This is a study of the causes of the rise of the Third Reich, and its attitude toward the Treaty of Versailles.

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My dissertation, entitled "All Work and no Play? Labor, Literature and Industrial Modernity," analyzes writing about work that was mostly published in communist and anarchist newspapers during the Weimar Republic. Discussing texts that have been almost fully neglected, my approach departs from existing scholarship on Weimar in two significant ways: First, I analyze these texts in the context of the period's dominant theories, practices, psychologies, and utopian ideas concerning labor. Due to the proximity of artistic and industrial 'production' particularly in the minds and practices of Weimar communists, I consider these literary treatments of work also within the framework of literary and artistic meta-discourses during the Weimar Republic (e.g. Expressionism, New Objectivity, and Productivism). Second, investigating such controversial issues as industrialization, the division of labor, technology, progress, etc., my dissertation leads to a transnational (hi)story in which Weimar Germany can be viewed in the larger context of American imports such as Taylorism and Fordism, their Soviet variants, and pre-industrial counter-models. Chapters One and Two scrutinize communist discourse on work, with Chapter One focusing on the situation in Germany (especially the rationalization drive sweeping the Weimar Republic after 1924 and its literary representations in the communist newspaper Die rote Fahne) and Chapter Two discussing the complex cross-fertilization between German and Soviet communist politics and culture (Egon Erwin Kisch, Sergei Tretiakov, et al.). In these two chapters, I put forth a critique of dominant Marxism-Leninism at the time. Its fetishization of labor and modernization can be found in the texts I discuss (although in highly contradictory terms), and was at the core of the worker-authors' self-understanding as "engineers" of socialism. Chapters Three and Four present the challenge to communism's labor theories and artistic models that arises from various anarchist and syndicalist factions at the time -- groups I summarily call 'anti-authoritarian socialism.' Proposing a veritable exodus from industrial modernity in texts published in Fritz Kater's Der Syndikalist and Franz Pfemfert's Die Aktion, anti-authoritarian socialists ventured to mostly pre-industrial settings both within Germany (e.g. in the case of Heinrich Vogeler's Barkenhoff commune) and Mexico (in this case, through the work of B. Traven). / text

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Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff???) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.

Call number: LD2668 .T4 1956 W57 / Master of Science

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Call number: LD2668 .T4 1986 I78 / Master of Music / Music, Theatre, and Dance