Weimar Germany

The Europe of today is not Weimar. Substantial structural and cultural differences exist between the Europe of the interwar period and today’s Europe. Nonetheless, this book contends that Weimar is not as far away as we might hope, and as we would have thought only a few years ago.

This essay analyzes the causes for the downfall of the Weimar Republic focusing on the years from 1929 to 1933. There are many theories that try to explain the fall of the Weimar Republic, but the two main causes that this paper discusses are whether it failed because of the flaws in its Constitution, or whether the Weimar Republic collapsed because of external circumstances and individual political choices. This essay is structured in a way, where there is firstly a brief introduction, then the two theories are presented individually and finally in the conclusion they are compared. In the end, It is concluded that even though some constitutional mistakes had a great impact in the collapse of the Weimar Republic, the main cause of its decay are external events and the political decisions made during the final years.

The Jazz Republic examines jazz music and the jazz artists who shaped
Germany's exposure to this African American art form from 1919 through
1933. Jonathan O. Wipplinger explores the history of jazz in Germany as
well as the roles that music, race (especially Blackness), and America
played in German culture and follows the debate over jazz through the
fourteen years of Germany's first democracy. He explores visiting jazz
musicians including the African American Sam Wooding and the white
American Paul Whiteman and how their performances were received
by German critics and artists. The Jazz Republic also engages with the
meaning of jazz in debates over changing gender norms and jazz's
status between paradigms of high and low culture. By looking at German
translations of Langston Hughes's poetry, as well as Theodor W. Adorno's
controversial rejection of jazz in light of racial persecution, Wipplinger
examines how jazz came to be part of German cultural production more
broadly in both the US and Germany, in the early 1930s.

Using a wide array of sources from newspapers, modernist and popular
journals, as well as items from the music press, this work intervenes
in the debate over the German encounter with jazz by arguing that the
music was no mere "symbol" of Weimar's modernism and modernity.
Rather than reflecting intra-German and/or European debates, it suggests
that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central
way.

Like Weimar Germany, contemporary Russia is home to fascist actors and widespread nationalism. But unlike interwar Germany, the party system in post-Soviet Russia is heavily manipulated and civil society remains underdeveloped. This means that fascists have not had a chance to use elections or to penetrate civil society in order to build up political support. The continuing presence of a resolutely authoritarian, yet non-fascist “national leader” (Vladimir Putin) keeps the country from becoming a liberal democracy but it also, for now, makes it less likely that the regime will become fascist.

*Please note that the title of this article (and corresponding citation) has been amended, where 'German Artists Association' is correctly translated as 'German Art Society'. All other translations in this article were correct from the time of first publication.

It is well documented that Otto Dix’s career was forced to a halt when the Nazis took control of artistic activity in Germany in early 1933. It is little discussed, however, that the activities of a völkisch artists’ group in Dresden, the extreme-nationalist Deutsche Kunstgesellschaft Dresden (German Art Society Dresden, DKD), were instrumental in targeting his work as ‘degenerate’ from as early as 1927, leading to several of his major works being shown in the infamous degenerate art exhibitions organised by the Nazis from mid-1933. This short article traces some of the DKD’s actions against Otto Dix from 1927-33.

