Literaturwissenschaftliches Argumentieren - Interpretationsanalysen zu Gerhart Hauptmanns Bahnwärter

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Not Enabled Word Wise: Not Enabled Screen Reader: Enabled Amazon Best Sellers Rank: Pp For other readings of Moreck s guide, see Deborah Smail: The Conspiracy of Women: University of California Press Pp Here: We Weren t Modern Enough: Women Artists and the Limits of German Modernism. With once-rigid class divisions and gender roles destabilized by the war and ensuing inflation, s Berlin became a hotbed of sexual experimentation and display, and prostitutes both real and imagined were central figures in the metropolis bawdy entertainment culture. Images of prostitutes pervaded visual and popular culture in Berlin; they could be seen on stage at the city s numerous cabarets, revues, and theaters, on movie screens, posters, and postcards.

Alongside the increased cultural currency of the prostitute came the eroticization of the younger generation of bourgeois and petit bourgeois women.

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With bourgeois respectability compromised, fascination with the so-called sexual underworld grew as the once-prudish middle classes and the nouveau riche went slumming in Berlin s many dive bars and Tingeltangels. In contrast to Moreck s depiction of men who invite and welcome women into the public sphere, some contemporary male observers saw the increased public presence of women in Weimar Berlin as an alarming trend, and the image of the prostitute was evoked as a way of criticizing this change. When they encountered financially and sexually independent women in spaces traditionally associated with sexual exchange, these men failed to see women as an increasingly autonomous and observing presence.

Journalist Thomas Wehrling s article Berlin Is Becoming 10 A Tingeltangel was, to use Alan Lareau s definition, a low-class music hall or any disreputable barroom entertainment, in which the performers were often prostitutes noted for the vulgarity of their repertoires. Literary Cabarets of the Weimar Republic. See also Peter Jelavich: Princeton University Press Walter Benjamin: Pp The brief translation is mine.

Women, the City, and Modernity. Oxford University Press P. Sexual Murder in Weimar Germany could easily interpret Wehrling s vicious verbal assault on the women of Berlin as a strategy for managing certain kinds of sexual, social, and political anxieties. It is not the aim of this article to simply add to Tatar s discourse on the prostitute and emancipated women as objects of male fear and anxiety, although it is certainly worth noting that she often conflates the two without any critical consideration.

I will examine instead the complexities of this conflation of prostitute and New Woman, for it causes readers to pose the following questions: Did the sexually freewheeling atmosphere of Weimar Berlin actually make the overt expression of female desire and financial independence more socially acceptable, or did the lack of a social code for distinguishing sexually aggressive, working women from paid prostitutes cause all publicly visible women simply to be marked as prostitutes?

The latter is clearly the case in Wehrling s indictment of Berlin s whores. By invoking the image of the prostitute as a method of insult, however, Wehrling s text demonstrates the prostitute s potential power to act as a social irritant and indicator of change. Offering an alternative to Tatar s morbid conclusions in her work on prostitution in the Weimar Republic, the historian Julia Roos asks: Should we simply dismiss contemporary anxieties about women s new independence and sexual assertiveness as expressions of misogynistic ideology which they undoubtedly were to a considerable extent or should we perhaps see these fears also as a symptom of and as a reaction to certain real changes in gender roles?

Berlin Is Becoming a Whore. Translated and reprinted in: The Weimar Republic Sourcebook. University of California Press Pp Ibid. Sexual Murder in Weimar Germany. Weimar s Crisis Through the Lens of Gender: The Case of Prostitution. McCormick, who claims that what ought to be celebrated includes precisely that which has been derided as decadence and effeminate weakness by many writers. Close analysis of Weimar-era texts that explore spaces of public contact between male cultural critics and young working women reveals what Spain describes as the reciprocity between the social construction of space and the spatial construction of social relations.

This is most striking in the case of the cinema, one of the most highly theorized spaces in cultural criticism by Weimar intellectuals such as Siegfried Kracauer and in current scholarship on the Weimar Republic. My approach to these texts employs recent feminist theories of mapping that call for a more nuanced approach to gender in textual analysis. Friedman s work on mapping the multiple positionalities of 17 Richard W.

Gender and Sexuality in Weimar Modernity: Film, Literature, and New Objectivity. Women and Melodramatic Representation in Weimar Germany. Princeton University Press P. We Weren t Modern Enough. Thus, texts by modern male writers and leftist intellectuals such as Siegfried Kracauer, Bertolt Brecht, and Curt Moreck that represent urban spaces and the women who inhabit them can be read to express both men s anxiety in regard to women s emancipation and their acknowledgement or even celebration of it.

