Week 14: Mass Consumption and Urban Spatial Engagement

Allison Brown HIST 4990: Weimar Dr. Blackler 18 April, 2023 Reading Paper #2: Week 14, Mass Consumption and Urban Spatial Engagement In Germany during the early twentieth century, German women experienced a transformation in the way they were perceived in public spaces. The redefinition of gender norms and an emphasis on individualism led to unprecedented levels of autonomy for women, who mobilized around the war effort and challenged traditional gender roles and expectations. While women were becoming more autonomous, they were still being sexualized and sidelined in Weimar society. This essay will explore the complex dynamic between women and public space, as well as the ways in which politics, consumption, and urban space were intertwined. Additionally, this essay will analyze the cultural and visual landscape of Weimar Germany and how architecture, design, and politics were closely related during this period, as well as the ways in which visual culture was used to shape and reinforce gender roles and identities. Beginning with Molly Loberg'sThe Struggle for the Streets of Berlin: Politics, Consumption, and Urban Space, 1914-1945 , this work explores urban space in Berlin during a tumultuous period of political and social change. One of the key themes explored by Loberg in this section is the role of women in public space during the war years. As Loberg notes, “As women mobilized around the war effort, they altered the dynamics of public space, redefining 1 notions of gender, citizenship, and social order.” Women played a crucial role in the war effort as volunteers, and their presence in public space challenged traditional gender roles and expectations. Loberg also examines the changing dynamics of public space during this period, as the war forced the city to adapt to new circumstances. She writes, “The war transformed Berlin's 1 Molly Loberg, The Struggle for the Streets of Berlin: Politics, Consumption, and Urban Space, 1914-1945 (Cambridge: Cambridge University Press, 2018), pg. 19 urban landscape, turning streets into battlefields, parks into gardens of remembrance, and squares 2 into sites of political protest.” The war forced the city to reconfigure its public spaces in response to the demands of the conflict, leading to significant changes in how people used and interacted with public space. One of the most interesting aspects of Loberg's analysis is her focus on the relationship between politics, consumption, and urban space. She argues that these three elements were intimately linked during this period and that changes in one often led to changes in the others. As she notes, “Changes in the political landscape and in the urban environment were closely 3 intertwined with changes in patterns of consumption.” One example of this relationship can be seen in the emergence of the modern department store during this period. Loberg argues that the department store was not just a place to shop, but also a site of social and political activity. She writes, “As sites of consumption and leisure, department stores functioned as important public spaces, where urbanites gathered to see and be seen, to socialize, and to engage in political and cultural activities.”4 The department store became a key site for the negotiation of social and political identities, reflecting the changing dynamics of public space during this period. Another important aspect of Loberg's analysis is her focus on the politics of public space during this period. She argues that public space was highly contested during the war years, as different groups vied for control of the streets and public squares. As she notes, “The streets of Berlin were transformed into sites of political contestation, where diverse groups struggled for 2 Molly Loberg, The Struggle for the Streets of Berlin: Politics, Consumption, and Urban Space, 1914-1945 (Cambridge: Cambridge University Press, 2018), pg. 24 3 Molly Loberg, The Struggle for the Streets of Berlin: Politics, Consumption, and Urban Space, 1914-1945 (Cambridge: Cambridge University Press, 2018), pg. 32 4 Molly Loberg, The Struggle for the Streets of Berlin: Politics, Consumption, and Urban Space, 1914-1945 (Cambridge: Cambridge University Press, 2018), pg. 35 2 5 control over public space.” This struggle over public space reflected broader political conflicts and tensions, and the changing dynamics of public space were closely linked to the shifting political landscape. Overall, Loberg's analysis of the years 1914-1918 in Berlin offers a detailed analysis of the role of public space in shaping social, political, and cultural identities during a time of significant change. Her focus on the relationship between politics, consumption, and urban space provides a unique perspective on the ways in which these elements were intertwined during this period, and the changing dynamics of public space reflect broader shifts in society and culture. Through her rich analysis of primary sources, including newspapers, advertisements, and political propaganda, Loberg offers a nuanced and insightful interpretation of the history of urban space in Berlin, and her work is an important contribution to the field of urban history. Moving