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Wilhelm Busch: the Art of Letting Off Steam Through Symbolic Inversion

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Wilhelm Busch: The Art of Letting Off Steam Through Symbolic Inversion By Joan Elizabeth Gladwell A thesis submitted to the Graduate Program in German in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada April 2013 Copyright © Joan Elizabeth Gladwell, 2013 Abstract In the aftermath of the failed revolution of 1848, which had been sparked by demands for democracy and constitutional reform, Germany’s princes reluctantly introduced new freedoms regarding print and the right to assembly. However, reactionary forces in governments unwilling to cede power quickly repressed these freedoms, leading to tighter controls on public and private life. Consequently, dispirited citizens clutched at the old Biedermeier ways, withdrawing to an “ill-remembered social order of bygone days” (Shorter 169). It was against this backdrop that the illustrated works of Wilhelm Busch (1832–1908) appeared in the popular Bilderbogen (“picture broadsheets”) of the day, and later as stand-alone Bildergeschichten (“picture stories”), using satire and symbolic inversion to mock German society by skewering assorted political, social, and cultural sacred cows. The aim of my dissertation is as follows. I will start by examining Busch’s use of symbolic inversion as a way of implying a shift in power between figures of authority and the disgruntled “second-class” citizens of Biedermeier society: women and children. Next, I will examine how Busch’s animal characters, particularly apes with their close resemblance to mankind, mock human pretensions of biological superiority. Finally, I will show how objects meant to serve their human “masters” overpower them, even in their homes, suggesting that there was no refuge from the vagaries of a rapidly changing world. Key to my analysis will be an exploration of the mechanism of “inside out” and “upside down,” described by Mikhail Bakhtin with regards to the carnival scenes of Gargantua et Pantagruel , as a sanctioned and mocking way of questioning the power of the state and its institutions. Along the way, I will compare and contrast Busch’s picture stories with similar strips in the Fliegende Blätter , in order to prove how groundbreaking the author’s exposé of nineteenth-century German society truly was. As I explore the synergy between image and word, I will demonstrate how ii Busch’s use of symbolic inversion is slyly subversive, undermining established authority in the political, social, and cultural arenas, and providing a safety valve in the form of humour that transcends the boundaries of class, education, and gender. iii Acknowledgements Without the encouragement and support of many individuals, this project would never have come to fruition. At Queen’s University, I would like to thank my Doktormutter , Dr. Christiane Arndt, for her guidance during the research and writing of my dissertation. A debt of gratitude also goes to Dr. Jill Scott and Dr. David Pugh for their invaluable insights and resolute confidence over the past years. I would also like to thank Dr. Jean-Jacques Hamm ( Queen’s University ) and Dr. Christine Lehleiter ( University of Toronto ) for their useful remarks. This has been the most challenging assignment of my life, one I would not have missed for the world. Thank you to Dr. Margaret Maliszewska for her assistance, as well as to Nathalie Soini, M.A., for expediting much-needed reference works. To Dr. Petra Fachinger, thank you for introducing me as a returning student to the works of Wilhelm Busch. To Prof. Dr. Werner Nell (Martin-Luther-Universität Halle-Wittenberg ), Prof. Dr. Florian Vaßen ( Leibniz Universität Hannover ), and Prof. Dr. Hans Joachim Neyer (former director of the Wilhelm Busch – Deutsches Museum für Karikatur und Zeichenkunst ), along with his colleagues Frau Ruth Brunngraber-Malottke, M.A., and Frau Monika Herlt, schönen Dank for making research materials available to me in Germany. Danke , also, to my colleagues in the German Department (in alphabetical order): Pia Banzhaf, Marie-Thérèse Ferguson, Steve Goodman, Rebecca Hügler, Maria Irchenhauser, Steffi Kullick, Matthias Müller, Eva Sattelmeyer, Svenja Schmidt, Andrea Speltz, and Corina Szarka. Together, you allowed me to fulfil a lifelong dream! A special thanks goes to my friend and former colleague, Maria da Conceição Pereira, for kindly proofreading my copy. Finally, merci mille fois to my husband, Werner Sykora, for his constructive criticism, advice, and unflagging support during the completion of my dissertation. Ohne dich hätte ich es nicht machen können . iv Table of Contents Abstract ii Acknowledgements iv Table of Contents v List of Illustrations viii Abbreviations for Frequently Cited Works xiv Chapter 1: Introduction “Reflecting a New Order” 1 Intention of the Dissertation 14 Chapter 2: “Women Take the Upper Hand” 20 “Disorderly” Women and Social Reform 20 Gutsy Wife Characters 23 Broomstick-Justice 31 “Das Weib sucht zu erhalten” 35 Life of the Single Woman 40 Peasant Feistiness 45 The “Dreaded Spinster” 50 The Spirit of Lillith 58 Summary 63 Chapter 3: “Tykes, Truants, and Other Little Terrors” 67 Children as Lead Characters 68 Little Boys Up to No Good 72 Schoolboy Pranks 81 Revenge of the Lowly Apprentice 90 v Warfare by Any Other Name 93 Max und Moritz : The Ambivalence of Rebellion 98 Sugar and Spice and All Things Nice 104 Lock Up Your Daughters! 