How did the revolutionary Left view cultural modernists? Their uneasy relationship is illustrated in this book with quotations ranging from Alexander's 'Dada is merely an impertinence' through Trotsky's 'There cannot be a proletarian culture' to Averbakh's 'Tear off the masks!' and Becher's 'There can only be one kind of genuine art: fighting art.'
How did the revolutionary Left view cultural modernists? Their uneasy relationship is illustrated in this book with quotations ranging from Alexander's 'Dada is merely an impertinence' through Trotsky's 'There cannot be a proletarian culture' to Averbakh's 'Tear off the masks!' and Becher's 'There can only be one kind of genuine art: fighting art.'
Ben Fowkes, B.A. (Oxon.) (1961), Ph.D. (1966), London School of Economics, taught history at the universities of Sheffield and North London. He has published books on Communism in Germany and the communist era in Eastern Europe and Russia. He has translated several volumes of the work of Karl Marx, including The Economic Manuscript of 1863-1865, published by Brill.
Inhaltsangabe
Preface Acknowledgements Abbreviations 1 Introduction: The Avant-Garde and Cultural Innovation 2 The German Setting 3 The Shock of War and Its Aftermath 4 Following the ‘Alexander Line’ 5 The Revolt of Art becomes a Revolt Against Art 6 Parallel Developments: The Wider European Context 7 The Soviet Cultural Background: The Debates of the 1920s and Their Relevance 8 The New Start of 1925 in Germany 9 New Forms and New Participants: Worker-Correspondents and Worker-Photographers 10 The Impact of the Great Change: The Attempt to Organise and Unify Proletarian Culture 11 Political, Literary, and Artistic Aspects of the Proletarian Culture Movement Conclusion: The End of Weimar and the Coming of Socialist Realism Appendix: List of Documents by Chapter Note on Sources Bibliography Index
Preface Acknowledgements Abbreviations 1 Introduction: The Avant-Garde and Cultural Innovation 2 The German Setting 3 The Shock of War and Its Aftermath 4 Following the ‘Alexander Line’ 5 The Revolt of Art becomes a Revolt Against Art 6 Parallel Developments: The Wider European Context 7 The Soviet Cultural Background: The Debates of the 1920s and Their Relevance 8 The New Start of 1925 in Germany 9 New Forms and New Participants: Worker-Correspondents and Worker-Photographers 10 The Impact of the Great Change: The Attempt to Organise and Unify Proletarian Culture 11 Political, Literary, and Artistic Aspects of the Proletarian Culture Movement Conclusion: The End of Weimar and the Coming of Socialist Realism Appendix: List of Documents by Chapter Note on Sources Bibliography Index
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