DOCSLIB.ORG

CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three CHAPTER 2 BERLIN DURING THE WEIMAR REPUBLIC The period of the Weimar Republic is divided into three periods, 1918 to 1923, 1924 to 1929, and 1930 to 1933, but we usually associate Weimar culture with the middle period when the post WWI revolutionary chaos had settled down and before the Nazis made their aggressive claim for power. This second period of the Weimar Republic after 1924 is considered Berlin’s most prosperous period, and is often referred to as the “Golden Twenties”. They were exciting and extremely vibrant years in the history of Berlin, as a sophisticated and innovative culture developed including architecture and design, literature, film, painting, music, criticism, philosophy, psychology, and fashion. For a short time Berlin seemed to be the center of European creativity where cinema was making huge technical and artistic strides. Like a firework display, Berlin was burning off all its energy in those five short years. A literary walk through Berlin during the Weimar period begins at the Kurfürstendamm, Berlin’s new part that came into its prime during the Weimar period. Large new movie theaters were built across from the Kaiser Wilhelm Memorial church, the Capitol und Ufa-Palast, and many new cafés made the Kurfürstendamm into Berlin’s avant-garde boulevard. Max Reinhardt’s theater became a major attraction along with bars, nightclubs, wine restaurants, Russian tearooms and dance halls, providing a hangout for Weimar’s young writers. But Berlin’s Kurfürstendamm is mostly famous for its revered literary cafés, Kranzler, Schwanecke and the most renowned, the Romanische Café in the impressive looking Romanische Haus across from the Memorial church. Here writers, painters, actors, theater and movie directors, journalists and critics mingled, among them Thomas Mann’s children Erika and Klaus Mann, Kurt Tucholsky, Bertolt Brecht, Alfred Döblin, Mascha Kaléko, Erich Kästner, Joseph Roth, and the painter George Grosz. Since the Nazis hated the Romanische Café as a center of Jewish intellectualism, they raided the café on numerous occasions, even before Hitler came to power. Although it was not shut down, the restaurant lost its importance after the Nazi takeover, when most of its illustrious guests emigrated. The building was destroyed in a bombing raid in 1943 and replaced by the current Europa-Center, a shopping center built in style of the nineteen- sixties. Our walk through Berlin’s West continues eastward from Kurfürstendamm to the Potsdamer Platz, which lies a few blocks south of the Brandenburg Gate at the geographic center of Berlin. During the Weimar period the Potsdamer Platz was Europe’s busiest square with two big railroad stations, Potsdamer Platz Bahnhof and the Anhalter Bahnhof to its south. Thirty bus and streetcar lines crossed the square, which was lined by some of Berlin’s largest hotels and its first underground shopping mall. Europe ‘s first traffic light was installed here in 1926 to control the large traffic volume. Some of Berlin’s most vibrant nightclubs such as Haus Vaterland and the Hotel Esplanade were also located on Potsdamer Platz. All that remains today of the old architecture is the Weinhaus Huth and the ballroom of the Esplanade hotel, which has been incorporated into the new Sony Center. During the Cold War the square was divided by the intimidating wall. It was hard to imagine that there once was life in this no-man’s-land, when the Potsdamer Platz was the heart of Berlin. During the Cold War the death strip around the Potsdamer Platz became one of the most visited spots for western tourists who would try and spot activities in the east from an elevated platform. Since the architecture with its distinctly nineteenth century appearance seemed out of touch with modern life plans were made to modernize Potsdamer Platz. The Potsdamer Platz hotels, restaurants and clubs were cheap 1880s imitations of neoclassical architecture. Modern signature buildings were supposed to be constructed beginning with Erich Mendelssohn’s Columbushaus of 1930, Germany’s first air-conditioned building. However since Mendelssohn was Jewish and since the Nazis regarded modernist architecture as decadent, further modernization of the square could not proceed. The Columbushaus is on the left (west) side of the picture, still obscured by advertising panels due to construction. Another more prominent building stood on the Eastern extension of the square, Leipziger Platz. Beyond Schinkel’s neoclassical Potsdam Square Gates was Berlin’s largest department store, Wertheim. It contained many modern luxuries, such as elevators and escalators normally not found in department stores at that time. Ironically the Jewish Wertheim store was next to the new Reich chancellery Hitler had built in 1938, on Voßstraße across Wertheim’s delivery entrance. Hitler’s infamous “bunker” located directly under the chancellery was also next to the Potsdamer Platz. Erich Kästner’s 1929 poem “Visit from the Country” captures the atmosphere the square presented to newcomers stepping