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Diplomarbeit
A CENTURY AFTER BUFFALO BILL AND KARL MAY – THE LEGACY OF THEIR VISIONS OF NATIVE AMERICANS IN GERMAN-SPEAKING EUROPE DIPLOMARBEIT zur Erlangung des Magistergrades (Mag.phil.) an der Kultur- und Gesellschaftswissenschaftlichen Fakultät der Paris-Lodron-Universität Salzburg Fachbereich Geschichte Gutachterin: Univ.-Prof. Dr. Angela Schottenhammer eingereicht von CHRISTOPH GRUBER Salzburg, Oktober 2017 Abstract This diploma thesis investigates the visons of American Indians in German-speaking Europe from the late 1800s until today. Buffalo Bill and Karl May can be considered one of the major shapers of the visions that are still predominant today. In particular, Buffalo Bill’s Wild West shows and May’s novels about the Apache chief Winnetou have significantly contributed to ste- reotypical images. Literature and the conducted non-probability sample study showed Karl May’s portrayal of his American Indians has never ceased to exist as the prevailing perception of Native Americans. The study, consisting of 24 open and closed questions and a sample size of 201 respondents, found that Winnetou (44.28%) and the Apache people (74.63%) are the best known Native Americans and tribes. 90.05% stated that Native Americans lived in teppees and that they had fight due to defensive causes; the overall perception of American Indians tends to be positive. The majority has heard of Karl May (88.60%) and is aware of his influence on the image of Native Americans (87.20%). 78.50% have heard of James Fenimore Cooper and 82.10% of Buffalo Bill. Films/TV are the most frequently sources (92%) for knowledge about American Indians, and the Winnetou films have mostly contributed to this knowledge (72.70%). -
Dances with Worlds: Karl May, 'Indian' Hobbyists, and German Fans of the American West Since 1912
. Volume 13, Issue 1 May 2016 Dances With Worlds: Karl May, ‘Indian’ hobbyists, and German fans of the American West since 1912 Nancy Reagin Pace University, New York, USA Abstract: This essay discusses the German fans of author Karl May’s Westerns against the backdrop of a broader community of German hobbyists devoted to the American West, as this community developed after 1912 – examining the impact of political repression, war, and the division of Germany after 1945 on these fan communities and their interpretations of the American West. German fans of the ‘Old West’ (both ‘Indian’ re-enactment hobbyists and fans of Karl May’s more fictionalized story world) created their own bodies of knowledge and celebratory performances over the last century, reinterpreting and exploring the world of May’s novels. The historical American West is part of the ‘Primary World,’ as defined by Mark Wolf, but this essay argues that the diverse versions of the West created by German fans can be understood as partly or entirely secondary, since neither May, nor many of the first generations of German fans, ever visited the American West. Both May’s stories and fans’ interpretations of the West were partly based on fiction, even as many tried to recreate an ‘authentic’ world that they had never seen. The story world created by May, and the broader fictionalized world of the American West created by German fans, was also transmedial before media convergence, tentatively before 1945 and increasingly so after 1960. But the German versions of Karl May’s stories and the American West that extended across varied media during the twentieth century were often inconsistent, created by a variety of producers as a result of political regime turnover in twentieth century Germany, the expiration of copyright over May’s novels, and the growing consumer culture of West Germany after 1945. -
Karl May and the American West in Nineteenth Century German Sociopolitical Consciousness Emily Scott [email protected]
University of Missouri, St. Louis IRL @ UMSL Theses UMSL Graduate Works 4-20-2018 Fiction and Politics: Karl May and the American West in Nineteenth Century German Sociopolitical Consciousness Emily Scott [email protected] Follow this and additional works at: https://irl.umsl.edu/thesis Part of the European History Commons Recommended Citation Scott, Emily, "Fiction and Politics: Karl May and the American West in Nineteenth Century German Sociopolitical Consciousness" (2018). Theses. 