Comic Books and Culture in the German Democratic Republic, 1955-1990: Between Constructions of Power and Childhood. by Sean Eedy A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Carleton University Ottawa, Ontario © 2016 Sean Eedy ii Abstract. In 1955, the East German Socialist Unity Party issued the Regulations for the Protection of Youth as a means of controlling publications for children and young people coming across the relatively open German-German border. At the same time, the regime authorized the creation of socialist comics in order to fill the gaps these regulations left in children’s entertainment. However, as socialist alternatives to the perceived trash and filth represented by western comics and American influence, these East German comics were employed as extensions of the regime’s education system, delivering the state’s ideology in its efforts to develop the socialist personality among youth and generate genuine enthusiasm for the construction of state-socialism. Just as these comics organized children’s activities and leisure time, they were taken up and read by East German children who made their own meanings of the publications’ contents. As much as these comics were meant to fulfill the state’s ideological agendas and foster the spirit of socialism within these readers, the children themselves understood comics in terms of the perceived freedoms they allowed. As such, children projected their own desires, interests, and tastes upon these publications. These expectations limited the range of actions available to the regime for drawing these readers into participation with socialism and the SED-state. This dissertation approaches the subject of comics in the German Democratic Republic as constructions of state power and, in keeping with Foucault’s governmentality thesis, as levers of power that allowed for the perpetuation of SED control. As children understood comics in ways different from the regime, comics are also examined in terms of Jürgen Habermas’ critical public sphere insofar as they provided space for child-readers to make their own sense of the SED-state and the society around them despite these constructions of power. To this end, this dissertation iii examines archival records of the GDR youth groups and issues of Verlag Junge Welt’s comics and children’s magazines. This study argues that GDR comics were constructions of the regime’s power at the same time that they provided fantasies of empowerment, escapism, and constructive of the experience of childhood under socialism. iv Acknowledgements Although my name is on the title page and I am ultimately responsible for the words as they appear on the pages contained within this dissertation, this work cannot be attributed to me alone. If any part of this work should be praised, that praise goes to those who supported me throughout this process. Should any faults appear in the pages that follow, those faults are my own. This project is one that I could not have undertaken without the support of people too numerous to mention here in their entirety. I tried to remember all of those who helped me along this journey. If there is anyone I have forgotten, please be kind. That fault is also mine. Like many who have come before me, I stand on the shoulders of giants. Regardless of how the title page reads, everything that follows belongs to us all. First and foremost, I must thank Jennifer Evans who has not only been my supervisor, but whom I would like to think has also been my friend over these past seven years. Without her guidance, I would not have made it through the Master’s program, let alone the PhD. I must also thank her for agreeing to supervise my doctoral work only if I went ahead with this comics project over the other topic I had in mind. Joan White somehow managed to keep me ahead of my deadlines, most likely through her own diligence and repeated emails more so than any effort on my part. Joan is also wonderful at catching errors I myself often miss. Just ask her about my original title page. My ‘i’s are dotted and my ‘t’s are crossed because of Joan. Though I had a class with her once, I did not really get to know Dominique Marshall prior to her becoming Head of the History Department. I am glad I did. We share an interest in children and childhood development and she often passed along articles and calls for papers that I would have missed without her. In fact, my publication in the Journal of Graphic Novels and v Comics, which later developed into the first chapter of this dissertation, can be attributed to a CfP received from her. More importantly, when personal crisis struck, Dr. Marshall came to my aid. This culminated in my contribution and assistance to the Canadian Network on Humanitarian History and is something I am happy to continue with for as long as she will have me. I would also like to thank the members of my examination board: Susan Whitney and James Casteel, both of whom are great people. I’ve enjoyed their classes and our conversations over the years. As both have previously been involved with either my Master’s defence or my comprehensive exams (or both), I feel that they’ve accompanied me on this journey as much as anyone. I only had the pleasure of meeting Benjamin Woo once before, but I very much enjoyed being able to discuss comics in a relatively academic setting without the stigmas typically associated with the medium. It pleases me to know other academics interested in the study of comics and to see something of a coming out for the comics medium in terms of mainstream acceptability both in and out of popular culture. I didn’t have the chance to know Corey Ross prior to my defence and then didn’t have the opportunity to talk with him nearly as much as I would’ve liked, but his work proved invaluable and influential to my own and I’m glad and thankful that he agreed to be part of this. Although her role was small, I’d like to thank Cristina Cuevas-Wolf at the Wende Museum in Culver City, California. Back when I was researching aspects of my Master’s thesis at their archive, I shared my PhD idea and inquired about potential copies of Mosaik and Atze in their collection. Cristina was good enough to show me their nearly complete run of Mosaik kept in their holdings. Though I was unable to get back to California recently, I appreciate her help and my experience there. vi Jane Freeland and Jennifer Rodgers were both extremely important to the successful completion of this project. I visited the Bundesarchiv in Berlin-Lichterfelde back in 2011 or 2012 doing some preliminary research for this work, much of which found its way into the first chapter. However, given the time I had available and the volume of material to get through, I found myself with a list of files left unexplored and no financial way to get back. Jane connected me with Jennifer who was good enough to put those files into my hands. Without their assistance, much of the material I needed and contained herein would have remained beyond my reach for a while longer. Quite literally, my ability to complete this project on schedule was entirely because of their efforts overseas. I owe them both no ends of thanks. Thanks needs also be extended to Peter Lorenz MA and the staff at Comic Bibliothek Renate in Berlin. I am so glad a place like this exists. Yes, it serves as an indie comic shop and the range of comix I found there was fantastic, but more importantly the Comic Bibliothek serves as an archive of a cultural medium ignored by many other institutions. The Comic Bibliothek not only serves the history of comics in the former German Democratic Republic, but of comics and German comics more generally. Moreover, I found there secondary literature of which I’d heard or seen referenced, but had previously been unable to access. Peter was good enough to accommodate my needs, allowed me access to the entirety of material in his collection, and let me stay as late as I needed in order to pour through what was there. Though, my first experience with Turkish coffee was something of a shock and I can’t say I’ve become a fan of it since. On a more personal level, I’d like to thank Thomas McKechnie for always being my friend and being supportive when I decided to do this. I may not see him or his family as often as I may like, but we always manage to pick up where we left off as though no time has passed. That’s really the best kind of friendship. vii Finally, and perhaps most important, I’d like to thank my wife, Deborah, for being at my side throughout this experience. I’m sorry that sometimes this has caused me stress and I’m sorry that sometimes research, conferences, or classes took me away, but she has always been there and supported me. I could not have done this without her and maybe I wouldn’t have wanted to. I love you, Debbie. Sean Eedy Ottawa, ON, 18 September 2016 viii Table of Contents. Abstract.........................................................................................................................................ii. Acknowledgements......................................................................................................................iv. Table of Contents.......................................................................................................................viii. List of Figures..............................................................................................................................ix. Introduction. Comics at the Intersection of State Power and Childhood in the German Democratic Republic..........................................................................................................................................1.