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Bringing together the work of scholars in many disciplines, Women in the Metropolis provides a comprehensive introduction to women's experience of modernism and urbanization in Weimar Germany. It shows women as active participants in artistic, social, and political movements and documents the wide range of their responses to the multifaceted urban culture of Berlin in the 1920s and 1930s. Examining a variety of media ranging from scientific writings to literature and the visual arts, the authors trace gendered discourses as they developed to make sense of and regulate emerging new images of femininity. Besides treating classic films such as Metropolis and Berlin: Symphony of a Great City, the articles discuss other forms of mass culture, including the fashion industry and the revue performances of Josephine Baker. Their emphasis on women's critical involvement in the construction of their own modernity illustrates the significance of the Weimar cultural experience and its relevance to contemporary gender, German, film, and cultural studies.
This book focuses on the popular fiction of Weimar Germany and explores the relationship between women, the texts they read, and the society in which they lived. A complex picture emerges that shows women talking center stage, not only in the fiction but also in the reality that shaped its fictional representations. One of the author's significant conclusions is that it was the growing strength of female subjectivity, its strong positioning, and its insistent claim to visibility that occupied the imaginations and fears of Weimar culture and contributed in an important way to the crisis that afflicted the Weimar Republic.
Throughout the Weimar period the so-called “masculinization of woman” was much more than merely an outsider or subcultural phenomenon; it was central to representations of the changing female ideal, and fed into wider debates concerning the health and fertility of the German “race” following the rupture of war. Drawing on recent developments within the history of sexuality, this book sheds new light on representations and discussions of the masculine woman within the Weimar print media from 1918–1933. It traces the connotations and controversies surrounding this figure from her rise to media prominence in the early 1920s until the beginning of the Nazi period, considering questions of race, class, sexuality, and geography. By focusing on styles, bodies and identities that did not conform to societal norms of binary gender or heterosexuality, this book contributes to our understanding of gendered lives and experiences at this pivotal juncture in German history.
New view of the crucial role of fashion discourse and practice in Weimar Germany and its significance for women.
Richard McCormick takes a fresh look at the crisis of gender in Weimar Germany through the analysis of selected cultural texts, both literary and film, characterized under the label 'New Objectivity'. The 'New Objectivity' was characterized by a sober and unsentimental embrace of urban modernity, in contract to Expressionism's horror of technology and belief in 'auratic' art. This movement was profoundly gendered - the epitome of the 'New Objectivity' was the 'New Woman' - working, sexually emancipated, and unsentimental. The book traces the crisis of gender identities, both male and female, and reveals how a variety of narratives of the time displaced an assortment of social anxieties onto sexual relations.
This book focuses on the popular fiction of Weimar Germany and explores the relationship between women, the texts they read, and the society in which they lived. A complex picture emerges that shows women talking center stage, not only in the fiction but also in the reality that shaped its fictional representations. One of the author's significant conclusions is that it was the growing strength of female subjectivity, its strong positioning, and its insistent claim to visibility that occupied the imaginations and fears of Weimar culture and contributed in an important way to the crisis that afflicted the Weimar Republic.
Reproduces (translated into English) contemporary documents or writings with an introduction to each section.
"Weimar Centennial edition with a new preface by the author."--Title page.
Vorwort - I. Sharp: Women and Weimar Berlin - C. Ujma: Theories of Masculinity and the Avant-Garde - T. Elsaesser: The Camera in the Kitchen: Grete Schütte-Lihotsky and Domestic Modernity - A. Baumhoff: Women in the Bauhaus: Gender Issues in Weimar Culture - D. Rowe: Painting herself. Lotte Laserstein between subject and object - U. Seiderer: Between Minor Sculpture and Promethean Creativity. The Position of Käthe Kollwitz in Weimar's Discourse on Art - C. Finnan: Photographers between Challenge and Conformity. Yva's Career and Ruvre - K. Bruns: Thea von Harbou. Writing Skills and Film Aesthetics - J. Trimborn: Leni Riefenstahl's Career before Hitler: Success-stories of an Outsider - C. Schönfeld: Lotte Reiniger and the Art of Animation - A. Lareau: The Blonde Lady Sings. Women in Weimar Cabaret - I. C. Gil: 'Jede Frau ist eine Tänzerin...' The Gender of Dance in Weimar Culture - B. Maier-Katkin: Anna Seghers, Irmgard Keun. A Discourse on Emancipation and Social Circumstance - C. Ujma: Gabriele Tergit and Berlin: Women, City and Modernity - C. Finnan: Marieluise Fleißer's Self-Reflections on the Female Writer - J. Redmann: Else Lasker-Schüler versus the Weimar Publishing Industry. Genius, Gender, Politics, and the Literary Market - J. Warren: Contrasted Heroines in Two Plays by Ilse Langner. A Dramatist at 'Weimar's End' - L. Soares: Vicky Baum and Gina Kaus: Vienna, Berlin, Hollywood
Abortion in the Weimar Republic is a compelling subject since it provoked public debates and campaigns of an intensity rarely matched elsewhere. It proved so explosive because populationist, ecclesiastical and political concerns were heightened by cultural anxieties of a modernity in crisis. Based on an exceptionally rich source material (e.g., criminal court cases, doctors’ case books, personal diaries, feature films, plays and literary works), this study explores different attitudes and experiences of those women who sought to terminate an unwanted pregnancy and those who helped or hindered them. It analyzes the dichotomy between medical theory and practice, and questions common assumptions, i.e. that abortion was “a necessary evil,” which needed strict regulation and medical control; or that all back-street abortions were dangerous and bad. Above all, the book reveals women’s own voices, frequently contradictory and ambiguous: having internalized medical ideas they often also adhered to older notions of reproduction which opposed scientific approaches.