Thesis (doctoral)--Friedrich-Schiller-Universität Jena 2002. / Includes bibliographical references (p. [497]-545) and indexes.

Thesis--Heidelberg. / Includes bibliographical references (p. 372-382).

Stuttgart, FH, Diplomarb., 2000.

Thesis--Bochum. Ruhr-Universität. / In Periodical Room.

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.

Informe de Seminario para optar al grado de Licenciado en Historia. / En las siguientes páginas pretendo hacer una relectura o resignificación de las dos películas más afamadas —Metrópolis y M— de parte de la producción cinematográfica de Fritz Lang. Esta parte es la que se realiza en Alemania en los años 1919-1933, o sea, en los años de la República de Weimar. Sin duda, el propósito de hacer una relectura surge de la apreciación de que las lecturas canónicas y corrientes parecen insuficientes, poco convincentes, si es que no erradas; de que hay algo más en estas películas de lo que frecuentemente se dice o escribe sobre ellas. Pero, ¿qué es lo que habitualmente se dice o escribe sobre éstas? Las dos interpretaciones convencionales se pueden decantar en dos nociones dispares, una del arte y la otra de la política: expresionismo y fascismo. Resulta un lugar común respecto al cine alemán de Lang afirmar que se trata de un ‘cine expresionista’; de un cine de aspecto sombrío y tétrico, que en su abundancia de monstruos y villanos, horror y muerte, testimonia el alma alemana atormentada por la hecatombe de la Gran Guerra y el caos de la posguerra. También resulta sumamente habitual la idea de que es un cine ‘proto-fascista’, que refleja (y a veces encarna) las tendencias autoritarias del pueblo alemán que desembocan en el nazismo; que los tiranos que aparecen, como el Dr. Mabuse, son una premonición y antecedente fílmico de Hitler.

This thesis analyzes the relationship between German fairy tales and Ecocriticism by examining the similarities and differences in depictions of nature in the tales published by the Brothers Grimm in 1857 and tales written by political activists during Germany's Weimar Republic. "Frau Holle" and "Die drei Schlangenblätter" by the Brothers Grimm present nature as a means to support their bourgeois utopian ideals. On the other hand, the Weimar writers Carl Ewald and Edwin Hörnle's tales "Ein Märchen von Gott und den Königen" and "Der kleine König und die Sonne" (respectively) employ the traditional form of the fairy tale to espouse free-thinking and criticize the weaknesses of the Grimms' utopian ideal. My ecocritical analysis is based on a synthesis of environmental sciences and sociocultural influences.

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.

Texte légèrement remanié de: Dissertation--Jena--Friedrich-Schiller-Universität, 2008. / Bibliogr. p. 429-480.