The latter is especially true in the case of Moreck, whose erotic travel guide maps out various possibilities for sexual experimentation and gender masquerade. Feminism and the Geographies of Encounter. Princeton University Press P Friedman argues that [the] new geography of identity insists that we think about [ Das Theater der kleinen Leute. Das Theater 1 Pp Translation quoted in Miriam Hansen: New German Critique 29 With the lifting of film censorship in , prostitutes became a pervasive cultural presence on the movie screens of Weimar Berlin.

In his essay Aus dem Theaterleben [ From the Theater Scene ] from , Brecht portrays the young women in the audience as transfixed by visions of luxury and carefree pleasures displayed in the onscreen portraits of prostitution. If the intended effect of the hygiene films is to warn women away from prostitution, Brecht claims that they have the exact opposite effect. The films, he argues, actually convince young women to be sexually permissive: Culture, Politics, and Ideas. All the bosses are infused with male desire and pour their secretaries wine; no objections are allowed.

It is best to accept the movie ticket from one s boyfriend or the glass of wine from one s boss and give him what he expects in return.

In other words, Brecht blurs the line between the fictional prostitute in the film and those he imagines as her viewers, for both allow themselves not simply to be seduced but to be bought. Brecht s concern for the young women s welfare projects and even promotes an image of female sexual passivity, an image less threatening than that of young women who might actively manipulate male desire to get what they want such as a free movie ticket, a glass of wine, or their boss attention.

Portraying audience members as dupes seems far more palatable to Brecht than portraying them as socially savvy cognizant of their own desirability and the advantages that desirability might offer them. In Kracauer s work the moviegoers are nearly identical to the young girls and secretaries in Brecht s text; their designation as little shopgirls is meant to signify their limited education and gullibility.

Emphasis in the original. The translation of this lesser-known essay is mine.

Das Ornament der Masse: The Little Shopgirls Go to the Movies. Harvard University Press Pp. Kracauer observes the shop girls as they dab tears from their cheeks and remarks: Weinen [ist] manchmal leichter als Nachdenken [ crying is sometimes easier than contemplation ]. Instead of inspiring social or political activity among the girls, the escape to the cinema simply perpetuates other forms of escape by encouraging the female audience members to visit dancehalls and search for wealthy men.

Kein Film ohne Tanzbar, kein Smoking ohne Geld. Otherwise women would not put on and take off their pants. The business is called eroticism, and the preoccupation with it is called life ]. Help in the form of a rich cavalier is on the way. All three of the essays discussed above can easily be read as precursors to a broader critical discourse on popular culture, exemplified by Theodor W.

Adorno and Max Horkheimer s treatise on the Culture Industry which maligns the mass culture audience for its uncritical absorption of popular entertainment and its inability to recognize that modern mass culture does not come from the people but is administered and imposed from above.

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As Andreas Huyssen persuasively argues, behind modernist critiques portraying popular culture as a threat to high culture lay a fear of the working masses and also of women knocking at the gate of a male-dominated culture. The possible threat of the working woman is diffused by 29 Ibid. P This particular quote comes from Andreas Huyssen: Mass Culture as Woman: After the Great Divide: Modernism, Mass Culture, Postmodernism.

Indiana University Press Pp Here: The original essay by Adorno and Horkheimer is: Enlightenment as Mass Deception. Mass Culture as Woman. The first move presents women as dimwitted dupes easily manipulated from above by their male bosses, lovers, or cultural institutions like film studios. These women are portrayed as having no agency; they place their bodies in service of industry, and they allow their minds to be shaped by the culture industry.

The second move is to depict these women in explicitly sexual terms as passive sexual objects. All three authors use both the trope of prostitution and the darkened, eroticized space of the cinema to aid them in these moves. Here, prostitution takes on a variety of meanings. It can be read as the potential sexual objectification of white-collar women by the men who accompany them to the cinema; it can also represent a rationalized eroticism that keeps women enslaved within an exploitative socio-economic system.

Certainly what all of these women have in common is that they do not possess a critical gaze; they are bad spectators. The authors, in contrast, are authoritative observers who have the power both to see the audience with a critical eye and see through the manipulative messages of the filmic narratives. By foregrounding the deficiencies of the female spectators, these essays privilege male spectatorship, for they imply that the masculine subject can decipher the truth behind the image.