away from the surrounding train stations: “Confused they wait at Potsdam Square, Berlin seems too loud for them, Night glows like a million. A lady beckons ‘Come along, my darling’. And her legs are terribly bare. They marvel and they are too tense, They walk around in awe. Streetcars screech, tires squeal, They want to be at home, Berlin is too much for them. It sounds as if the city moans Because they made a mistake, Houses sparkle, the subway roars, Everything they see seems fake, And Berlin is far too rough. Their legs are bent with anxiety. They get it all wrong. Their smile is uncomfortable. On Potsdam Square they stand in awe Until run over by a car.”1 1 Besuch vom Lande Sie stehen verstört am Potsdamer Platz. Und finden Berlin zu laut. Die Nacht glüht auf in Kilowatts. Ein Fräulein sagt heiser: "Komm mit, mein Schatz!" Und zeigt entsetzlich viel Haut. Sie wissen vor Staunen nicht aus und nicht ein. Sie stehen und wundern sich bloß. Die Bahnen rasseln. Die Autos schrein. Sie möchten am liebsten zu Hause sein. Und finden Berlin zu groß. Es klingt, als ob die Großstadt stöhnt, weil irgendwer sie schilt. Die Häuser funkeln. Die U-Bahn dröhnt. Sie sind alles so gar nicht gewöhnt. While the Kurfürstendamm area in Berlin West was developing into Berlin’s major cultural and entertainment center, the Friedrichstraße area had continued as the theater district since the Kaiserzeit. Although Unter den Linden crossed by Friedrichstraße had been a fashionable promenade for a while, it was now beginning to look faded and attracted mainly older Berliners. However, this loss of appeal was mitigated by the emergence of Friedrichstraße and adjoining smaller streets that were developing into Berlins’s second fashionable entertainment district. There were forty-nine theaters in Berlin during the nineteen-twenties, with the more serious ones playing in Mitte; among them the Deutsche Theater, the Kammerspiele, and the Großes Schauspielhaus at Weidendammer Brücke across from Friedrichstraße station. The famous Austrian Max Reinhardt worked here, Leopold Jessner, Erwin Piscator, and Bertolt Brecht who was beginning to make a name for himself by working with Reinhardt. Several of the variety theaters were located on Friedrichstraße as well, such as the Admiralspalast and the Wintergarten across from Friedrichstraße station. Most of Berlin’s forty daily newspapers were printed in the newspaper district in the southern part of Friedrichstraße. Walking still further east we reach Alexanderplatz, the center of the Eastern districts, where roads from Berlin’s Eastern, Northern and Southern districts converged. Named after the Russian Czar Alexander, Alexanderplatz was Berlin’s largest farmers’ market and trading center in front of the Frankfurter Tor. For hundreds of thousands of Jews leaving Poland and Russia headed for Berlin, the Alexanderplatz/Rosenthaler Platz area became the first stopping place, where the Scheunenviertel, one of the largest Jewish districts in Europe developed. Upstream along the Spree from Alexanderplatz the industrial parks of Berlin had been evolving since the nineteenth century, with the Stadtbahn continuing its course along the Spree from Alexanderplatz to Jannowitzbrücke and beyond. Eastern Berlin was always more rural and more proletarian than the rest of Berlin. Berlin's rapid growth from the Prussia’s small regional capital to Germany’s center of four million people in less than fifty years generated large social and political differences. Berlin saw its greatest surge in cultural innovations after post WWI street-fighting had calmed down. Berlin’s political turmoil began after the end of WWI in November 1918 when the new constitution could not guarantee a stable government and the constituting assembly had to withdraw to the small town of Weimar. Since Goethe and his fellow-artists had established a literary movement in Weimar in the early nineteen-hundreds, German classicism, which became the origin for Germany’s national literature, Weimar has been a synonym for the synthesis of culture and politics. Rightist violence and Communist refusal to cooperate with Socialists set the stage for Berlin’s chaotic years between 1918-23, which culminated in staggering inflation in 1923. Although its causes are still under discussion, the government’s inability to pay for WWI reparations certainly contributed to the collapse of the old currency system. Despite the disappearance of the middle class through inflation, economic expansion quickly resumed. During those chaotic times, Communists and Nazis were rapidly gaining power not only among the masses, but also Und finden Berlin zu wild. Sie machen vor Angst die Beine krumm. Sie machen alles verkehrt. Sie lächeln bestürzt. Und sie warten dumm. Und stehn auf dem Potsdamer Platz herum, bis man sie überfährt. among the cultural elite, as radical ideas became fashionable in the literary cafes of Berlin. With the economy gaining strength, by the mid-1920s Berlin became the largest industrial city on the European continent, attracting an ever-increasing influx of industrial and office workers.