B Reise auf die wenig städtische Insel Capri im Jahr wurde paradoxerweise zum Ausgangspunkt seiner Städteessayistik. Capri war in der ersten Hälfte des . Jahrhunderts ein Refugium für europäische Künstler und Schriftsteller, wie u.a. Rilke, Gide, D.H. Lawrence, Huxley, die die Zeit-und Weltlosigkeit der Insel rühmten. Auch Benjamin, der eigentlich seine Habilitation abschliessen wollte, hatte mehr Ablenkung durch interessante Mitreisende, als ihm lieb war. Während seines von April bis Oktober dauernden Aufenthaltes sah er nicht nur Mussolini aus der Nähe, sondern lernte auch Marinetti und andere futuristische Künstler kennen. Im September machten Ernst und Linda Bloch auf dem Weg nach Nordafrika längere Station in Capri und Positano. Bloch und Benjamin, die sich schon aus dem Schweizer Exil während des ersten Weltkriegs kannten, erneuerten und vertieften ihre Bekanntschaft, sie verbrachten viel Zeit in Gesprächen, an denen auch Benjamins Freundin Asja Lacis beteiligt war. Auch Siegfried Kracauer, Theodor W. Adorno, Alfred Kantorowicz und Alfred Sohn-Rethel hielten sich damals in Capri oder Positano auf und waren mit Bloch und Benjamin in Kontakt. Alfred Sohn-Rethel sprach Italienisch und kannte die Insel wie den Golf von Neapel bereits sehr gut, denn mehrere Familiemitglieder, darunter der Maler Karli Sohn-Rethel, lebten zumindest zeitweilig dort. Im Haus von Sohn-Rethels Onkel kam auch das Ehepaar Bloch unter. In seinen Erinnerungen gibt Sohn-Rethel an, besonders Benjamin bei der Orientierung behil ich gewesen zu sein.

Despite the fact that in the history of Croatian architecture of the interwar period Expressionism neither took firm hold nor had the significance and reception like it had in Germany, there exists a whole series of architectural designs which display a pronounced influence of this style. In Croatian architecture Expressionism appeared roughly from around 1922 until the end of the 1920s and in the work of some architects even later, in the course of the 1930s. It occurred mainly under the influence of German and partly Austrian architecture and as a reflection of the incursion of Modernism, not as a result of the chaotic post-war climate, inflation or other economic changes. Architects of Croatian Expressionism did not form a homogenous group – they neither shared the same formation or social convictions, nor belonged to the same political circles. What they had in common were aspirations for the accommodation of architecture to the new world, its new needs and technical possibilities. Two German architects had a profound influence on the emergence of Expressionism in Croatian architecture – Hans Poelzig and Peter Behrens. Hans Poelzig trained three Croatian architects who in the course of the 1920s produced designs influenced by Expressionism: Drago Ibler, Zdenko Strižić and Josip Pičman. Especially important is the oeuvre of Drago Ibler, who created a whole series of Expressionist projects, most of which remained unbuilt. Particularly significant are his designs for the Epidemiology Institute (1922), for the Central Workers’ Insurance Office (1923) and for the Trading High School (1928) in Zagreb. His most important executed work of the 1920s was the interior of the theatre section of the pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in Paris. Between 1926 and 1943 Ibler was the head of the Department of Architecture of the Academy of Fine Arts in Zagreb. Some of the architects trained at the Department, like Stjepan Planić, embraced Expressionist aesthetics. Peter Behrens’s influence on the emergence of Expressionism in Croatian architecture occurred through the work of his disciples educated at the Viennese Akademie der bildenden Künste (his most important Croatian disciple was Juraj (Georg) Neidhardt), as well as through his participation in the construction of the Zagreb City slaughterhouse complex. Behrens was the representative of architect Walter Frese from Berlin, who in 1928 produced the design for the city’s slaughterhouse, constructed between 1929 and 1931. Stylistic features of the buildings of this complex display a combination of elements of Expressionist and Neue Sachlichkeit architecture. Besides Behrens’s and Poelzig’s disciples, a number of Zagreb architects of the older generation also designed under the influence of Expressionist aesthetics. Among the most important is Ignjat Fischer, designer of the interior of the City Café at the Ban Jelačić Square in the very centre of Zagreb. It was executed in the years 1929-31 and represents the most important example of Expressionist architecture in Croatia. The City Café was designed under the influence of Poelzig’s works, more precisely of his most important building, the Grosses Schauspielhaus in Berlin. Almost at the same time, in 1928-30, the same square was embellished by the hotel and department store building owned by Svetozar Milinov and designed by Dioniz Sunko, which originally included an advertising tower with elements of Backsteinexpressionismus. A number of designs related to Expressionist architecture can be associated with the so-called Foundation block planned in the centre of Zagreb in late 1920s and early 1930s (among which stand out designs by Stjepan Planić, and Josip Pičman and Josip Seissel). From that time on, the International Style started to become fully dominant in Croatian architecture.

