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During the founding years of the GDR, East German scholars and politicians had been confronted with a seemingly irresolvable paradox regarding the new state's relationship to Germany's cultural heritage and its need to establish a sense of its national identity on the wider global stage. Outside the GDR, there were many -above all those of a non-Marxist persuasion -who regarded the Idealist tradition in German art and literature as a golden era of cultural production. But for critics and scholars of a materialist bent, the Romantic revolution in the early nineteenth century represented a pivotal moment in the development of an irrationalist tendency in German culture. Recycled in different forms, including Expressionism and other forms of supposedly 'bourgeois' avant-garde art, during the early part of the twentieth century, this tendency was, at least in some quarters, regarded as a key factor in the inability of German intellectuals to resist the rise of fascism. In attempting to marginalise certain forms of Romantic literature as a cultural aberration while focusing instead on the legacy of the Enlightenment and classical aesthetics, critics such as Lukács, Kurella and Becher sa

Publisher

Berghahn Books

Published

2022

Language

EN