Load more

Recommended publications
  • Yiddish in Joseph Rothâ•Žs Juden Auf Wanderschaft
    In 2000, W.W. Norton and Company released a new English -language edition of Joseph Roth’s 1927 compilation of essays entitled, Juden auf Wanderschaft . The edition’s dustcover proclaims in large, bold typeface: “A masterpiece of Jewish identity emerges in English 70 years after it was first written.” While it can’t be denied that Roth’s tale documenting the mass movement of eastern Jews ( Ostjuden )1 westward across the European continent in the early twentieth century has captured both public and scholarly i nterest in German -2 and English -speaking lands, the quotation still begs the question: Why are we reading Roth again now? Even the most tentative answer to this question should include the fact that Roth’s concerns in Juden auf Wanderschaft , including the forcible displacement of a people and their subsequent dispersal throughout the world, and Roth’s suggestion of an inherent tyranny in Western culture, find remarkable resonance in our contemporary reality. Global migrations and Westernization inform curre nt research, not just on identity politics, but also on topics that seek to move beyond or reinvigorate discussions of identity —topics such as mobility, diaspora, and migration.3 Written by one who was both an assimilated Viennese and a Galician Jew born i n the eastern -most reaches of the Hapsburg Empire, Roth’s work offers an extraordinarily complex and informative perspective on issues that remain topical today. Nevertheless, Roth’s Juden auf Wanderschaft is rarely analyzed in a manner reflecting this complexity. Most reviewers, in celebratory response to the work’s themes, see it as a poignant declaration of love for the vanishing eastern Jewish culture with which Roth came of age.
    [Show full text]
  • Thesis Slabaugh Ms072117
    THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Melanie J. Slabaugh August, 2017 THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE Melanie J. Slabaugh Thesis Approved: Accepted: ______________________________ ______________________________ Advisor School Director James Slowiak J. Thomas Dukes, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the College Durand L. Pope John Green, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the Graduate School Hillary Nunn, Ph.D. Chand Midha, Ph.D. ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………….. 5 II. HISTORY AND DESCRIPTION OF DRAMATURGY ……………………… 3 Gotthold Ephraim Lessing and the Hamburg National Theatre ……… 4 Lessing’s Influence on the Dramaturgical Movement …………………. 8 Dramaturgy in American Theatre ……………………………………….. 16 III. PRODUCTION DRAMATURGY ……………………………………………. 13 The Production Dramaturg/Director Relationship ……………………. 15 New Production Dramaturgies …………………………………………… 18 IV. NEW PLAY DEVELOPMENT ………………………………………………… 20 The Role of the Dramaturg in New-Play Development …………..…… 22 The Dramaturg as Supporter ………………………………………..….… 22 The Dramaturg as Guardian ………………………………..………….…. 26 The Dramaturg as Questioner …………………………………..……….. 29 V. DEVISED THEATRE ………………………………………….…………..……. 32 The Tasks of the Dramaturg in Devised Theatre ………………….….…
    [Show full text]
  • 2019 01 17 Draft TP JF
    ‘Sensation of space and modern architecture’ : a psychology of architecture by Franz Löwitsch Poppelreuter, T http://dx.doi.org/10.1080/13602365.2012.678645 Title ‘Sensation of space and modern architecture’ : a psychology of architecture by Franz Löwitsch Authors Poppelreuter, T Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/46929/ Published Date 2012 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Sensation of Space and Modern Architecture A psychology of architecture by Franz Löwitsch Abstract: In 1928 the Austrian architect and engineer Franz Löwitsch (1894-1946) published the article “Sensation of Space and Modern Architecture” in Imago, the psychoanalytical journal edited by Sigmund Freud. Based on Richard Semon’s theories of Mneme, which Löwitsch connected to psychoanalytical theories, the prevalence of dissimilar sensations of space throughout the stages of the development of western architectural history is presupposed, and Löwitsch offered an explanation of how their symbolic meanings reflected psychological conditions of a particular time and culture. By connecting Semon’s theory with psychoanalytical deliberations that equip the inherited memory of spatial sensations with pleasurable or unpleasurable emotions, Löwitsch furthermore argued that spatial sensations produce spatial concepts, and that the dominating shapes and forms of the architecture of a time therefore reflect the dominance of a particular inherited sensation of space.