Weimar was not a democracy without democrats; it was, though, a democracy without a deeply held democratic conviction amongst a majority of its population. Weak performance by embattled democratic political elites combined with an effective framing of debates in nationalistic terms by right-wing politics and media to ensure that nationalism replaced Republicanism as the dominant concept commanding popular attachment. While kept in check by democratic conviction at the very highest level under Ebert, Hindenburg permitted and even actively encouraged the corrosion of Weimar’s democratic spirit.

Once again, Europe finds itself in the middle of a crisis. In public discourse, the ongoing crisis has foremost been considered as an economic crisis, or a crisis of a largely technical nature due to failed governance within the Euro-zone. However, the still unfolding refugee crisis and the widespread challenges to the state of law and parliamentary democracy, which have emerged in many European settings in recent years, indicates that the crisis trajectory cannot be understood in purely economic or technocratic terms. Accordingly, this volume takes a different approach to the understanding of the current crisis. First, it re-constructs the commonalities and differences between this and earlier major European crises from the interwar period onwards. Second, it re-conceptualises these European crises as primarily crises of public power and authority. Thirdly, it offers an interdisciplinary framework for analysing and understanding the phenomenon of crisis more generally.

The research that has been done on royalty in general is massive. And, the connections between royal lines once revealed can be amazing, as they will sometimes reveal connections that a) were not supposed to have existed, and even b) that actually contradict the information that was given to the general public by those very royals. This paper gives two different lines of descent of Kaiser Wilhelm II, from Arrius Calpurnius Piso. One is through Arrius Piso's son Justus Piso. And the second line of descent is via Arrius Piso's son Julius Piso. Now, even though these two lines are given here, it should be understood that in reality, these are but two of many extant genealogies extending from Arrius Piso and his family to Kaiser Wilhelm. I plan to write yet another paper giving some of the other lines as well. There are several things that I have noticed as I have researched and studied ancient history and genealogies; things that should provide any good (or with time, potentially great) researcher with valuable information. And, as in my case, perhaps answers to many very important questions, as well as a few epic discoveries. When I began to investigate fully, and with the time and attention required, ancient history and information given within those histories, with regards to particular individuals, I found that certain things appeared to be 'standard' with all of those ancient authors-and those things stood out to me, and appeared to have been missed by other researchers, as I had never seen those certain things ever being noted or mentioned in the work of other researchers. For one thing, I had noted that in the work of one ancient author after another, there were so many instances where those authors could have very easily gave answers and information in a direct and forthright manner; but deliberately chose not to. And, more often than not, avoided very skillfully, giving key information about certain individuals; mainly and particularly, the authors themselves. Also, those authors would make statements which either promised to give answers and/or further information about a particular subject, and then failed to do so. At least, in any known or public work. Now, some researchers have tried to answer this by giving excuses for some of those instances. But, in essence, those explanations or excuses are really simply guesses. And poor ones at that. My work has given some genuine answers. And the true context of the material that was being written and left to future generations by those ancient authors is key to getting at the truth and in finding valid answers to these and other questions. One of the main things to realize is that ancient history (and other material being produced by those authors), was being written within a tightly controlled environment. And that changes the context in which we must now examine that material in order to understand it correctly. It also means that because of this set of circumstances, other things were in play as well. And, one of those is the fact that the authors who were leaving us their works were in fact, all royalty. Which, in turn, means that these authors were related to each other and had the same common ancestry. It also, therefore, means that they had the same or similar vested interests. Because only royals or those of royal blood, were able to write for publication, it meant that what they

