Founded in 1918 following the carnage of World War One until the Nazi takeover of 1933, the Weimar Republic is widely renowned as a bastion of freedom and democracy that existed only briefly between the reigns of two authoritarian regimes. The Weimar period witnessed an unprecedented prosperity of art and culture, with tremendous advancements in the fields of literature, the visual arts, and film. However, the remnants of the old Empire persisted within the new Republic, and new fascist factions rose to prominence within German society. Artists that lived through the era, both liberal and conservative, observed and provided their opinions on this phenomenon that would culminate in the advent of Nazi Germany. The purpose of this paper is to examine works of art across genres and by different artists, establish a connection with the fascist trends in Weimar Germany, and understand the attitudes of each respective artist towards the decline of German society into illiberalism and barbarism. I argue that artists anticipated fascist political and cultural developments in the years prior to the Nazi seizure of power in 1933, and look at the various artists in the realms of literature, the visual arts, and film.

Le mémoire suivant compare les cités d’habitations de Weissenhof à Stuttgart et de Römerstadt à Francfort-sur-le-Main. Toutes deux projets pilotes du mouvement moderne et de l’École Bauhaus, ces cités démontrent le lien entre le passé traumatique de l’Allemagne wilhelmienne et l’utopie démocratique de la République de Weimar. L’équipe de Ludwig Mies van der Rohe et la brigade d’Ernst May tentent de réformer la famille ouvrière allemande à partir de l’espace qu’elle habite, c’est-à-dire le logement. S’élabore donc une nouvelle grammaire architecturale qui détonne dans le paysage urbain allemand. Cette réforme s’intéresse au remaniement de l’espace privé ; la pièce a un rôle exclusif, comme ses locataires. Par extension, la femme est alors au-devant des changements avec la systématisation scientifique de son travail. L’architecture moderne vacille sans cesse entre un laisser-aller et un contrôle calculé des corps par l’espace qu’ils occupent. Mies et May n’ont pas su adapter les logements qu’ils offraient aux besoins des ouvriers auxquels ils s’adressaient. Réfractaires aux changements, les Allemands ont d’abord rejeté les deux projets alors qu’en Amérique du Nord, le style est déjà enseigné dans les écoles d’architecture. Lentement mais sûrement, les cités d’habitations sont apprivoisées par les générations suivantes. De Frédéric le Grand à aujourd’hui, elles font parties du paysage architectural allemand et certaines d’entre-elles, comme Weissenhof et Römerstadt sont inscrites à l’UNESCO.

I denna uppsats analyseras det vegetariska subjektet med fokus på subjektiva upplevelser och genom detta belyses attraktioner och förändringar inom vegetarianismen mellan 1895–1931 i medlemstidskrifterna för Deutscher Vegetarier-Bund. Teoretiskt är uppsatsen grundad i subjektiviseringstesen med fokus på upplevelser, genus och känslor. Resultaten visar att ett skifte skedde från en rationell objektiv upplevelse till en subjektiv och känslostyrd upplevelse. Genomgående konstruerades den vegetariska livsstilen som en elitupplevelse och kontrasterades mot andra livsstilar. Det vegetariska subjektet var även könat och konstruerat med eller mot maskulina förväntningar. Genom analysen av genus och upplevelser har forskningen om tysk vegetarianism utökats. Vegetarianism kan genom analysen förstås som ett sätt att återförtrolla världen genom mystik och förundran.

The subject of this thesis is purposed to characterize both economic and political progress in Weimar republic since the end of World War I till the middle twenties. In this respect, it is a period when Germany, after several years of war struggle ending up as a defeated country, was raving in economic and internal political crisis and also had to face up a diplomatic isolation connected with tough peace conditions from Versailles. The main focus of this study is to analyze German economic depression contextualized with crucial historic events against background of then international diplomacy. Economic analysis is connected especially with explanation of huge hyperinflation, synchronous theoretic hypothesis that formed economic policy of German governments and their comparison with modern monetary economics. Being analyzed are not only causes of depression based in long-term debt funding of war, uncovered money emission and necessity of high reparation payments, but also the process and the way of its termination and overall consequences both political and socioeconomic. After abandonment of inflation episode follows solution of reparation payments adjustment which was necessary for future stabilization of Weimar Republic and final termination of German crisis. The way to stability was provided by London Conference and Dawes plan which are both analyzed in the last part of this thesis.

My diploma thesis examines international relations of Germany and Central European states, mainly German neighbours - Poland, the Czech Republic and Austria. The topic is interesting due to deep historical roots of mutual relations among the mentioned states as well as due to their current intensive bilateral and multilateral cooperation.

Die vorliegende Hausarbeit untersuchte den Spielplan 2017/2018 der Staatskapelle Weimar. Ziel war es, die einzelnen Konzertreihen hinsichtlich ihrer konzertdramaturgischen Gestaltungselemente zu erforschen und Kriterien erfolgreicher Programmplanung aufzuzeigen. Mittels quantitativer Spielplananalyse und explorativem Interview wird der Frage nachgegangen, wie kreative Programmplanung innerhalb eines traditionellen Rahmens gelingen kann und welche Anknüpfungspunkte des Orchesters an sein gesellschaftliches Umfeld dies begünstigen. Die zentrale These lautet: Ein innovatives und vielfältiges Konzertprogramm kann einen Beitrag dazu leisten, verschiedene Publikumsgruppen anzusprechen und Anknüpfungspunkte an die Gesellschaft zu finden. Die gewonnenen Ergebnisse bestätigen die These: Durch die schlüssige Konzeption der fünf untersuchten Konzertreihen und ihre spezifische, in sich profunde und sehr vielfältige Programmierung werden viele verschiedene, heterogene Zielgruppen und sogar Nicht-Konzertbesucher angesprochen und darüber hinaus auch zahlreiche Verbindungen zu örtlichen Einrichtungen und Projektpartnern unterhalten.

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This dissertation offers new insights into Carl Schmitt's early Catholic thought, especially Die Sichtbarkeit der Kirche and Römischer Katholizismus und politische Form. Focusing on the concept of "form," I examine Schmitt's idiosyncratic usage of the term, its theological underpinnings, and the implication of Schmitt's early Catholic thought for understanding his place in the history of mid-20th-century political thought. Schmitt is best known as a political theorist of "decisionism" and "the exception," who favors the extra-legal, irrational, and existential in shaping "the political." His theory arises from theological commitments later obscured by his association with the Nazis. I argue that Schmitt's theological perspective and his concept of form reinforce one another by elevating a particular brand of personalist, juridical rationality that establishes the basis of a polemic against the irrational in political and religious life. Placing Schmitt's concept of political form in dialogue with his Catholic public intellectualism, I explore Schmitt's early attempts to overcome the form/substance dichotomy in political theory through his use of theological constructs. Beginning with responses of other high-profile Catholic intellectuals to Sichtbarkeit and Römischer Katholizismus, I find that concerns with political form, representation, and the threats of the "mechanization" of liberal bureaucracy and anarchic atheism were shared by Schmitt's peers. Through an analysis of Schmitt's early articulations of the relationship between form and substance--in his strictly legal and political writings and in his Catholic writings--I demonstrate that Schmitt emphasizes public belief, community, political action, and "personalist" representation as conditions of a viable social life. Close reading of Schmitt's theological inquiry shows that his characterization of God, Christ, human nature, and the earthly and divine kingdoms fits his understanding of political form and human sovereignty. I argue that Schmitt's theological perspective is both humanized and rendered problematic by his privileging of "form," a concept that benefits from his theological perspective, while also being hindered by it.