forwards, Janet Ward's Weimar Surfaces: Urban Visual Culture in 1920s Germany offers a unique perspective on the cultural and visual landscape of Weimar Germany. One of the central themes explored by Ward in this section is the relationship between architecture, design, and politics in Weimar Germany. As Ward notes, “The Weimar Republic was a period of intense experimentation in architecture and design, as artists and architects 6 sought to create new forms that reflected the changing social and political landscape.” Architecture and design became sites of political and cultural contestation, as different groups vied for control over the visual landscape of the city. Ward also explores the ways in which new technologies and media were used to shape the visual culture of Weimar Germany. As she notes, “The rise of new technologies, such as film and photography, gave artists and designers new 5 Molly Loberg, The Struggle for the Streets of Berlin: Politics, Consumption, and Urban Space, 1914-1945 (Cambridge: Cambridge University Press, 2018), pg. 38 6 Janet Ward,Weimar Surfaces: Urban Visual Culture in 1920s Germany (Berkeley: UC Press, 2001), pg. 191 3 7 tools with which to explore the possibilities of visual culture.” These new technologies allowed for greater experimentation and innovation in visual culture, and played a key role in shaping the aesthetics of the period. One example of the intersection between architecture, design, and politics can be seen in the emergence of the New Objectivity movement during this period. Ward argues that New Objectivity represented a rejection of the expressionist aesthetics that had dominated the cultural landscape of the early Weimar Republic. She writes, “The New Objectivity artists rejected the expressive and individualistic tendencies of the prewar avant-garde in favor of a more objective 8 and impersonal approach to art.” This rejection of individualism was closely linked to broader political and social changes in Weimar Germany, as the country struggled to come to terms with the trauma of World War I and the challenges of modernity. Ward also examines the ways in which visual culture was used to shape and reinforce gender roles and identities during this period. She argues that “gender was a key site of contestation in the visual culture of Weimar Germany, as artists and designers sought to redefine 9 the roles and expectations of men and women in the modern world.” This struggle over gender roles was reflected in the visual culture of the period, as artists and designers experimented with new forms and aesthetics that challenged traditional gender norms. One example of this can be seen in the rise of the New Woman in Weimar Germany. Ward notes that “The New Woman was a figure of both celebration and anxiety in Weimar visual culture, representing both the 10 possibilities and the challenges of women's emancipation.” The New Woman was often 7 Janet Ward,Weimar Surfaces: Urban Visual Culture in 1920s Germany (Berkeley: UC Press, 2001), pg. 193 8 Janet Ward,Weimar Surfaces: Urban Visual Culture in 1920s Germany (Berkeley: UC Press, 2001), pg. 194 9 Janet Ward,Weimar Surfaces: Urban Visual Culture in 1920s Germany (Berkeley: UC Press, 2001), pg. 195 10 Janet Ward,Weimar Surfaces: Urban Visual Culture in 1920s Germany (Berkeley: UC Press, 2001), pg. 197 4 depicted in avant-garde art and design as a symbol of modernity and progress, but her emergence also reflected broader social and political changes that were taking place in Weimar Germany. Overall, Ward's analysis of the years 1928-1933 in Weimar Germany offers a nuanced and insightful analysis of the role of visual culture in shaping politics, culture, and society during a time of intense change and transformation. Her focus on the intersection between architecture, design, and politics provides a unique perspective on the visual landscape of the period, and her analysis of gender roles and identities offers a fascinating insight into the changing dynamics of Weimar society. Through her rich analysis of primary sources, including art, architecture, and design, Ward offers a nuanced and thought-provoking interpretation of the cultural and visual landscape of Weimar Germany, and her work is an important contribution to the field of cultural history. Janet Lungstrum’s article Metropolis and the Technosexual Woman of German Modernity examines the portrayal of women in the urban environment of Weimar Germany. She argues that the city, particularly Berlin, provided opportunities for women to challenge traditional gender roles and explore new forms of self-expression. Lungstrum examines various cultural texts, such as films and literature, to analyze the representation of women in the city and how their appearance and behavior reflected the modernity of the time. Lungstrum contends that women in Weimar Germany were subject to conflicting pressures from traditional gender norms and the increasing opportunities and freedoms offered by the city. She notes that women who embraced modernity and challenged gender norms were often labeled as “technosexual” and were perceived as lacking femininity. She cites examples of films, such as Fritz Lang’s Metropolis, in which female characters were