Resumen: Este artículo busca revisitar el clásico debate entre Carl Schmitt y Hans Kelsen en torno a la defensa de la Constitución a la luz del caso conocido como "Prusia contra Reich" resuelto en 1932 por el Tribunal Estatal de Leipzig. Este proceso, que involucró como defensor del Reich a Schmitt, como repre-sentante de Prusia a Hermann Heller y contó con un comentario de Kelsen a la sentencia; permite poner a prueba las ideas sobre quién debe ser el defensor de la Constitución en un caso crucial para la suerte de la República de Weimar. Asimismo, nos permite sumar una tercera voz al debate, la del jurista socialde-mócrata Hermann Heller. Palabras clave: defensa de la constitución-garantías constitucionales-weimar-hans kelsen-carl schmitt-hermann heller Abstract: This article seeks to rethink the classic debate between Carl Schmitt

For most sociologists and political scientists, a deep submersion in the disciplinary past is probably only worth the effort if your guide is a highly influential ‘thought collective’ or a genius. Among the former, we have the Frankfurt, Chicago and Columbia Schools. Among the latter, many would include Weber, widely considered a solitary virtuoso without disciples, but still enormously influential. Secondly, major thinkers are frequently political and their ideas reveal the conflicts of their times, which are of interest to a broader range of social scientists. Thirdly, for intellectual historians, major thinkers possess the additional appeal of illuminating crucial episodes in the history of the social sciences. Perhaps these three reasons explains why the “Weber industry” thrives and why it is worth the effort to read books like these two.

Looking after One's Own is a political history of a German mission society during the last years of the Weimar Republic. It investigates the gradual engagement of the Neuendettelsauer Lutherans in Bavaria with National Socialism, and the tensions between this development and the restructuring of the Lutheran mission fields in New Guinea between 1929 and the early 1930s. It is an interdisciplinary, transnational history connecting events in Germany with developments in New Guinea and Australia. The author explores the impact of political desires, national ambitions and missionary aspirations. Looking after One's Own shows a sophisticated appreciation of the distinction between principle and pragmatism and the ability of individuals to hold them both in suspension in their actions.

164 physician who delivered Alraune faces a similar fate; Alraune's childhood playmates hurt and humiliate themselves as they obey her orders; as she attains adulthood, having attended the finest and most expensive boarding schools, her servants, friends and lovers face misery, torment and often untimely death; and, finally, the esteemed professor Ten-Brinken himself, after confessing his obsessive attraction to her, is doomed to a mortifying death. When Frank Braun returns to the family estate after long years of adventurous journeys, he foolishly follows in his predecessors' footsteps and falls in love with Alraune. This time, however, Alraune sheds her indifference to the suffering of others, and -after Braun admits to taking part in the experiment that brought her to lifeshe even endeavors to maintain a 'normal' romantic relationship with him. Nevertheless, Ewers leaves no doubt that Alraune does not belong to this world; her attempt at 'becoming normal' results in another violent death, this time her own.

This paper explores celestial symbolism in two films of German silent cinema: Paul Wegener’s 1920 Golem, How He Came into the World, and F. W. Murnau’s 1926 Faust. Both films depict figures who access magical powers via reading the sky as symbol—making esoteric knowledge exoteric by its projection on the screen. At the same time, Golem’s film architect, Hans Poelzig, was also engaged in designing and building theaters that mimicked the presence of stars in the night sky for the audience. Via a close reading of scenes from these two films, I’ll show how Wegener and Murnau used fiction to foreground a contemporary re-engagement with ways of knowing that hinge on the observation of the sky. In addition, my talk will explore the rich technical production history behind these films to help us gain a deeper understanding of the structural affinities of content and its creation in Weimar Cinema.