    [Show full text]
  • Christopher Isherwood Papers
    http://oac.cdlib.org/findaid/ark:/13030/c8pk0gr7 No online items Christopher Isherwood Papers Finding aid prepared by Sara S. Hodson with April Cunningham, Alison Dinicola, Gayle M. Richardson, Natalie Russell, Rebecca Tuttle, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © October 2, 2000. Updated: January 12, 2007, April 14, 2010 and March 10, 2017 The Huntington Library. All rights reserved. Christopher Isherwood Papers CI 1-4758; FAC 1346-1397 1 Overview of the Collection Title: Christopher Isherwood Papers Dates (inclusive): 1864-2004 Bulk dates: 1925-1986 Collection Number: CI 1-4758; FAC 1346-1397 Creator: Isherwood, Christopher, 1904-1986. Extent: 6,261 pieces, plus ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of British-American writer Christopher Isherwood (1904-1986), chiefly dating from the 1920s to the 1980s. Consisting of scripts, literary manuscripts, correspondence, diaries, photographs, ephemera, audiovisual material, and Isherwood’s library, the archive is an exceptionally rich resource for research on Isherwood, as well as W.H. Auden, Stephen Spender and others. Subjects documented in the collection include homosexuality and gay rights, pacifism, and Vedanta. Language: English. Access The collection is open to qualified researchers by prior application through the Reader Services Department, with two exceptions: • The series of Isherwood’s daily diaries, which are closed until January 1, 2030.
    [Show full text]
  • Versailles (Hellerau, 1927). Even Deutschland, Frankreich Und
    BIBLIOGRAPHICAL NOTE Most of the sources on German history from 1890 to the end of the Weimar Republic are of use in a study of Maximilian Har­ den. In the following paragraphs are noted, besides the un­ published sources, only the published materials that deal directly with Harden, and the general works or monographs on the period that have been used most extensively. Many works cited in the text are not listed here; a complete reference to each one is found in its first citation. The indispensable source of information on Harden is the magazine he edited from 1892 until 1922. The one hundred and eighteen volumes of the Zukunft contain the bulk of his essays, commentaries, and trial records, as well as many private letters to and from him. The Zukunft was the inspiration or the source for Harden's principal pamphlets and books, namely Kampfge­ nosse Sudermann (Berlin, 1903); KopJe (4 vols., Berlin, 1911-1924); Krieg und Friede (2 vols., Berlin, 1918); and Von Versailles nach Versailles (Hellerau, 1927). Even Deutschland, Frankreich und England (Berlin, 1923), written after the Zukun}t had ceased publication, was in large a repetition of Zukunft articles. Harden's earliest work, Berlin als Theaterhauptstadt (Berlin, 1889), consisted in part of pieces he had written for Die Nation. Apostata (Berlin, 1892), Apostata, neue Folge (Berlin, 1892), andLiteraturund Theater (Berlin, 1896), were collections of his essays from Die Gegenwart. The Gegenwart and the other magazines for which he wrote before 1892 - Die Nation, Die Kunstwart, and M agazin fur Litteratur - are also indispensable sources. Harden's published writings also include articles in other German and foreign newspapers and magazines.
    [Show full text]
  • © 2010 Julia Silvia Feldhaus ALL RIGHTS RESERVED
    © 2010 Julia Silvia Feldhaus ALL RIGHTS RESERVED Between Commodification and Emancipation: Image Formation of the New Woman through the Illustrated Magazine of the Weimar Republic By Julia Silvia Feldhaus A dissertation submitted to the Graduate School – New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in German Written under the direction of Martha B. Helfer And Michael G. Levine And approved by ____________________________ _____________________________ _____________________________ _____________________________ New Brunswick, New Jersey October 2010 ABSTRACT OF THE DISSERTATION Between Commodification and Emancipation: Image Formation of the New Woman through the Illustrated Magazine of the Weimar Republic By JULIA SILVIA FELDHAUS Dissertation Directors: Martha B. Helfer Michael G. Levine This dissertation investigates the conflict between the powerful emancipatory image of the New Woman as represented in the illustrated magazines of the Weimar Republic and the translation of this image into a lifestyle acted out by women during this era. I argue that while female journalists promote the image of the New Woman in illustrated magazines as a liberating opening onto self-determination and self- management, this very image is simultaneously and paradoxically oppressive. For women to shake off the inheritance of a patriarchal past, they must learn to adjust to a new identity, one that is still to a large extent influenced by and in the service of men. The ideal beauty image designed by female journalists as a framework for emancipation in actuality turned into an oppressive normalization in professional and social markets in which traditional rules no longer obtained.