336. https://irl.umsl.edu/thesis/336 This Thesis is brought to you for free and open access by the UMSL Graduate Works at IRL @ UMSL. It has been accepted for inclusion in Theses by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. Fiction and Politics: Karl May and the American West in Nineteenth Century German Sociopolitical Consciousness Emily D. Scott B.A. History, University of Missouri – St. Louis, 2015 A Thesis Submitted to the Graduate School at the University of Missouri – St. Louis in partial fulfillment of the requirements for the degree Master of Arts in History with an emphasis in World History May 2018 Advisory Committee Minsoo Kang, Ph.D. Chairperson Kevin Fernlund, Ph.D. Committee Member Kara Moskowitz, Ph.D. Committee Member Abstract This thesis seeks to answer the following question: Why did the nineteenth century novels and short stories of Karl May, which take place in the American West, find such great commercial success in Germany? Through the examination of the novels themselves, in addition to various primary and secondary sources related to the life of May and the historical context in which this phenomenon took place, this question is answered. -
Your Name Here
COWBOYS AND INDIANS: THE AMERICAN WEST IN GERMAN ART OF THE TWENTIETH CENTURY by TERESA BRAMLETTE REEVES (Under the Direction of Evan Firestone) ABSTRACT Eliciting fantasy, adventure, and romantic ideals of natural living, the American Indian has been a long cherished symbol for the German people. In the nineteenth century, with Germans migrating to the United States, Germany’s evolutionary role in ethnography and anthropology, and the immense popularity of Karl May’s work, this interest was intensified, easily surviving the tumultuous first half of the twentieth century. The spaghetti westerns of the 1960s, German support of the American Indian Movement beginning in the 1970s, and the rise of Indian fan clubs revived Karl May’s work in the second half of the twentieth century, helping to sustain a German connection to all things Indian. This study follows the course of this influence on German art of the twentieth century through a chronological examination of representative works by Rudolf Schlichter, Max Ernst, Joseph Beuys, Sigmar Polke and Lothar Baumgarten. The image of America, as represented in the guise of the Wild West, has provided a point of deflection, a method of escape and a target for Germans artists for over one hundred years. INDEX WORDS: German art, Native Americans, Emil Nolde, August Macke, Rudolf Schlichter, Max Ernst, Joseph Beuys, Sigmar Polke, Lothar Baumgarten, Wild West, Karl May COWBOYS AND INDIANS: THE AMERICAN WEST IN GERMAN ART OF THE TWENTIETH CENTURY by TERESA BRAMLETTE REEVES BFA, University of Georgia, 1975 MFA, Virginia Commonwealth University, 1984 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2008 © 2008 Teresa Bramlette Reeves All Rights Reserved COWBOYS AND INDIANS: THE AMERICAN WEST IN GERMAN ART OF THE TWENTIETH CENTURY by TERESA BRAMLETTE REEVES Major Professor: Evan Firestone Committee: Alisa Luxenberg Janice Simon J. -
Czech and German “Indians” Vs. Cultural Appropriation 2020
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Martin Slezák Karl May’s Legacy: Czech and German “Indians” vs. Cultural Appropriation Master’s Diploma Thesis Supervisor: Mgr. Martina Horáková, Ph.D 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to express my gratitude to my supervisor Mgr. Martina Horáková, Ph.D, for her advice and undying patience, as well to many people close to my heart for supporting me during the process of writing this thesis. Table of Contents Introduction .................................................................................................................................. 1 1. Infatuation with the “Indian” ................................................................................................ 5 2. Indianthusiasm in Czech and German Contexts ................................................................. 13 3. Cultural Appropriation vs. Cultural Appreciation................................................................ 20 4. Winnetou meets the “Indian” ............................................................................................. 29 4.1. The Legacy of Winnetou .............................................................................................. 29 4.2. A Quest for an Approval ............................................................................................. -
Screen Indians in the EFL-Classroom: Transnational Perspectives by Karsten Fitz