Literary Snapshots of Urban Spaces. P This discussion of the male gaze takes as its theoretical premise Laura Mulvey s ground-breaking work Visual and Other Pleasures. Indiana University Press While the emotional response of the little shop girls may reveal an acknowledgement of a loss of social mastery, their concentrated gaze involves a perceptual activity that is neither passive nor entirely distracted. Having just watched a tragic film in which the female protagonist commits suicide in order to save her lover s career, the shop girls shed a few tears, but they wipe their tears and pudern sich rasch, ehe es hell wird [ quickly powder their noses before the lights come up ].

Although Kracauer implies that their powdering constitutes an over-identification with the on-screen actress and their desire to participate in the film s plot, it is possible that their powdering is actually a moment of critical disjuncture. Drying their tears and dotting their faces with powder before the cinematic space is illuminated, the shop girls anticipate the transition from the darkened space of the theater to the space of the street and thereby display an awareness that they will be looked at. The city street, in contrast to the cinema, can be seen as a form of spontaneous theater that offers urban women and men opportunities to be spectacle and 35 Patrice Petro: Woman as Spectator and Spectacle.

Women in the Metropolis. Pp The quote given appears on P. For a more comprehensive discussion of female spectatorship in the Weimar Republic, see Petro s book-length study, Joyless Streets. Perhaps, then, these shopgirls are not dupes but critical consumers, perfectly aware of the disjuncture between cinematic representations and reality and able to negotiate various urban spaces.

Perhaps the cinema is not the site of their social and moral corruption but rather a place where they can exercise their buying power and satisfy their desire for entertainment at the end of a long workday. Perhaps they are desiring subjects as well as desired objects. And perhaps, before they exit the cinema, they pause to look in their compact mirrors for a second, casting quizzical glances at the intellectual in the back row and returning, even if just for a second, his studied gaze. New Men, New Women, and Masks: Jeder einmal in Berlin!

During the period of economic stabilization , as many as two million tourists per year flocked to the city. Those visitors who were looking for sexual thrills that could not be found on a guided tour or in the bourgeois standard-bearer of travel guides, the Baedecker, those who wanted to explore the verwirrende 38 Henri Lefebvre: University of Minnesota Press P Moreck: Mammen s fourteen contributions, second only to Kamm s twenty, exemplify the presence of an active female gaze that makes Moreck s guide so unique.

Moreck spends his first chapter, Wir zeigen Ihnen Berlin [ We ll Show you Berlin ], convincing the reader that the guide is, in many ways, indispensable to any traveler who wants to get beyond Berlin s offizielle Seite [ official side ]. Every city has an official and an unofficial side, and it is superfluous to add that the latter is more interesting and more informative of the essence of a city. That which appears so clearly in the light of the arc lamps has a face more like a mask than a physiognomy.

The smile it offers is more an appeal to the visitor s purse. It wears the makeup of the coquette, applied too thickly to permit the true features underneath to be recognized. Those who are looking for experiences, who long for adventure, who hope for sensations they must go into the shadows. To use a contemporary phrase, she s a tourist trap. Eager to please the eye, tourism cakes on its makeup, creating a mask that obscures the city s essence.

Interestingly, as much as Moreck promises to show his readers Berlin s true features, most often he winds up showing them its many masks. Perhaps the mask-like makeup so garishly applied is impossible to remove completely. One can only hope to examine its various layers. Moreck s use of prostitute imagery in his description of official Berlin can be read as further testament to the prostitute s mainstream status in s Berlin, for in this passage the prostitute is associated with the money-making industries of entertainment and tourism.

Yet prostitutes in Moreck s guide also inhabit the unofficial world of shadows, embodying the adventure and sensations of sexual subcultures, as well as the half world in which they are virtually indistinguishable from the 41 Moreck: Translation of this particular passage is taken from The Weimar Republic Sourcebook. The sheer variety and ambiguity of Moreck s representations of prostitutes place him in closer proximity to female artists of the Weimar period like Jeanne Mammen, whose works, the art historian Marsha Meskimmon has shown, are effective in dismantling [ Setting himself apart from Karl Baedecker s guide to Berlin and its Environs, which provides readers with recommendations for hotels and restaurants, detailed maps of the capital city s streets and transportation system, and helpful blueprints of churches, monuments, and museums, Moreck gives his readers neither maps nor diagrams.

Unlike traditional travel guides that feature state-sponsored cultural institutions i. Instead of using streets as mere avenues to particular destinations or monumental sites, the streets themselves become destinations. In an essay written the same year as Moreck s guide, Kracauer himself identified the street as a space that can escape the authority of urban planners and architects and reveal the heterogeneity that their designs deny.