108 Summary 117 Chapter 4: “Animal Upstarts” 120 Great Chain of Being, Inverted 122 Buzzing Insects and Busy Bees 124 Rodent Madness 131 Birds of a Feather 137 Playing the Goat 141 Clever Canines 145 Monkeyshines 152 Summary 164 Chapter 5: “The Treachery of the Object” 168 Forces of the Day 170 The Bottle Beckons 171 Battle by Proxy 181 Myth and Magic 185 Nowhere Safe 191 Risqué Business 195 Dough Boys 200 Social Ferment 207 vi Summary 210 Chapter 6: “World-Upside-Down Theory Exclusive to Busch” 213 New Take on Ut Pictura Poesis 219 Works Cited 226 Appendices 251 Appendix A: Wilhelm Busch (1832–1908) 251 Appendix B: A Brief History of the Comic Strip 257 Appendix C: Fliegende Blätter and Münchener Bilderbogen 264 Appendix D: Woodblock and Photomechanical Printing Process 266 Appendix E: Wilhelm Busch Archives 269 vii List of Illustrations Fig. 1. Wie der Mann um den Hausschlüssel bitten lernt (1862). 24 FW 154, illus.1; 155, illus. 3; 156, illus. 5 Fig. 2. Die Brille (1870). RZ 159; illus. 12; 160, illus. 13 26 Fig. 3. Hausrecht (1876). FB 64.1589: 7 28 Fig. 4. “Freund Mücke” ( Abenteuer eines Junggesellen , 1875). 32 RZ 660, illus. 108; 662, illus. 112 Fig. 5. Eine Gardinenpredigt (1875). FB 63.1569: 52 33 Fig. 6. “Ein Mißgriff” ( Herr und Frau Knopp , 1876). 34 RZ 710, illus. 24; 711, illus. 25; 712, illus. 26 Fig. 7. “Ein schwarzer College” (Abenteuer eines Junggesellen , 1875). 37 RZ 615, illus. 30; 616, illus. 31 Fig. 8. Lied eines deutschen Knaben (1861). FB 35.846: 96 38 Fig. 9. Der hastige Rausch (1871). RZ 194–95, illus. 6 40 Fig. 10. Der hastige Rausch (1871). RZ 196–97, illus. 7 41 Fig. 11. Warnung (1871). FB 54.1346: 141 42 Fig. 12. “Der Zylinder” ( Dideldum! 1874). RZ 583, illus. 5; 584, illus. 6 44 Fig. 13. Consequent (1875). FB 62.1553: 133 45 Fig. 14. Balduin Bählamm (1883). SW 466, illus. 61; 467, illus. 62 46 Fig. 15. Ein galantes Abenteuer (1866). FW 450–51, illus. 3, 4 48 Fig. 16. Wirtschaftliche Folge der Eifersucht (1876). FB 64.1613: 200 49 Fig. 17. Des Mädchens Klage (1893). FB 98.2495: 187 50 Fig. 18. “Der Heirathsentschluß” ( Die Fromme Helene , 1872). RZ 285, illus. 93; 51 287, illus. 98 Fig. 19. Die Strafe der Faulheit (1866). FW 456, illus. 1; 459, illus. 7 54 Fig. 20. Der Lohn des Fleißes (1866). FW 468, illus. 14; 469, illus. 16 56 viii Fig. 21. “Die Beichte” ( Der heilige Antonius von Padua , 1869). 60 RZ 112, illus. 43; 113, illus. 44 Fig. 22. “Eheliche Ergötzlichkeiten” ( Herr und Frau Knopp , 1876). 62 RZ 697, illus. 6, 7 • • • • Fig. 23. Die kleinen Honigdiebe (1859). FW 15, illus. 3; 16, illus. 5 72 Fig. 24. Krischan mit der Piepe ( Bilderpossen , 1864). FW 296, illus. 1; 75 306–07, illus. 14 Fig. 25. Der kleine Raucher (1853). FB 17.406: 176 76 Fig. 26. Der Eispeter ( Bilderpossen , 1864). FW 272–73, illus. 22, 23 77 Fig. 27. Die Verwandlung (1868). RZ 46, illus. 15; 47, illus. 16 78 Fig. 28. Trauriges Resultat einer vernachläßigten Erziehung (1860). 79 FW 62, illus. 2; 63, illus. 3 Fig. 29. Bilder zur Jobsiade (1872). RZ 357, illus. 17; 358, illus. 19 82 Fig. 30. Maler Klecksel (1884). SW 513, illus. 11; 514, illus. 13 84 Fig. 31. Plisch und Plum (1882). SW 410, illus. 87; 411, illus. 89 86 Fig. 32. Aus einem Knaben-Erziehungs-Institute (1861). FB 34.815: 53 86 Fig. 33. “Rector Debisch” ( Abenteuer eines Junggesellen , 1875). 88 RZ 621, illus. 40; 624, illus. 47; 625, illus. 49 Fig. 34. “Ländliches Fest” ( Abenteuer eines Junggesellen , 1875). 89 RZ 627, illus. 51; 629, illus. 54 Fig. 35. Illustrationen zu deutschen Liedern (1860). FB 33.791: 68 91 Fig. 36. Unangehmes (1862). FW 793, illus. 1 91 Fig. 37. Maler Klecksel (1884). SW 527, illus. 36; 528, illus. 37 92 Fig. 38. Lehrjungenrache (1861). FB 34.829: 164 92 Fig. 39. Das Pusterohr (1867/68). FW 522, illus. 9; 523, illus. 12 94 ix Fig. 40. Balduin Bählamm, der verhinderte Dichter (1883). 96 SW 456, illus. 47; 457, illus. 48 Fig. 41. Diogenes und die bösen Buben von Korinth (1862). 97 FW 163, illus. 3; 164, illus. 5 Fig. 42. “Dritter Streich” ( Max und Moritz , 1865). FW 349, illus. 30; 350, illus. 32 99 Fig. 43. Max und Moritz (1865). FW 331, illus. 1 102 Fig. 44.
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    ANGLO-GERMAN CULTURAL RELATIONS Language & literature, travel & tourism, c.1714–1914 The catalogue before you, published to mark my tenth anniversary as an independent bookseller, has been years in the making. Many people know me for selling Russian material, but in fact my interest in Germany About has always been stronger. German has always been my favoured foreign this language and I have enjoyed finding, researching, and writing about the catalogue books, manuscripts, music, and ephemera which make up this catalogue. It’s only when you specialize, and collect, in any depth that things start to get interesting, and that has certainly been the case here. You see connections, reactions, and developments; pieces of a historical jigsaw fall into place. The material here charts the cultural connections between the English- and German-speaking worlds in, roughly, the two hundred years between the Hanoverian Succession and the First World War. Through travel and translation, one culture discovers another; discovery then leads to influence. A German immigrant teaches music in London, the same year (1737) an Englishman in Göttingen compiles the first anthology of English literature for Germans. Later, in the 1760s, the first English translations of German literature are mirrored by the appearance of Wieland’s influential edition of Shakespeare. The catalogue documents two major eighteenth- century European literary events: Ossian and Werther, both linked by and to the young Goethe, whose own Faust so captured the English imagination in the nineteenth century. (The web of influence within literature itself is likewise tantalising: Werther reads Ossian, Frankenstein’s monster reads Werther.) The rise of the Gothic is also found here: Bürger’s Lenore in five English translations (1796–7), one of them Walter Scott’s first book, but the influence, surprisingly perhaps, was felt even earlier (and the other way round), in Sophia Lee’s The Recess, translated by Benedikte Naubert in 1786.
  • TR2010/0136.01-01/001- Technical Assistance for Improved Strategic