portrayed as cold and unemotional, and their sexuality was linked to their mechanical abilities rather than their femininity. Lungstrum argues 5 that this portrayal of women reflects the anxieties of a society undergoing rapid modernization and suggests that women were seen as emblematic of the challenges posed by modernity. Lungstrum also examines the emergence of the “New Woman” in Weimar Germany, who challenged traditional gender roles by pursuing education and careers outside the home. She notes that the New Woman was often portrayed as a threat to traditional gender roles and was criticized for being “unwomanly.” Lungstrum argues that the New Woman was also seen as emblematic of the anxieties surrounding modernity and its potential to disrupt traditional social structures.Lungstrum’s analysis is supported by a close reading of various cultural texts, such as films and literature. She examines the character of Maria in Metropolis, who is portrayed as a robotic “femme fatale” and suggests that the character reflects the anxieties of a society 11 undergoing rapid technological change. She also examines the works of female writers, such as Vicki Baum and Irmgard Keun, who portrayed the New Woman as a complex and multi-faceted 12 figure who struggled with the conflicting pressures of tradition and modernity. Furthermore, Lungstrum examines the representation of women in advertisements. She notes that advertisements often depicted women using technological products, such as typewriters and telephones. Lungstrum argues that these advertisements positioned women as consumers and empowered them to participate in the market economy. She quotes an advertisement for a typewriter that reads, “a typewriter for the young lady’s study 13room.” This advertisement is an example of how companies marketed products to women and positioned 11 Janet Lungstrum, Metropolis and the Technosexual Woman of German Modernity in Women in the Metropolis: Gender and Modernity in Weimar Culture, Katharina von Ankum, ed. (Berkeley: UC Press, 1997), pg. 137 12 Janet Lungstrum, Metropolis and the Technosexual Woman of German Modernity in Women in the Metropolis: Gender and Modernity in Weimar Culture, Katharina von Ankum, ed. (Berkeley: UC Press, 1997), pg. 133 13 Janet Lungstrum,Metropolis and the Technosexual Woman of German Modernity in Women in the Metropolis: Gender and Modernity in Weimar Culture, Katharina von Ankum, ed. (Berkeley: UC Press, 1997), pg. 132 6 them as educated and independent individuals. Lungstrum also explores the literary representation of the “technosexual” woman. She notes that women writers of the time often used the image of the technologically advanced woman to challenge traditional gender roles. For example, she cites the work of Vicki Baum, a popular author of the time who wrote about women who worked in factories and offices. Lungstrum argues that Baum’s portrayal of working women allowed them to challenge traditional gender roles and assert their independence. In addition to examining the cultural construction of the “technosexual” woman, Lungstrum also discusses the ways in which women’s bodies were represented in Weimar culture. She notes that the ideal body type for women at the time was slender and athletic and that this ideal was often achieved through technological means. For example, she cites the use of corsets and exercise machines to achieve the desired body type. Lungstrum argues that this emphasis on the body and the use of technology to achieve the ideal body type allowed women to challenge traditional notions of femininity. Overall, Lungstrum’s article offers a comprehensive analysis of the representation of the “technosexual” woman in Weimar culture. By examining a variety of sources including films, advertisements, and literature, Lungstrum argues that the technological advancements of the time allowed women to challenge traditional gender roles and expand their identity beyond the domestic sphere. She notes that the representation of women as consumers and the emphasis on the body as a site of technological intervention allowed women to assert their independence and challenge traditional notions of femininity in Weimar and beyond. In conclusion, women in Weimar Germany experienced a transformation in their autonomy and perception in public spaces. While they were becoming more autonomous, they were also being sexualized and sidelined in society. Politics, consumption, and urban space were 7 intertwined and changes in one led to changes in the others. Molly Loberg's The Struggle for the Streets of Berlin: Politics, Consumption, and Urban Space, 1914-1945 , explores the key themes of women in public space, changing dynamics of public space during war, and the relationship between politics, consumption, and urban space. anet Ward's J Weimar Surfaces: Urban Visual Culture in 1920s Germany, analyzes the relationship between architecture, design, and politics and the rise of new technologies and media in shaping visual culture. Through a detailed analysis of primary sources, both authors provide a unique perspective on the social, political, and cultural changes that took place during the Weimar period and their influence on the role of women in German society. 8