pieces, Op.
    [Show full text]
  • Henry Van De Velde Year in Germany and Belgium: Part Two
    Jane Van Nimmen Henry van de Velde Year in Germany and Belgium: Part Two Nineteenth-Century Art Worldwide 13, no. 1 (Spring 2014) Citation: Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part Two,” Nineteenth-Century Art Worldwide 13, no. 1 (Spring 2014), http://www.19thc- artworldwide.org/spring14/van-nimmen-reviews-henry-van-de-velde-year-in-germany-and- belgium-part-two. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Henry van de Velde Year in Germany and Belgium: Part Two Nineteenth-Century Art Worldwide 13, no. 1 (Spring 2014) Henry van de Velde Year 2013 in Germany and Belgium: Part Two During the summer of 2012, the Klassik Stiftung Weimar acquired Hohe Pappeln (1907–8), the second of four houses built by the Belgian architect and designer Henry van de Velde for his family. After years of cooperating with various owners, then renting the property on the outskirts of the city, the Klassik Stiftung Weimar was able to purchase the historic residence with the support of the Ilse Burghardt Foundation. Hohe Pappeln was given its name by Thyl, van de Velde’s only son. He and his twin sister Thylla were four years old in 1908 when they moved with their parents and three older sisters into the “house under the tall poplars”; the voices of the five van de Velde children still seem to echo in the garden (fig.
    [Show full text]
  • Berlin Coquette: Prostitution and the New German Woman, 1890
    Berlin Coquette Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. Berlin Coquette Prostitution and the New German Woman, 1890–1933 Jill Suzanne Smith A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge The Andrew W. Mellon Foundation and the College of Arts & Sciences, Cornell University, for support of the Signale series. Copyright © 2013 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2013 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Smith, Jill Suzanne, 1972– author. Berlin coquette : prostitution and the new German woman, 1890/1933 / Jill Suzanne Smith. pages cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5267-3 (cloth : alk.
    [Show full text]
  • The Aesthetics of Rudolf Steiner and Spiritual Modernism
    The Aesthetics of Rudolf Steiner and Spiritual Modernism by Jennie Louise Cain A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in the University of Michigan 2016 Doctoral Committee: Associate Professor Frederick Amrine, Co-Chair Associate Professor Kerstin Barndt, Co-Chair Associate Professor Andreas Gailus Professor Elizabeth Sears DEDICATION for Mira and Devika ii ACKNOWLEDGMENTS I would like to express my gratitude to my committee members, who have inspired and supported me all of these years at Michigan: Frederick Amrine, Kerstin Barndt, Andreas Gailus and Betsy Sears. It would have been impossible for me to pursue this topic without Frederick Amrine’ s deep and extensive knowledge of Rudolf Steiner and without his ability to patiently guide me to relevant concepts and works within Steiner’ s oeuvre of over four hundred volumes. I am especially thankful to Fred for his keen intellect and his exhortations to try to see the bigger picture. I owe a debt of gratitude to Kerstin Barndt for her continual prompting to think critically, the conscientiousness with which she closely read many drafts of my work in various states of disorder, and for her warm encouragement every step of the way. During the final months, Kerstin’ s guidance has been invaluable. Andreas Gailus provided critical feedback at various stages and I also appreciate Betsy Sear’ s detailed and insightful written feedback during the final stage of writing. There are two people especially worthy of acknowledgement for their part in contributing to my growth as a teacher and a scholar.
    [Show full text]
  • Rediscovering Albert Giraud's Pierrot Lunaire
    twentieth-century music 4/1, 97–121 © 2007 Cambridge University Press doi:10.1017/S1478572207000540 Printed in the United Kingdom ‘A Multicoloured Alphabet’: Rediscovering Albert Giraud’s Pierrot Lunaire ROGER MARSH Abstract Albert Giraud’s cycle of fifty rondels bergamasques, Pierrot Lunaire (1884), famously became, in Otto Erich Hartleben’s German translation, the basis of Schoenberg’s Op. 21 (1912). But for many decades the work of the Belgian poet was either straightforwardly denigrated for its anachronism and ‘mediocrity’ (Boulez), or at least declared inferior to its ‘vivid, Angst-filled transformation’ (Youens) in Hartleben’s hands. This article questions some widely held beliefs concerning the original Pierrot and its subsequent reworking. The claim that Schoenberg’s selection and reorganization of the poems imposed logic and order on an otherwise jumbled collection is found to be belied by the striking narrative coherence of Giraud’s original sequence, which is unified by a clearly defined set of symbols. Meanwhile, Hartleben’s putative ‘infidelity’ to Giraud is challenged by evidence both internal (his careful preservation of the rondel structure) and contextual (an esteem for his Belgian contemporary manifested in further poetic homages). While there is no doubt that Hartleben’s translations distance the poems from their background in Parnassian aesthetics – omitting crucial references to Brueghel, Shakespeare, Watteau, and the painter and lithographer Adolphe Willette – it is Giraud himself who deserves the credit for the most strikingly memorable images later absorbed into the expressionistic milieu of Schoenberg’s melodrama. Introduction Pierrot won’t go away, and there is nothing in post-modernism to suggest why it should.1 Almost a century after the unexpected sensation of its Berlin premiere in October 1912, Schoenberg’s Pierrot lunaire remains an icon of musical modernism.
    [Show full text]
  • Location, Migration and Age: Literary Clusters in Germany from Mid-18Th to Early-20Th Century1
    TRiSS Working Paper Series TRiSS-03-2019 Location, Migration and Age: Literary Clusters in Germany from mid-18th to early-20th Century1 Lukas Kuld2 and John O’Hagan3 Email addresses: [email protected] and lukas.kuld@ udo.edu 18th March 2019 Abstract: We study the formation of creative clusters in the light of the changes in the German economic and political structures during the 19th century. We show how the migration and geographic location of writers mirrors the evolution of the literary market from a patronage system in a pre-industrial, politically fractured area to a market system in a modern nation state. For this, we have collected yearly data on the 149 German writers listed in the Encyclopedia Britannica and born in the 18th and 19th centuries. We find that, first, large cities, especially Berlin, become the dominant location though only at the end of this process. Second, migration and publication output are both strongly linked to age. These age- migration and age-productivity patterns remain for subsequent cohorts. However, while later- born writers spend their formative and most productive years close to other writers, there is no clear cluster pattern for earlier writers Keywords: geographic clusters, migration, creative output, age Primary Disciplines: economic history, cultural economics 1 The authors wish to thank Tara Bedi, Mary Cosgrove and Carol O’Hagan for helpful comments, Niamh Corcoran for conscientious research assistance and the Department of Economics, Trinity College Dublin, for generous funding for data collection. 2 Technical University Dortmund, Germany 3 School of Social Sciences and Philosophy, Trinity College Dublin, Ireland 1 Introduction Creative clusters form through migration and/or birth.
    [Show full text]