asjournal.org DOI 10.18422/51-06 Screen Indians in the EFL-Classroom: Transnational Perspectives by Karsten Fitz This article addresses the question of what different audiences ‘see’ when watching movies depicting Native Americans, arguing that ways of ‘seeing’ are deeply embedded in specific cultural contexts. In particular, it is concerned with what a German movie-going audience—our EFL-students, in particular— see when watching blockbuster Hollywood movies like Dances with Wolves or popular Native American productions like Smoke Signals? Against the background of the West German Winnetou films and the East German DEFA westerns, respectively, German audiences on both sides of the iron curtain have been appropriating ‘Indians’ on their own terms, ‘using’ them for their own purposes and within their own cultural frames of reference. Introduction By the time Hollywood started to produce its first cinematic pictures of ‘Indians’ at the beginning of the twentieth century, the captivity narratives, travel reports, paintings, frontier romances (most prominently Cooper’s Leatherstocking Tales), dime novels, and Buffalo Bill’s Wild West Show had already long and firmly shaped the image of Native Americans in the popular American cultural imagination. When Hollywood ‘took over’ this role of image-making, it not only perpetuated existing stereotypes and accelerated their distribution, but also continued to promote the image of the ‘Hollywood Indian’ worldwide. Starting with the letters of Christopher Columbus, Europe had had its own fabrications of Indian images long before the appearance of screen pictures, most influentially that of Rousseau’s ‘noble savage.’ In Germany, for instance, the Karl May novels have firmly rooted the romanticized and noble Apaches, particularly their heroic chief Winnetou, the epitome of virtue, in popular German culture. -
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Tracing Karl May LQWKH+LVWRU\RI7UDQVDWODQWLF,QGLDQ,PDJHU\ Review essay of the exhibition titled 3RVWRSė.DUOD0D\H / 7UDFLQJ.DUO0D\ in the Náprstek 0XVHXPRI$VLDQ$IULFDQDQG$PHULFDQ&XOWXUHV3UDJXH2FWREHU²$SULO Karel May created characters which were not real and placed them in a world which only outwardly resembled reality. His heroes possessed characteristics, knowl- edge and experience which exceeded the bounds of even the most capable people. ey were brave, honest, untiring but also visionary; heedless of their own gains, they rushed into danger whenever they saw a threat to justice or to the basic rights of decent people, regardless of their race, creed or colour. ey didn ’ t hesitate to risk their lives when such threats to others – capture, fraud or the – were undeserved. ey expected no reward for their eorts, and even when it was oered, they oen refused. Karel May created a world full of injustice, oen of cruelty and violence, but also brought to it a sense of hope for change, for unexpected rewards. Many people, of many generations, believed in this hope, and marvelled at his heroes. And that ’ s no small thing. Tracing Karl May exhibition opening panel label. 1 e opening panel of the Náprstek Museum ’ s exhibition on the works of Karl May promises to give the visitor a tour of the worlds of this !n-de-siécle German novelist – with a subtext. e label and the exhibition itself not only tap into a rather obvious nostalgia for one ’ s Central European childhood readings and movie experiences, and make a fair interactive eort to entertain and educate about the German, Christian and – through our prism, European – values expounded by May. -
Playing Indian” Revisited
1 “Playing Indian” Revisited American Indians in the Transatlantic Cultural Landscape Archie Fire Lame Deer: So if you talk about the respect for our people in East Germany, when you walk there, I have to thank this man called Karl May, even though it was a world of fantasy that he had written about, never seen Lakotas, and made ridiculous things as Navajos with Mohawk haircuts [Richard Erdoes: I can tell you all about that!] but he still raised the consciousness of the people of the Indian people. Erdoes: We were all born and raised pro-Indian, all the German, and Austrian, and the Swiss and French kids clapped when they see the Indian—going “Boo!” when the cavalry come. [. .]1 Painting, Playing, Printing: Karl Bodmer and George Catlin The Central European forms and traditions of “playing Indian” were transatlantic in their production and circulation. In the long line of representations that spanned the previous centuries since European con- tact,2 especially influential were the Indian paintings of Swiss artist Karl Bodmer, who in the early 1830s traveled to the Upper Missouri Valley with German Prince Maximilian of Wied-Neuwied. While wintering at Fort Clark, present-day North Dakota in 1833–34, Bodmer created many likenesses of the Mandan and Hidatsa people. After his return to Europe, 19 © 2016 State University of New York Press, Albany SP_TOT_Ch01_019-032.indd 19 1/15/16 7:53 AM 20 From Wounded Knee to Checkpoint Charlie Bodmer used his sketches to make scores of paintings, which were then published in the prince’s travel account in German in 1839, and subse- quently in French and in abridged form in English.3 Among them were his most famous ones, the 1834 Mató-Tópe (Four Bears), Mandan Chief, and his 1835 Pehriska-Ruhpa of the Dog Society of the Hidatsa tribe.