This practice based MFA thesis in Public Art at the Bauhaus University in Weimar was designed to explore contemporary concepts of ‘home’ and ‘homeland’ – paradoxical and imaginary constructs that continue to resonate, despite their increasing fragility in a world that continues to be marked by migration, dislocation and cultural mixture.
In Germany discussions of Heimat can be problematized by the legacies of World War II and may operate as thinly disguised forms of racism and sexism masquerading as cultural preservation. Thus, this provocative subject can serve as fertile ground from which to address the contemporary reality of international migration and women’s presence outside the domestic sphere in the hopes of questioning outdated modalities of authenticity and creating public dialogues that suggest a more inclusive, hybrid society.
These themes were explored in a series of loosely related artistic experiments, aimed at examining the construction of personal and communal beliefs around the ideas of homeland and being-at-home. Methods of experimentation included elements of photography, leveraging Internet platforms to do research and conduct surveys, personal interviews, performances and historical re-enactment and participatory artwork. This research eventually led to the development of a tangential body of work connected by a concern with the theme of finding home in the public space.
The thesis was written in two phases and has two main parts: chapters 1-4 are a formal, theoretical exploration of the theme. They lay the groundwork for chapters 5- 6, which are written informally as a personal reflection. The final chapters hold a contextual art survey of work relevant to the work produced for this thesis as well as a reflection and documentation of the execution of the experiments and final work produced as a part of this practice based thesis.
The final outcome for this thesis took the form of a participatory artwork, entitled KunstPost: Gruß aus Weimar which allowed the public to send postcard images of historical re-enactments of classical Weimar figures to homes around the world in the hopes of enlarging the scope of what is familiar and starting conversations.

Neste artigo, publicado na revista Die Arbeit em 1930, Franz Neumann defende que o conteúdo dos direitos fundamentais estabelecidos pela Constituição de Weimar não é liberal, mas social. Haveria, portanto, compatibilidade entre direitos fundamentais e democracia, na medida em que (i) os princípios de liberdade e propriedade não podem ser interpretados como direitos pré-estatais invioláveis, mas como direitos limitados, mutáveis e garantidos apenas pela lei; (ii) a igualdade perante a lei é entendida como material e limitadora tanto das decisões do executivo quanto das do legislativo; e (iii) a segunda parte da Constituição estabeleceu direitos e princípios em favor do trabalhador, o que garantiria a primazia da dimensão social.

Vor einhundert Jahren, im September 1918,  erschien der erste Band von Der Untergang des Abendlandes. Mißverstanden wurde sein Autor von links wie von rechts. Dabei war er weder ein Dystopiker noch ein Feind der Demokratie. Es ging um Einsichten eines Denkers, der sich keinen Illusionen über den Machthunger der demokratischen Parteien und die Eigengesetzlichkeit der Geschichte hingab – Liberalismus, Elitismus und Realismus im Werk Oswald Spenglers.

The essay will argue that Metropolis is not only a film about a futuristic city in which class struggle occurs, but an allegory to the problems that modernity had brought in interwar Weimar Germany, with leitmotifs relevant to this day. Modernity is suggested to be interpreted by Lang and his wife Harbou as a lack of communication, or dialogue between humans and their own values, which will be explored and explained in the introduction and the context. The thesis of the lack of dialogue is then arbitrarily separated in three, namely the impending issues brought by the dehumanisation generated by the machine which disconnects humans from their very humanity, by the desacralisation of the robot which dissolves all human morals and spirituality, as well as the dictatorship, which profits from both dehumanisation and desacralisation by gaining profit and solidifying power, reinforcing at the same the issues voluntarily. Specific scenes will be analysed to back those three elements, while expressionist strategies will be examined in tandem with these scenes as they are useful both artistically and diegetically. The piece is more evidently recommended for those who are interested in the film Metropolis, as well as for those researching into the context of interwar Germany, which is examined and exemplified by the film at hand.

Walter Benjamin beschimpfte ihn 1924 als »Lausejungen«, Josef Stalin nannte ihn einen »tollen Burschen«, sah ihn jedoch bald als lästigen »Dummkopf«. Ähnlich Ernst Thälmann, der vor »Scholemismus« warnte. Für den Philosophen Gershom Scholem hingegen war er jedoch vor allem eins: der große Bruder.

Aufgewachsen in einer Berliner jüdischen Familie starteten beide eine Revolte gegen den autoritären Vater und den Chauvinismus des Ersten Weltkrieges. Werner inspirierte den jüngeren Bruder zum Zionismus, er selbst bekannte sich nach langer Sinnsuche zum Kommunismus. Werner Scholem stieg schnell auf, in den Reichstag und die KPD-Zentrale. Als Organisationsleiter »bolschewisierte« Scholem die KPD, nur um 1926 als erbitterter Gegner Stalins aus der Partei geworfen zu werden.

