Martin I. Gaughan, a graduate of Trinity College Dublin in politics and economics, was awarded a PhD at the University of East Anglia, ('Berlin Dadaism and Constructivism', 1982). He is the author of German Art 1907-1937. Modernism and Modernisation (Peter Lang, 2007), and has contributed chapters to other publications.
Inhaltsangabe
Introduction 1 Franz Mehring: Literary Practice as a Socialist Form 1 A Portrait 2 Biographical Sketch 3 The Question of an Aesthetic Practice 4 Die Lessing-Legende 5 The Plays: ‘Minna von Barnhelm’ and ‘Emilia Galotti’ 6 The Critique of Naturalism 2 Political Spontaneism and Cultural Practice 1 Political Spontaneism and Cultural Practice 2 The ‘Kunstlump’ Debate 3 Erste Dada-Messe (The First Dada Fair): ‘Die Kunst ist tot. Es lebe die neue Maschinenkunst Tatlins’ 4 Das Proletarische Theater 5 Franz Jung: Activist and Artist 6 Herzfelde’s ‘Gesellschaft, Künstler und Kommunismus’ (1922) 7 Art and/or Politics 1919–22 3 Märten and the Development of a Theoretical Position: From Reformism to the November Revolution 1 The Historical Materialism Debate 1920–21 4 The ‘German October’ and Reconfiguration 1 The ‘German October’ 2 Intellectuals and ‘the Second Culture’ 3 Practice: From ‘Die Rote Gruppe’ to the ‘Assoziation revolutionärer bildender Künstler Deutschlands’ 4 Wittfogel’s Aesthetic Programme 5 Thalheimer’s Introductions to Mehring’s Oeuvre 5 Wittfogel’s Critique of Thalheimer’s Introduction 1 Zur Frage der marxistischen Ästhetik (On the Question of Marxist Aesthetic) 2 Wittfogel’s Series 3 Becher: ‘Unsere Wendung’ (Our Turning Point) 4 Lukács and Die Linkskurve 5 Reportage or Portrayal 6 From the Second to the Third International: Lukács’s ‘Franz Mehring, 1846–1919’ 7 ‘Nur-Kampfkultur oder positive Kultur’? Conclusion 6 Crisis and Critique: Continuity and Conflict Appendix: Towards a Materialist History of Art References Index
Introduction 1 Franz Mehring: Literary Practice as a Socialist Form 1 A Portrait 2 Biographical Sketch 3 The Question of an Aesthetic Practice 4 Die Lessing-Legende 5 The Plays: ‘Minna von Barnhelm’ and ‘Emilia Galotti’ 6 The Critique of Naturalism 2 Political Spontaneism and Cultural Practice 1 Political Spontaneism and Cultural Practice 2 The ‘Kunstlump’ Debate 3 Erste Dada-Messe (The First Dada Fair): ‘Die Kunst ist tot. Es lebe die neue Maschinenkunst Tatlins’ 4 Das Proletarische Theater 5 Franz Jung: Activist and Artist 6 Herzfelde’s ‘Gesellschaft, Künstler und Kommunismus’ (1922) 7 Art and/or Politics 1919–22 3 Märten and the Development of a Theoretical Position: From Reformism to the November Revolution 1 The Historical Materialism Debate 1920–21 4 The ‘German October’ and Reconfiguration 1 The ‘German October’ 2 Intellectuals and ‘the Second Culture’ 3 Practice: From ‘Die Rote Gruppe’ to the ‘Assoziation revolutionärer bildender Künstler Deutschlands’ 4 Wittfogel’s Aesthetic Programme 5 Thalheimer’s Introductions to Mehring’s Oeuvre 5 Wittfogel’s Critique of Thalheimer’s Introduction 1 Zur Frage der marxistischen Ästhetik (On the Question of Marxist Aesthetic) 2 Wittfogel’s Series 3 Becher: ‘Unsere Wendung’ (Our Turning Point) 4 Lukács and Die Linkskurve 5 Reportage or Portrayal 6 From the Second to the Third International: Lukács’s ‘Franz Mehring, 1846–1919’ 7 ‘Nur-Kampfkultur oder positive Kultur’? Conclusion 6 Crisis and Critique: Continuity and Conflict Appendix: Towards a Materialist History of Art References Index
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