Texte remanié de: Diss.--Göttingen, 1996. / Bibliogr. p. 252-262. Notes bibliogr.

Thesis advisor: Susan A. Michalczyk / Käthe Kollwitz (1867-1945) was a progressive artist who used art as a cathartic means to live through the death of her son in WWI and grandson in WWII. Trapped in the sexist generation of early 20th century Germany, Käthe defied the society in which she lived to create art that served as an empathetic mouthpiece for society's marginalized. She created thousands of lithographs and hundreds of sculptures depicting war, death, and poverty. Käthe found beauty in the struggle of the working class and constantly used her physician husband's patients as subjects of her work. As she continued into the socialist realm, she made enemies with German leaders, including Adolph Hitler. Her work fiercely rejected Germany's involvement in World War I and condemned Hitler's Third Reich near the onset of World War II. Käthe's use of bleak colors and disturbing subject matter penetrates the viewer's comfort zone. The viewer is unable to turn away from her work without feeling guilt, and is forever haunted by her prudent recognition of truth. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 24, 2010). Thesis advisor: Dr. Adrienne Walker Hoard, Includes bibliographical references.

Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Joseph Perry, committee chair. Electronic text (90 p. : ill.) : digital PDF file. Description based on contents viewed May 1, 2007. Includes bibliographical references. Includes bibliographical references (p. 72-75).

No description available.

The German artist Kaethe Kollwitz challenged the cultural constraints placed on women during the Weimar Republic. My thesis analyzes the artwork of Kollwitz and the effects of maternal imagery within the political debates of abortion reform, sexual equality and pacifism in the 1920s and explores historians’ use of the ideas of maternal feminism to understand Kollwitz’s art. I challenge the social constructs of private versus public spheres to illustrate the diversity of experience and the agency of women like Kollwitz who manipulated these spheres. I argue that Kaethe Kollwitz gained a voice within the public domain by creating artwork and imagery that focused on the private sphere. Using these images of motherhood, Kollwitz manipulated gender roles and created new spaces for the female experience in public discourse, particularly regarding maternal feminism, abortion reform, and pacifism.

This thesis is a translation of and critical introduction to a seventeen-month excerpt of the World War I diaries of German artist Käthe Kollwitz (1867-1945), a painter, printmaker, and sculptor. These diaries present a unique insight into Kollwitz’s life during the war and the process behind her art. The source text for this translation are entries from August 1, 1916, to December 31, 1917, as printed in the 2012 edition of the diaries prepared by the artist’s granddaughter, Jutta Bohnke-Kollwitz, and first published in full in 1989. The thesis also translates Bohnke-Kollwitz’s introduction to the published volume and her footnotes on the selected entries. The critical introduction to the translation discusses this excerpt in the historical context of World War I, addressing the relationship between the patriotic “spirit of 1914” and the cultural constraints on grieving mothers to largely mourn in silence, as Kollwitz did for her own fallen son Peter. This situates Kollwitz among intellectuals and intellectual women in Germany at the time, and follows Kollwitz’s transition from an initial pro-war stance to eventual anti-war activism as documented in the diaries. The introduction then discusses my translation strategy, which draws on functionalist theories of translation to develop an approach that foregrounds Kollwitz’s own voice as a writer and the nature of the text as a private document. This approach aligns with the intended function of this translation, which particularly values the diaries for their intimacy and for the insight they can give us onto Kollwitz’s inner experience during a tumultuous historical time.