1933 wurde Scholem unter mysteriösen Umständen verhaftet, 1935 überraschend vom NS-Volksgerichtshof freigesprochen, jedoch nie freigelassen. Scholem wurde 1940 im KZ Buchenwald ermordet. Bis heute ranken sich literarische Legenden um seine Verhaftung. Franz Jung und Alexander Kluge erzählten sie als Spionagedrama, eine besondere Rolle spielte Scholem auch in Hans-Magnus Enzensbergers Roman »Hammerstein oder Der Eigensinn« (2008). War Scholem Agent im Auftrag der Sowjetunion? Verführte er die Generalstochter Marie-Louise von Hammerstein, um ihr die Aufmarschpläne der Reichswehr gen Osten zu entlocken?

Das PDF enthält Einleitung, Inhaltsverzeichnis und kurze Leseprobe aus der 2014 erschienenen Monographie.

Nomos 3-2015 36 Francesco Campodonico , Weimar: assenza di «equilibrio» e di «stabilimentum». I giudizi di Costantino Mortati sui partiti politici weimariani ed il loro compromesso costituzionale SOMMARIO: 1. Breve introduzione. -2. Il primo giudizio: manca una classe politica «sufficientemente estesa ed attiva». -3. Il secondo giudizio: manca uno spirito sentitamente democratico nelle principali forze politiche weimariane. -4. Il terzo giudizio: esiste un unico punto comune ai partiti ed è la «concezione organicista» dello Stato. -5. Il giudizio finale: manca l'«equilibrio sociale» perché manca lo «stabilimentum di una precedente decisione politica». -6. Il giudizio di Mortati sulla caduta di Weimar: un giudizio troppo "severo"?. Dottorando di ricerca, Dipartimento di Giurisprudenza -Università di Genova. Le traduzioni dal tedesco, ove non diversamente indicato, sono tratte dal libro di S. Mezzadra, La costituzione del sociale, Il pensiero politico e giuridico di Hugo Preuss, Bologna, il Mulino, 1999. 1 V. Id., Introduzione, in La Costituzione di Weimar, C. Mortati (a cura di), Firenze, Sansoni, 1946. 2 L'opera fu poi inserita nella collana "Testi e documenti costituzionali", edita da Sansoni e diretta da Giacomo Perticone. 3 Il metodo comparatistico di Mortati, come si può leggere nelle sue Lezioni sulle forme di governo, lo porta a svolgere un'analisi «condotta analizzando il loro (delle forme di governo, nda) concreto modo d'atteggiarsi nella evoluzione storica (…)» (Id., Le forme di governo, Lezioni, Padova, Cedam, 1973). 4 V. S. Basile, La cultura politico-istituzionale e le esperienze tedesche, in Scelte della Costituente e cultura giuridica, U. De Siervo (a cura di), Bologna, il Mulino, 1980, pp. 45 ss; F. Lanchester, La costituzione tra elasticità e rottura, Milano, Giuffrè, 2011, p. 167, ove si legge che: «Tutti i suoi scritti di questo periodo (…) tendono a rispondere agli interrogativi comuni alle classi dirigenti del periodo su come gli ordinamenti democratici collassino e su quali siano gli strumenti per costruire democrazie stabili» e F. Bruno, Costantino Mortati fra Weimar e Bonn, in Forme di Stato e forme di governo: nuovi studi sul pensiero di Costantino Mortati, M. Galizia (a cura di), Milano, Giuffrè, 2007, p. 315 e pp. 317 ss, che si richiama alle considerazioni già contenute nel saggio di G. Zagrebelsky, Il metodo di Mortati, in Costantino Mortati costituzionalista calabrese, F. Lanchester (a cura di), Napoli, ESI, 1989, p. 51, per il quale l'Introduzione è «il testo certamente più significativo» per comprendere il modo, di Mortati, di concepire lo sviluppo costituzionale del mondo contemporaneo. 5 Id., La Costituente, Roma, Darsena, 1945. 6 Cfr. F. Bruno, op. cit., 317. Sull'incidenza dell'esperienza weimariana sulla sua opera è interessante riascoltare il dialogo tra G. Amato e F. Lanchester nel corso di uno degli incontri del ciclo "Etica e politica nei costituenti italiani", intitolato Ricordo di N Saggi Nomos 3-2015 37

