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Typewriting in Mass-Media Culture of the Weimar Republic, 1918-1933

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Typewriting in Mass-Media Culture of the Weimar Republic, 1918-1933 Mechanical Women and Sexy Machines: Typewriting in Mass-Media Culture of the Weimar Republic, 1918-1933 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jaclyn Rose Kurash, M.A. Graduate Program in Germanic Languages and Literatures The Ohio State University 2015 Dissertation Committee: John E. Davidson, Advisor Katra Byram Jill Galvan Copyright by Jaclyn Rose Kurash 2015 Abstract This dissertation is an investigation of portrayals of the female typist and the typewriter in popular literature, film, and advertising of Germany’s interwar period. This study offers a departure from the dominant narratives that posit the technologized woman as a product of male anxiety or a conflation of woman and machine. Alternatively, I find that early images of typewriting women are better understood in terms of feminist theories of the body and the cyborg that highlight the intimate connection between the body and machine. I argue that the Weimar typist-typewriter assemblage is a fusion of a specific type of New Woman and machine within the Weimar cultural imaginary, a merger of the organic and the mechanical that I call the New Woman-Machine. Through this concept, I attempt to highlight the existence of a different narrative about women and machines as visions of productivity, automatism, machine skill, and discipline. Beginning with analyses of two popular, late-Weimar novels written by former professional typists, Irmgard Keun’s Gilgi—eine von uns (1931) and Christa Anita Brück’s Schicksale hinter Schreibmaschinen (1930), I show that the authors depict typewriting as a form of automatic writing, which serves as a coping mechanism for their protagonists. Then, the study turns to an investigation of German typewriter advertisements, in which female embodiment of the machine is promoted through images of the docile, disciplined female body engaged in mechanical production. The study’s final thrust is made up of an interrogation of popular romantic comedies of the late-Weimar era, in which the ii typewriting woman becomes a source of visual pleasure that celebrates machine skill, speed, and productivity within women’s embodiment of the machine. My study, thus, comes to the conclusion that such images offered real women of the Weimar era powerful alternative identities in their relationship with technology. iii Dedication This document is dedicated to Charlie and my family. iv Acknowledgments Ernest Hemingway notably quipped, “It is easy to write. Just sit in front of your typewriter and bleed.” This visceral metaphor for the relationship between writer and instrument is an essential point of interest for this study, and it is, for this author, reflective of how much of oneself – time, energy, and life force – is poured into a project such as this. As I bring this project to a close, I am also reminded that this thesis would not have been possible without the support of my teachers, colleagues, friends, and family. I would first like to thank my dissertation committee for so generously devoting their time to helping me improve this project and for offering such invaluable advice over the course of the past three years. I owe my deepest gratitude to my advisor, John E. Davidson, without whose keen insight, tireless guidance, and concrete feedback this document would not be what it is. I am so grateful for his critical eye and sage advice about the challenges of writing, as well as his patience and encouragement throughout the dissertation process. It was also an honor for me to work with Jill Galvan, whose book played a central role in the inspiration of this project. Her wealth of knowledge about devices of communication helped to push my thinking beyond conventional wisdom toward newer and more interesting considerations. I would also like to thank Katra v Byram for her thought-provoking and detailed feedback, sound advice, and astute observations about important moments in my work. I am very grateful to have had a committee so invested in my progress. Several institutions played an important role in helping to make this project a reality. First, I would like to express my gratitude to the Ohio State Department of Germanic Languages and Literatures and the faculty for their consistent support of my research throughout the course of the dissertation. I am also grateful for additional financial support from the OSU Department of Film Studies, the OSU Dresden Summer Program, and the College of Arts and Humanities for making it possible for me to travel and perform the necessary archival research for this project. I owe a special thanks to the Max Kade Institute for a generous two-semester fellowship, which allowed me to focus solely on my research. I would also like to express my sincere gratitude to the German Museum for Film and Television (die Stiftung Deutsche Kinemathek) and the German Federal Archives (Bundesarchiv) in Berlin for providing me access to their rare film collections, image archives, and early film journals. Over the years, other scholars have read parts this project in its various stages and have provided helpful commentary, including Barbara Becker-Cantarino, Helen Fehervary, May Mergenthaler, Bernd Fischer, and the graduate students who participated in the Dissertation Colloquium. Thank you for your insightful questions and feedback. To some of my dearest friends Kristen Hetrick, Sara Luly, Briana Lewis, and Wonneken Wanske, thank you so much for the roles that you played throughout my time at Ohio State. At one time or another all of you have helped me through this process in vi various ways. Thank you for letting me bend your ear, for being my sounding board, for lifting me up, for sharing your own experiences with me, or for simply lamenting the process along with me. To my parents Denise and Joseph Brozich, my brother Dylan, my aunt Marie, and uncle Kenny, thank you for all of your love, patience, and support throughout my graduate education, including this project! Your encouragement sustained me in ways you will never know. A special thank you goes to my grandmother Rita Rose Magnone, who left this world too soon, but always urged me to learn, explore, and have adventures. I am also grateful for the incredible kindness and support of Deborah and Charles G. Ruggiero. Finally, I owe an enormous debt of gratitude to Charlie Ruggiero. Thank you for keeping me afloat throughout this process. I love you, and I could not have done this without you! vii Vita 1993-1997 ..........................................High School Diploma, Ambridge Area High School 1997-2001...........................................B.A. German & English, Allegheny College 2001-2003...........................................Foreign Language Teaching Assistant, Fulbright Program, Austria 2003-2005...........................................M.A. German Studies, University of Maryland 2006-2008...........................................Graduate Teaching Associate, Department of Germanic Languages and Literatures, The Ohio State University 2008-2009...........................................Visiting Assistant Professor, Allegheny College 2009-2010...........................................Graduate Teaching Associate, Department of Germanic Languages and Literatures, The Ohio State University 2010-2012...........................................Visiting Assistant Professor, Allegheny College 2012-2014...........................................Graduate Teaching Associate, Department of Germanic Languages and Literatures, The Ohio State University viii 2014-2015...........................................Max Kade Fellow, Department of Germanic Languages and Literatures, The Ohio State University Fields of Study Major Field: Germanic Languages and Literatures ix Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita ................................................................................................................................... viii List of Tables ................................................................................................................... xiii List of Figures .................................................................................................................. xiv Introduction: The Female Typist as Cyborg in Weimar Mass-Media Culture ................... 1 I. Cyborgs, Gendered Bodies, and Communications Technologies ................................ 7 II. Organization of the Study ......................................................................................... 17 Chapter 1: Typewriting: A Social and Cultural History or (How Women Became Typewriters) ...................................................................................................................... 22 I. A Social History of Typewriting: Positioning the Female Typist ............................. 26 1.1 In Service of Love: Women’s Work in the Early Nineteenth Century ............... 26 1.2 Clerking in the Early Nineteenth Century ........................................................... 30 1.3 Women’s Entry into Clerical Work and Typewriting ........................................
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