    [Show full text]
  • Crowds and Democracy
    Crowds and Democracy THE IDEA AND IMAGE OF THE MASSES FROM REVOLUTION TO FASCISM Stefan Jonsson Columbia University Press yf New York CONTENTS List of Illustrations xi Preface xv 1. Introducing the Masses: Vienna, 15 July 1927 1 (ELIAS CANETTI—ALFRED VIERKANDT— HANMAH ARENDT — KARL KRAUS—HEIMITO VON DODERER) 1. Shooting Psychosis 1 2. Not a Word About the Bastille 6 3. Explaining the Crowd 16 4. Representing Social Passions 23 5. A Work of Madness 28 6. Invincibles 33 7. Mirror for Princes 37 8. Workers on the Run 41 9. Lashing 47 Vlll LVJINlLiNIO 2. Authority Versus Anarchy: Allegories of the Mass in Sociology and Literature 51 (GEORG SIMMEL— WERNER SOMBART— FRITZ LANG — LEOPOLD VON WIESE— WILHELM VLEUGELS— GERHARD COLM— MAX WEBER—THEODOR GEIGER—AUGUST SAWDER- HERMANN BROCH —ERNST TOLLER— RAINER MARIA RILKE) 10. The Missing Chapter 51 11. Georg Simmel's Masses 54 12. In Metropolis 61 13. The Architecture of Society 67 14. Steak Tartare 73 15. Delta Formations 80 16. Alarm Bells of History 84 17. Sleepwalkers 92 18.1 Am Mass 105 19. Rilke in the Revolution 115 3. The Revolving Nature of the Social: Primal Hordes and Crowds Without Qualities 119 (SIGMUND FREUD —HANS KELSEN—THEODOR ADORNO — WILHELM REICH —SIEGFRIED KRACAUER —BE11TOLT HRECHT — ALFRED DOBLIN —GEORG GROSZ—ROBERT Ml SIL) 20. Sigmund Freud Between Individual and Society 119 21. Masses Inside 122 22. In Love with Many 126 23. Primal Hordes 131 24. Masses and Myths 139 25. The Destruction of the Person 142 26. The Flaneur—Medium of Modernity 146 27. Ornaments of the People 152 28.
    [Show full text]
  • The Crisis Manager the Jacobsohn Era, 1914 –1938 INTRODUCTION
    CHRONICLE 05 The crisis manager The Jacobsohn era, 1914 –1938 INTRODUCTION From the First World War to National Socialism A world in turmoil “Carpe diem” – seize the day. This Latin motto is carved over their positions. Beyond the factory gates, things on the gravestone of Dr. Willy Jacobsohn in Los Angeles were also far from peaceful: German society took a long and captures the essence of his life admirably. Given time to recover from the war. The period up until the the decades spanned by Jacobsohn’s career, this out- end of 1923 was scourged by unemployment, food and look on everyday life made a lot of sense: after all, housing shortages, and high inflation. The “Golden his career at Beiersdorf took place during what was Twenties” offered a brief respite, but even in the heyday arguably the most turbulent period in European history. of Germany’s first democracy, racist and anti-Semitic In fact, there are quite a few historians who describe feelings were simmering below the surface in society the period between 1914 and 1945 as the “second and politics, erupting in 1933 when the National Socia- Thirty Years War.” lists came to power. Jewish businessman Jacobsohn The First World War broke out shortly after Jacob- was no longer able to remain in Germany and, five years sohn joined the company in 1914. Although the war later, was even forced to leave Europe for America. ended four years later, Beiersdorf continued to suffer However, by then he had succeeded in stabilizing the crisis after crisis. Dr. Oscar Troplowitz and Dr.
