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Weimar Culture: The Outsider as Insider (Paperback)

~ (Author) "The Weimar Republic was an idea seeking to become reality..." (more)
Key Phrases: total architecture, golden twenties, von mir, Weimar Republic, Thomas Mann, Stefan George (more...)

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Editorial Reviews

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[A]n enormously rich, intriguing, and exciting essay.... A major contribution to the study... -- New York Times

Review

“Mr. Gay's absorbing essay...is of considerable topical interest, for `Weimar culture' anticipated many intellectual trends and fashions now current in the West....He has recaptured the spirit of this exciting decade and he provides a reliable guide to it.”–New York Times Book Review --This text refers to the Hardcover edition.

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Product Details

Paperback: 224 pages
Publisher: W.W. Norton & Co. (December 2001)
Language: English
ISBN-10: 0393322394
ISBN-13: 978-0393322392
Product Dimensions: 8.2 x 5.5 x 0.7 inches
Shipping Weight: 2.4 ounces (View shipping rates and policies)

Average Customer Review: 4.0 out of 5 stars See all reviews (4 customer reviews)

Amazon.com Sales Rank: #185,017 in Books (See Bestsellers in Books)

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Inside This Book (learn more)

First Sentence:
The Weimar Republic was an idea seeking to become reality. Read the first page

Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
total architecture, golden twenties, von mir, million votes

Key Phrases - Capitalized Phrases (CAPs): (learn more)
Weimar Republic, Thomas Mann, Stefan George, Friedrich Meinecke, Stefan Zweig, Heinrich Mann, Franz Neumann, Social Democrats, Der Zauberberg, Walter Gropius, Carl Zuckmayer, First World War, Hans Castorp, Rainer Maria Rilke, Bertolt Brecht, Carl von Ossietzky, Count Kessler, Eckart Kehr, Felix Gilbert, Frederick the Great, Gerhart Hauptmann, Historische Zeitschrift, Hugo von Hofmannsthal, Erich Mendelsohn, Ernst Cassirer

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Citations (learn more)

This book cites 100 books:

Der Zauberberg (German Edition) by Thomas Mann on 5 pages
Scope of Total Architecture by Walter Gropius on 4 pages
From Caligari to Hitler: A Psychological History of the German Film (Princeton Classic Editions) by Siegfried Kracauer on 4 pages
Germany Tried Democracy by S. William Halperin in Back Matter (1), Back Matter (2), and Back Matter (3)
Prosa, Briefe, Dramen, Gedichte (German Edition) by Ernst Toller on page 140, Back Matter (1), and Back Matter (2)

See all 100 books this book cites

100 books cite this book:

Fascist Spectacle: The Aesthetics of Power in Mussolini's Italy (Studies on the History of Society and Culture) by Simonetta Falasca-Zamponi in Back Matter (1), and Back Matter (2)
The Twisted Muse: Musicians and Their Music in the Third Reich by Michael H. Kater in Front Matter, and Back Matter
Walter Benjamin and the Antinomies of Tradition by John McCole on page 167, and Back Matter
The Visual Arts in Germany, 1890-1937: Utopia and Despair by Shearer West on page 177, and Back Matter
Gender and Sexuality in Weimar Modernity: Film, Literature, and "New Objectivity" by Richard W. McCormick on page 59, and Back Matter

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Customer Reviews

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Most Helpful Customer Reviews

27 of 29 people found the following review helpful:

5.0 out of 5 stars A Rich Perspective on Weimar Germany, July 26, 2006

By	Ronald H. Clark (WASHINGTON, DC USA) - See all my reviews (TOP 500 REVIEWER) (REAL NAME)

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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.

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5 of 6 people found the following review helpful:

5.0 out of 5 stars A Grave Phenomenon, August 25, 2008

By	M. Fetler (Sacramento, CA) - See all my reviews (REAL NAME)

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.

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35 of 71 people found the following review helpful:

3.0 out of 5 stars intellectual junk-food, March 29, 2000

By	L.Byron "agrarianrebel" (maimi, fl) - See all my reviews

This review is from: Weimar Culture: The Outsider as Insider (Hardcover)

This book is hardly bad, and what it lacks in substance is made up for in its entertainment value. But it is essentially light-wieght intellectual history, similar in level to NY times book reviews. For academics, it is virtually useless. It may be a good introduction, but it assumes a lot from the reader - which may be the greatest flaw of the book. If one is that familiar with Weimar and its participants, then you will come away with little; if you know little, you may be rather lost, despite the inclusion of an historical overview in the back.

In sum, good for history sophmores with some time on their hands: a bit flashy, but ultimately not deep enough to satisfy the truly serious.

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