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Weimar Culture: The Outsider as Insider, by Peter Gay
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A seminal work as melodious and haunting as the era it chronicles, now reissued with a new introduction.
First published in 1968, Weimar Culture is one of the masterworks of Peter Gay's distinguished career. A study of German culture between the two wars, the book brilliantly traces the rise of the artistic, literary, and musical culture that bloomed ever so briefly in the 1920s amid the chaos of Germany's tenuous post-World War I democracy, and crashed violently in the wake of Hitler's rise to power. Despite the ephemeral nature of the Weimar democracy, the influence of its culture was profound and far-reaching, ushering in a modern sensibility in the arts that dominated Western culture for most of the twentieth century. Vivid and eminently readable, Weimar Culture is the finest introduction for the casual reader and historian alike. "[A]n enormously rich, intriguing, and exciting essay.... A major contribution to the study..."―The New York Times 16 black and white illustrations- Sales Rank: #408075 in Books
- Color: Green
- Brand: Gay, Peter
- Published on: 2001-12-17
- Original language: English
- Number of items: 1
- Dimensions: 8.30" h x .70" w x 5.50" l, .15 pounds
- Binding: Paperback
- 240 pages
Most helpful customer reviews
72 of 75 people found the following review helpful.
A Rich Perspective on Weimar Germany
By Ronald H. Clark
I found this, as with Gay's other books, to be an extremely useful analysis. We tend to think of Weimar as the "new Periclean age" of Germany between the wars--rich in culture and artistic expression and experimentation. Gay does a very solid job of covering a number of topics in 145 pages. Among other subjects, Gay discusses expressionism; architecture (including Gropius and Bauhaus); the Warburg and Frankfurt Institutes; poetry and the German imagination; the rejection of politics during this period; the new realism in art, such as that of George Grosz (but no discussion of da-da); the "new objectivity"; youth movements; the impact of modernism; Heidegger and other philosophers; and Spengler and history. Among the most interesting sections is one on the expressionist cinema. Gay concludes with a brief, yet suggestive, analysis of what went wrong with Weimar and why it came to be rejected by most Germans prior to WWII. Particularly important in this regard, was the legacy of Versailles which tarnished all that Weimar politically (and perhaps artistically) had been able to accomplish. First published in 1968, the book contains a valuable bibliography (up to that point) and an interesting appendix "A Short Political History of the Weimar Republic." Norton has produced a most pleasant paperback edition, with some very fine illustrations and graphics. Compact but abundant with insights for those interested in this period.
35 of 39 people found the following review helpful.
A Grave Phenomenon
By M. Fetler
Peter Gay's elegant tale takes up an old theme, the connection between culture and politics, that recalls ancient Greek debate about art and society. Artists and politicians, outsiders and insiders, have much in common. Weimar deserves a close look for two reasons. More than other times and places, it nourished great writers, musicians, architects, film-makers, and painters, whose work has continued to delight and inform. Also, it was a time of political upset, a Prussian-styled monarchy, deposed after the humiliation of World War I, gave way to a creative social-democratic government that wilted during the great depression, and foreshadowed the rise of fascism and World War II.
Gay puts forward the idea that culture is " in continuous, tense interaction with society, and expression and criticism of political realities. This mixture of intimacy and hostility between art and life is characteristic of all modern society." Political extremism provokes crisis and a reaction, that in turn may be followed by extreme counter-reaction. Blood will have blood. Feeding on and fueling the political turmoil, culture flourishes. The idea of culture existing outside of politics is a delusion. Weimar showed that there were two connected Germanies: "the Germany of military swagger ... and the Germany of lyrical poetry."
In a small way the book itself illustrates the point. It was first published in 1968, as the war in Vietnam boiled over, and the U.S. turned from an era of expanding democracy under Johnson to right-wing conservatism under Nixon. When it was republished in 2001, fortunes evaporated as the the dot-com stock-market imploded, terrorists rained down war on U.S. soil, and government again turned sharply from an expansive democracy under Clinton to reactionary conservatism under Bush. What could be more timely than a beautifully written book that links cultural flowering to poltical confusion?
In six brief chapters Peter Gay uses Freudian images to trace the birth, growth, and death of the Weimar Republic. He describes the November 1918 revolution after Germany's defeat in World War I, and the establishment of the Republic at Weimar as a "revolt of the sons." Of course, Weimar's expressionist culture had roots that stretched before 1918. But it flourished abundantly during the Republic. Without a single message, Weimar had a unifying theme: the pursuit of a renewed, peaceful humanity, the "son's revolt against the father ... a bid for rational freedom against irrational authority."