    TR2010/0136.01-01/001- Technical Assistance for Improved Strategic

    National Programme for Turkey 2010 under the Instrument for Pre-Accession Assistance This project is co-financed by the European Union and the Republic of Turkey TR2010/0136.01-01/001- Technical Assistance for Improved Strategic Management Capacity Germany Country Report 30/01/2015 1 Table of Contents Page 1. General Information 4 1.1. Sources and Aims 4 1.2. Structural Aspects of the German State 4 1.3. Area and Population 7 1.4. GDP and Financial and Budgetary Situation 10 1.5. Main Economic and Commercial Characteristics 12 2. Government and Public Administration of the Federal Level 15 2.1. Federal Constitutional Structure (head of state, head of government, parliament, judiciary) 15 2.2. Central Bodies (chancellor, ministers) 16 2.3. Public Administration 17 2.3.1. Public Administration: employees 17 2.3.2. Public Administration: assessment and training 19 2.4. Reforms to the Structure of Government (past, in progress, planned) 22 3. Four Examples of Länder/Federal States (according to size, history, economic structure and geographic direction) 26 3.1. Baden-Württemberg - General Structure 28 3.1.1. Government and Public Administration 28 3.1.2. Reforms 30 3.2. Brandenburg - General Structure 32 3.2.1. Government and Public Administration 32 3.2.2. Reforms 33 3.3. Lower Saxony - General Structure 34 3.3.1. Government and Public Administration 35 3.3.2. Reforms 36 3.4. Saarland - General Structure 38 3.4.1. Government and Public Administration 38 3.4.2. Reforms 39 4. Strategic Planning and Public Budgeting 41 4.1.
  • John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic

    John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic

    JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.