    [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]
  • Nurses and Midwives in Nazi Germany
    Downloaded by [New York University] at 03:18 04 October 2016 Nurses and Midwives in Nazi Germany This book is about the ethics of nursing and midwifery, and how these were abrogated during the Nazi era. Nurses and midwives actively killed their patients, many of whom were disabled children and infants and patients with mental (and other) illnesses or intellectual disabilities. The book gives the facts as well as theoretical perspectives as a lens through which these crimes can be viewed. It also provides a way to teach this history to nursing and midwifery students, and, for the first time, explains the role of one of the world’s most historically prominent midwifery leaders in the Nazi crimes. Downloaded by [New York University] at 03:18 04 October 2016 Susan Benedict is Professor of Nursing, Director of Global Health, and Co- Director of the Campus-Wide Ethics Program at the University of Texas Health Science Center School of Nursing in Houston. Linda Shields is Professor of Nursing—Tropical Health at James Cook Uni- versity, Townsville, Queensland, and Honorary Professor, School of Medi- cine, The University of Queensland. Routledge Studies in Modern European History 1 Facing Fascism 9 The Russian Revolution of 1905 The Conservative Party and the Centenary Perspectives European dictators 1935–1940 Edited by Anthony Heywood and Nick Crowson Jonathan D. Smele 2 French Foreign and Defence 10 Weimar Cities Policy, 1918–1940 The Challenge of Urban The Decline and Fall of a Great Modernity in Germany Power John Bingham Edited by Robert Boyce 11 The Nazi Party and the German 3 Britain and the Problem of Foreign Office International Disarmament Hans-Adolf Jacobsen and Arthur 1919–1934 L.
    [Show full text]
  • Architecture in Berlin. a Walk Through History Instructor
    Course title: Architecture in Berlin. A Walk through History Instructor: Dr. Gernot Weckherlin Email address: [email protected] Track: A-Track Language of instruction: English Contact hours: 48 (6 per day) ECTS-Credits: 5 Prerequisites: Students should be able to speak and read English at the upper intermediate level (B2) or higher. Course description This course gives a wide overview of the development of public and private architecture in Berlin during the 19th, 20th and 21st centuries. Following an introduction to the urban development and architectural history of the Modern era, the Neo-Classical period will be surveyed with special reference to the works of Schinkel. This will be followed by classes on architecture of the German Reich after 1871, which was characterized by both modern and conservative tendencies and the manifold activities during the time of the Weimar Republic in the 1920s such as the Housing Revolution. The architecture of the Nazi period will be examined, followed by the developments in East and West Berlin after the Second World War. The course concludes with a detailed review of the city’s more recent and current architectural profiles, including an analysis of the conflicts concerning the re-design of Berlin after the Cold War and the German reunification. Seven walking tours to historically significant buildings and sites are included (Unter den Linden, Gendarmenmarkt, New Housing Estates, Chancellory, Potsdamer Platz, Holocaust Memorial etc.). The course aims to offer a deeper understanding of the interdependence of Berlin’s architecture and the city’s social and political structures. It considers Berlin as a model for the highways and by-ways of a European capital in modern times.
    [Show full text]
  • A Study of the Space That Shaped Weimar Berlin Carrie Grace Latimer Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2014 The lotP s of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin Carrie Grace Latimer Scripps College Recommended Citation Latimer, Carrie Grace, "The lotsP of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin" (2014). Scripps Senior Theses. Paper 430. http://scholarship.claremont.edu/scripps_theses/430 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE PLOTS OF ALEXANDERPLATZ: A STUDY OF THE SPACE THAT SHAPED WEIMAR BERLIN by CARRIE GRACE LATIMER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MARC KATZ PROFESSOR DAVID ROSELLI APRIL 25 2014 Latimer 2 TABLE OF CONTENTS Acknowledgements 3 Introduction 4 Chapter One: Berlin Alexanderplatz: The Making of the Central Transit Hub 8 The Design Behind Alexanderplatz The Spaces of Alexanderplatz Chapter Two: Creative Space: Alfred Döblin’s Berlin Alexanderplatz 23 All-Consuming Trauma Biberkopf’s Relationship with the Built Environment Döblin’s Literary Metropolis Chapter Three: Alexanderplatz Exposed: Rainer Werner Fassbinder’s Film 39 Berlin from Biberkopf’s Perspective Exposing the Subterranean Trauma Conclusion 53 References 55 Latimer 3 Acknowledgements I wish to thank all the people who contributed to this project. Firstly, to Professor Marc Katz and Professor David Roselli, my thesis readers, for their patient guidance, enthusiastic encouragement and thoughtful critiques.
    [Show full text]