Weimar's artistic contempt for politics and longing for renewal ironically furthered the Nazi cause. Ironically, because the Nazis despised expressionist culture. Rainer Maria Rilke, in calling for a universe in which love and suffering, life and death, form a harmonious whole, "in calling for something higher than politics, helped to pave the way for something lower - barbarism." Martin Heidegger, a most subtle philosopher-poet and benighted Nazi sympathizer, found reason and intellect to be inadequate guides to the secret of being. Thomas Mann proudly proclaimed himself to be unpolitical. Gay calls these feelings a "hunger for wholeness," defined by the pursuit of culture for its own sake, a strong need for community, the dismissal of reason, the yearning for heroes, and unquestioning submission to authority.
Counter-revolution follows revolution and in Gay's Freudian model the "revenge of the father" comes after the "revolt of the sons." Following the social-democratic revolution in 1918, art and politics were in a time of innovation. Between 1924 and 1929 there was prosperity and stability. The arts displayed a new, matter-of-fact, objectivity. In 1924 a wiser Thomas Mann, now seeing connections between politics and life, published "The Magic Mountain."
Berlin became a cultural center with a lively theater scene (Brecht), film (The Cabinet of Dr. Caligari), music (Furtwangler, Walter), architecture (Gropius' Bauhaus school of architecture), and journalism. The excitement, celebration, sexual freedom, and hustle of Berlin led some to describe it as dancing at the edge of a volcano. If there was hedonism, there was much else of enduring value.
After 1929 unemployment rose, the economy sank, the newspapers overflowed with right-wing propaganda, and "the country was inundated by the rising tide of Kitsch, much of it politically inspired." Nazis led riots against Remarque's film, "All Quiet on the Western Front." Brecht's "Threepenny Opera" taunted the choice of the middle class for a full belly over morality. In a fit of black humor Gay notes, "There was a whole genre of novels dealing with the suicides of young high school students ... and its popularity reflected widespread interest in a grave phenomenon." By 1933 the expressionist artists dispersed and the Nazis began to labor in earnest.
"Weimar Culture" provides a useful introduction to German Kultur und Politik between 1918 and 1933. More important, the book persuasively illustrates a model for understanding how they interact. Political tides influence art, and art colors politics.
21 of 36 people found the following review helpful.
I should have been warned
By Michael McKinney
Actually, I was warned by Mr. Correa's review "intellectual junk food", but I was hungry and wanted something in English. I looked past "not deep", "good for history sophomores" and "for academics virtually useless" and accepted that Mr. Correa added two stars for "entertainment value". Maybe he was talking about the parts that I skimmed, and there are good pictures. But let me elaborate on "virtually useless". The text is 164 pages written on the level of a master's thesis within a pop-Freudian perspective composed in chapters such as "The Trauma of Birth", "The Revolt of the Son", and "The Revenge of the Father". Revenge provides the motive and teleology that orients the various "types" towards fascism. (The types include, for a coherent series, "democrats, Jews, avant-garde artists, and the like" (p.vi) - another warning, and this one from the author.) One chapter is called "The Secret Germany: Poetry as Power", and those of you who have passed sophomore literature will be amused (the entertainment value) at how proto-fascist "inspiration" can be made to appear. The teleology is bi-directional: if the Nazis promoted Hoelderlin and von Kleist, so much the worse for Hoelderlin and von Kleist and for anyone who promoted them during the Weimar era. Those of you who have passed sophomore German and have read Hofmannsthal will be surprised at how this Austrian (and quintessential Viennese) writer and dramatist, whose career began in the 1890s, was guilty of the kind of "fatigue" that was just a lazy goose-step toward Anschluss. You might have suspected that "Hofmannsthal was fortunate: he died in 1929, before he saw the consequences to which fatigue with freedom and the denigration of individuality would lead." (p85.) But did you know that Hofmannsthal's "troubled musings" and Martin Heidegger's "dark antirationalism" (sic) "have more in common than might at first appear"(page 84)? Oh, yes. But of course those of you who have passed sophomore philosophy will NOT be surprised that Heidegger's rectorship address is quoted liberally and compared to speeches by Goebbels (page 84). You might need to be reminded that "Heidegger's work amounted to ... an exaltation of movements like the Nazis, who thought with their blood, worshipped the charismatic leader, praised and practiced murder, and hoped to stamp out reason - forever - in the drunken embrace of that life that is death." (page 82) And that's just Being and Time. There is an apology: "I am not offering this scanty paragraph as an adequate summary of Heidegger's philosophy; I am suggesting, rather, that this is what Heidegger's readers thought, by and large, they were reading in him". (p.83). Ah, that power of suggestion, so Freudian, so interpretive! Are you surprised to learn that the same author has a book entitled "The Enlightenment: An Interpretation"? But with that I can't help you.
Do yourselves a favor: Walter Laquer's "Weimer, A Cultural History" begins with an apology for being merely "a general survey". It has no thesis, at least not a sophomorically reductive one; it's well written, cultivated, and yes, entertaining.
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