Gelderloos, Carl. Biological Modernism: The New Human in Weimar Culture

2021 ◽  
Vol 94 (1) ◽  
pp. 139-141
Author(s):  
Katie Sutton
Keyword(s):  
Weimar Culture

Approaches to Dance (2): Influences

2011 ◽  
Vol 29 (2) ◽  
pp. 246-250 ◽  
Author(s):  
Marion Kant
Keyword(s):  
The Political ◽  
Dance Studies ◽  
Historical Approach ◽  
Comic Opera ◽  
Artistic Activity ◽  
Humboldt University ◽  
East German ◽  
And Performance ◽  
Weimar Culture ◽  
Intellectual Formation

This statement is an attempt to reflect on my intellectual formation and how certain influences, both from home (a place suspended between Germany with the remnants of its Weimar culture and Britain as the place of exile) and from subsequent experiences, led me to adopt an historical approach to dance studies and to emphasise the context in which artistic activity unfolds. My education at Berlin's Humboldt University and the Comic Opera shaped my perspectives on theatre and performance. The East German milieu in general forced me to confront the immediate past and think about the political and ideological legacies of the cultures in which I grew up.

Art Work as Life Work: Lu Märten's Feminist “Objectivity”

October ◽  
2021 ◽  
pp. 35-54
Author(s):  
Jenny Nachtigall ◽  
Kerstin Stakemeier
Keyword(s):  
New Media ◽  
Art History ◽  
Economic Conditions ◽  
Firm Boundaries ◽  
Social Fields ◽  
Magnum Opus ◽  
Weimar Culture ◽  
Life Work ◽  
Do So ◽  
Work And Life

Abstract “Art Work as Life Work: Lu Märten's Feminist ‘Objectivity’” highlights the feminist stakes of German feminist-materialist art historian Lu Märten's interventions in the interwar discourses on art and labor, on objectivity (Sachlichkeit), and the new media of film and radio. The essay argues that Märten's contributions to these areas sit squarely within more familiar narratives of materialist aesthetics and Weimar culture (from Walter Benjamin's epochal Artwork Essay to the Bauhaus) and that they do so on account of her heterodox reading of Marx and commitment to Spinoza's monism. In Märten's view, this non-binary materialism offered an alternative, non-Hegelian route to a materialist conception of art or as she preferred to say, form. In contrast to art history's academic formalism, Märten espouses a notion of form that does not maintain art's autonomy but instead connects art to other social fields. Here form always evolves out of informality. The essay traces the close bond between art work and life work across Märten's multiple publications, including her theoretical magnum opus Essence and Transformation of Forms/Arts and her studies on The Economic Conditions of Artists and The Female Artist. In so doing, the text contributes to revisiting the firm boundaries that art history has drawn between objects and communities.

Weimar culture and its others

2017 ◽  
Author(s):  
Nicholas Attfield
Keyword(s):  
Political Regime ◽  
Political Factions ◽  
Weimar Culture

This introductory chapter begins with the post-1945 concept of ‘Weimar culture’, and, through a critique of an article by Michael Kater, considers the concept’s tendency to divide the era into two rigid cultural-political factions: progressive ‘sons’ and reactionary ‘fathers’, a metaphor ultimately derived from Peter Gay’s well-known Weimar Culture: The Outsider as Insider (1968). Having drawn attention to the distortions caused by such historiographical inflexibility, it proceeds to a description of the four studies (Chapters 2–5) that are to follow in the book, presenting these as distinct positions in the discourse of Weimar-era musical conservatisms and demonstrating that—for all their similarities—the subjects just as often took acute issue with one another. These were frictions, the chapter concludes, that continued beyond 1933 and the change of political regime in Germany.

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