How did the catastrophic development of antisemitism in Germany interact with the portrayal of Shylock on the German stage? Here Andrew Bonnell gives us the first cultural history of this tragic character from Shakespeare's "The Merchant of Venice" as performed on the German stage from the late eighteenth century to the end of World War II. In addition to analysing the performances of the most famous German actors in the role from 1777 to 1944, "Shylock in Germany" looks at the rising and falling popularity of "The Merchant of Venice" across Germany in this period, and the extent to which the role's history reflects changes in the situation of Jews in Germany and Austria.It follows the evolution of Shylock in nineteenth century and Imperial Germany, from the formative years of the modern German theatre as a cultural (and civic) institution; through the Weimar Republic, an epoch remembered for innovation and experiment, but also a period marked by an estrangement between an aggressively modernist metropolitan culture and a provincial cultural life which clung more to continuity; and, finally, considers the impact of the Nazi period with its murderous state-ordained antisemitism. Shylock's career in Germany after 1933 was neither as conspicuous nor as unambiguous as one might expect. Using archival research and drawing on much primary source material, Bonnell does not confine the book to theatre history only - but instead uses the changing portrayal of Shylock to analyse German cultural attitudes towards Jews over time.
The German Social Democratic Party was the world’s first million-strong political party. This book examines key themes around which the party organized its mainly working-class membership, with a focus on the experiences and outlook of rank-and-file party members.
Robert Michels (1876-1936) is best known for his 1911 book Political Parties, which is still a standard reference in political science debates. Michels' work sought to prove an "iron law of oligarchy" that governs the organisational evolution of democratic political parties. The work was closely informed by Michels' engagement with the German Social Democratic Party in the early 1900s, his involvement in radical politics in France and Italy in this period, and by his interest in a range of intellectual and social movements - including feminism, nationalism, racial theory, and the emerging disciplines of sociology and political science. Using archival and printed sources hitherto overlooked in work on Michels, this new study contests previous arguments which have sought to explain Michels as a disillusioned adherent of ideas of direct democracy or as an extremist moving from revolutionary syndicalism to fascism. The biographical and intellectual influences on Michels are shown to be more complex, and more transnational, than such schematic explanations have allowed. Andrew Bonnell sheds new light on Michels' relationship with the German Social Democratic Party and on his understanding of his own role as an intellectual in a workers' party. Bonnell also analyses Michels' problematical relationship with revolutionary syndicalism in France and Italy. Michels was connected to a possibly uniquely diverse network of intellectual and political contacts in pre-1914 Europe. This transnational intellectual history illuminates the intellectual worlds in which Michels moved and presents a new interpretation of his shift from the radical left of the spectrum to Italian fascism, an intellectual itinerary which has intrigued many historians.
This book examines the history of the Freie Volksbuhne (Free People's Theatre), Berlin, from 1890-1914, in the light of the cultural theory and practice of German Social Democracy in Imperial Germany. The clash between German Social Democracy - the party, intellectuals and workers - and the German Imperial State was played out in the Freie Volksbahne (Free People's Theatre) founded by intellectuals to energize working class political awareness of drama with a political and social cutting edge. It fell foul of state censorship, lost its bite, yet prospered. The book looks in detail at the various programmes guiding the Volksbuhne's work and at the reception of the plays by the largely working-class audience, to offer a detailed study of the interactions between cultural and political history in Imperial Germany.
Robert Michels (1876-1936) is best known for his 1911 book Political Parties, which is still a standard reference in political science debates. Michels' work sought to prove an "iron law of oligarchy" that governs the organisational evolution of democratic political parties. The work was closely informed by Michels' engagement with the German Social Democratic Party in the early 1900s, his involvement in radical politics in France and Italy in this period, and by his interest in a range of intellectual and social movements - including feminism, nationalism, racial theory, and the emerging disciplines of sociology and political science. Using archival and printed sources hitherto overlooked in work on Michels, this new study contests previous arguments which have sought to explain Michels as a disillusioned adherent of ideas of direct democracy or as an extremist moving from revolutionary syndicalism to fascism. The biographical and intellectual influences on Michels are shown to be more complex, and more transnational, than such schematic explanations have allowed. Andrew Bonnell sheds new light on Michels' relationship with the German Social Democratic Party and on his understanding of his own role as an intellectual in a workers' party. Bonnell also analyses Michels' problematical relationship with revolutionary syndicalism in France and Italy. Michels was connected to a possibly uniquely diverse network of intellectual and political contacts in pre-1914 Europe. This transnational intellectual history illuminates the intellectual worlds in which Michels moved and presents a new interpretation of his shift from the radical left of the spectrum to Italian fascism, an intellectual itinerary which has intrigued many historians.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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