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Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

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This thesis investigates how societal change is represented and negotiated in Weimar Republic journals. I advance the idea that journals serve as unique crystallisations of the negotiation of social change within social communities due to their inherent periodicity, polyphony and materiality. I elucidate how these journals function, both as material objects with their own specific identities and within Weimar society more generally. To do so, I examine six selected journals: Die Weltbühne, Kladderadatsch, Simplicissimus, Die Gartenkunst, Sport im Bild and Fürs Haus. Together, these journals cover a wide range of bourgeois communities, exemplifying a multiplicity of strategies in order to negotiate the challenges posed by modernisation to their communal identities as well as to the individual identities of their creators and readers. This thesis thus establishes a history of small steps visible in the continuous development of the journals' content and material form, offering an understanding of history as a continuous development of social practices rather than a history of caesuras and breaks. Accordingly, I propose that journals tell us about culture, their material Eigenlogik setting them apart from newspaper and book alike. I then develop a notion of culture as dynamic and of journal communities as communities of practice. Next, I provide a case study of the Simplicissimus's communal practices materialised in shifts of its editorial content and material form, before generalising these findings to include non-authorial voices in advertisements and letters to the editor. Finally, I investigate the negotiation of modernisation in the form of sport and the "New Woman" in the journals, highlighting the concurrency of discourse and active participation, and the coexistence of rejection and incorporation. Ultimately, Weimar journal communities exhibit a continuity of social practices and identities that span from the Kaiserreich to Nazi Germany, both negotiating and furthering modernisation in the process.

Thesis advisor: Devin Pendas / Ernst Juenger lived through almost the entire 20th century. This longevity has placed him at the center of many of the most defining moments of modern German history. It is not, however, simply his longevity but his attitudes that have caused such a controversy to grow up around him. A staunch nationalist and one might venture to say, war-monger, during the First World War and a virulent enemy of the Weimar Republic, many historians have classified him as a Nazi author. This thesis explores the relationsihp of Ernst Juenger to the National Socialists in the context of his writing and political leanings between the First World War and the end of the Second. Without understanding the integral differences between his ideology and that of the NSDAP (namely their divergence on the issues of racial purity, parliamentarianism, communism, the use of power, and the position of art)one cannot appreciate his place in history and his perspective on Germany. / Thesis (BA) — Boston College, 2006. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: History. / Discipline: College Honors Program.

Indiana University-Purdue University Indianapolis / Gabriele Münter (1877-1962) was a primary member of the twentieth-century German Expressionist group Der Blaue Reiter (The Blue Rider). This thesis examine the stylistic intersection between avant-garde French Fauvism and German Expressionism in Gabriele Münter's substantial oeuvre. Her body of work demonstrates an unmistakable affiliation with modern French aesthetic inclinations, a distinctive characteristic that confirms Münter's intrinsic comprehension of innovation artistic principles in creative communities across Europe. To contextualize the analysis of Münter's stylistic experimentation, this thesis illuminates the development and maturation of German feminine artistic culture from 1900 to 1933.

Between the years of 1919 and 1933, the Weimar Republic was a world leader in art and entertainment. However, it was also torn apart by severe economic depressions and political violence. This intense atmosphere provided a powerful context for the art and films of the period. As the political and economic tides shifted, the style of painting and filmmaking changed, as well. The idealistic Expressionist art of the years immediately following the optimistic revolution subsided as a sober realism emerged. This New Objectivity was both evident in the paintings of artists such as Otto Dix and George Grosz, as well as in the films of G.W. Pabst. However, within the changing artistic and social climate of Weimar Germany, Pabst has received little attention by scholars. This thesis contextualizes G.W. Pabst, one of Weimar's leading film directors, within the artistic transitions and social climate of the era, specifically analyzing issues of class and gender within his silent features. / Master of Arts

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