During the interwar period, urban modernism was connected to opposing ideals of womanhood. On the one hand, women's participation in a culture of leisure, consumption and body consciousness created images of the New Women in Berlin and Shanghai during the 1920s and early 1930s. On the other hand, women in Weimar Berlin and Republican Shanghai were both desired and feared for their role in the significant changes in these two metropoles. This article analyzes the emergence of the neue Frau and modeng xiaojie. The growth of the cities, industrialization and changes in the work force provided new opportunities for many women's lives. However, in the interwar period, anxiety-ridden discourses about sexual disorder and moral decay became significant forces and shaped attitudes toward women's roles in urban society. The article examines the critics and conflicts generated by the modern women in the two societies and the conditions leading to the demise of the modern women era in China and Germany.

Abstract
This essay examines Irmgard Keun's novelDas kunstseidene Mädchen (1932) against the backdrop of Weimar-era discourses on the emancipatory potential of vision. While the narrative's thematization of vision has been productively analyzed from the perspective of feminist and film theory, less attention has been paid to its ties to contemporary discourses concerned with retooling a vision enhanced by new technologies like film into an instrument of emancipatory self-fashioning. As the article shows, Keun's novel reflects critically on these discourses by casting its heroine's sentimental journey in terms of an education in vision that leads to acknowledging the distance between the visual as a mode of inscription and the visible as a domain of perception. In so doing the novel delivers a critical commentary on contemporary discourses that located agency in a conquest of the visible attained by manipulating the visual.

У статті розглянуто проблеми форми та жанрової структури ілюстрованих видань, що виходили наприкінці 20-х – на поч. 30-х рр. ХХ ст. в Німеччині та радянській Україні. Особливу увагу звернуто на морфологію як чинник та індикатор ідеологічної ситуації доби. Підкреслено як подібні риси українських та німецьких часописів (жанрову структуру, гетерономію тексту та зображення), так і їхні відмінності (більш і менш регулярна архітектоніка, різний рівень стандартизації, практика пародіювання стандарту).

Ключові слова: ілюстрована преса, морфологія видання, ідеологія, УСРР, Ваймарська республіка.

The article considers the problems of form and genre structure in the illustrated magazines published in the late 1920s and early 1930s in Germany and Soviet Ukraine. The attention is focused on morphology as a factor and indicator of the ideological situation of the time. The emphasis rests upon both similarities (genre structure, the heteronomy of text and picture) and differences (more vs. less regular architectonics, different levels of standardization, practices of parodying the standard).

Keywords: illustrated press, press morphology, ideology, Soviet Ukraine, Weimar Republic.

Premiered in the spring of 1935, the films Hände am Werk (Walter Frentz) and Avodah (Helmar Lerski) sought to propagate Nazism and Labor Zionism,respectively. The different ideological contexts notwithstanding, the structure and imagery of these films are remarkably similar. In analyzing the similarities,this article reads these films as commentaries on Weimar culture and its heritage. Both Lerski and Frentz utilized late Weimar aesthetics in order to envisage Zion-ism and Nazism, respectively, as solutions for the experience of crisis in pre-1933 Germany. Yet certain differences—in particular, their contrasting treatments of the filmed landscapes—disclose the filmmakers’ disagreement on the nature of the “solution” and its implications.

This essay interrogates the phantasmatic return of the Weimar Republic in the distinctive ‘rhetoric of crisis’ of post-2008 European economic crisis. I observe this ‘return’ in light of the peculiar temporality that the Weimar image calls forth: a projective temporality, entailing a tension between the present, and an imminent future: either one of forthcoming collapse, or potential revolution. I address the different politics of use of 1920s Weimar both in conservative political discourses, and in artistic practice.