Kracauer writes from Berlin. The Hidden Stages of Weimar Cinema. For further discussion on Kracauer s writings on the city street see David Frisby: Deciphering the Hieroglyphics of Weimar Berlin: University of Minnesota Press Pp Neither essay engages the topic of gender, for Kracauer did not theorize gender in his discussion of the street.

Admitting that these women may intimidate outsiders, Moreck engages in a project of demystification, telling his readers that these boot whores, once considered a kinky peculiarity, have become a ready-to-wear item catering to a variety of customers. Once seen as dens of iniquity, Moreck claims, some of these clubs now attract fashionable crowds interested in following a trend.

Trend-setters looking for voyeuristic titillation find, however, that the clubs atmospheres are actually quite bourgeois, just as those who go searching Alexanderplatz for the danger of the Berlin underworld find themselves admonished by Moreck not to confuse 48 Baedecker: The very fact that the title of the guide places the word naughty in quotation marks underscores the tension between the reification of sexuality and danger and the demystification of the assumed link between sex and danger, a tension that Moreck s work fails to resolve.

It does, however, depart from a common understanding of sex tourism that presumes chauvinistic male agency and female passivity, for it resists mapping a clear path to the sexual satisfaction of male desire at the expense of female desire. Who, then, is Moreck s intended reader? Although it has been convincingly argued that the guide caters primarily to a male heterosexual audience, the male gaze does not necessarily dominate the narrative, nor does it render the female gaze passive.

If anything, in contrast to the texts by Brecht and Kracauer, Moreck s text casts doubt upon the authority given to men s cinematic vision by implying that the reader is prone to confuse film or sexual spectacle with reality.

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Plainly stated, this modern guide is pitched to an alternative reader. As previously mentioned, from the beginning Moreck makes it clear that the guide the narrative we is addressing a new generation of reader similar to the new men of Berlin-West, a republican reader who is open to a more democratic view of gender and sexuality. Rudy Koshar thoughtfully speculates upon what this Ibid. P Moreck explicitly uses the term mimicry. Moreck mentions the cinema in passing, identifying it as one of the many possible spaces in which Berliners might spend a few hours in the late afternoon or early evening.

He was of course a male heterosexual who was drawn to the more salacious side of Berlin culture [ In Moreck s Berlin, the Other looked back, and the possibilities of new representations and new sexual identities were contained in this returned gaze. Young, single, sexually active women in the metropolis who adopt the open flirtatiousness and the once-distinctive style of the prostitute, particularly the prostitute s use of cosmetics and more revealing fashions, make such behavior and style into the new norm.

Returning to the space of the street, consider the passage on the Tauentziengirls, fashionable prostitutes from Berlin-West, who before the First World War were notorious for their refined femininity and demonically sparkling perversity but are now virtually indistinguishable from their athletic and emancipated daughters fig. Ihre Extravaganz von damals ist heute ein Gewohnheitsrecht der weiblichen Jugend.

The Tauentziengirls of yesteryear have become mothers, even if, thanks to their bobbed haircuts and cosmetics, they look more like their daughters older sisters. The Tauentziengirls of yesteryear now laugh over the fact that what one used to refer to as their vice and wickedness is considered perfectly natural today. Their extravagance of yesteryear is now taken for granted as the female youth s given right.

Image courtesy of Mel Gordon. In this particular instance, prostitutes and New Women are quite literally related. The contention that their matching makeup and hairstyles make them. But it is the motif of the mother that is most fitting to the tone of the travel guide, not only because prostitutes have traditionally been depicted, even in more progressive discourses, as anti-mothers, but even more because it implies that emancipated women are the progeny of prostitutes.

While the older generation of Tauentziengirls takes on the more traditionally feminine role of the mother and prostitute , the younger generation crosses gender boundaries, embodying both masculine brawn and athleticism and feminine extravagance. The prostitutes who caused a moral stir in Wilhelmine Berlin have given birth to a new generation of young women for whom sexual expression is a natural right and whose interaction with the men of their generation looks less like a threat and more like healthy competition and camaraderie.

The Weimar Republic brought with it what Moreck boldly labels Assimilierung der Geschlechter [ gender assimilation ] in which women actively sought their own leisure activities and created a space for themselves on the athletic fields, the streets, and in Berlin s multitude of entertainment venues. Descriptions of women s desire to see and be seen permeate the narrative, and the female gaze is visually represented by Jeanne Mammen s illustrations.

The translation of Geschlechter in Moreck s comment about the Assimilierung der Geschlechter from German into English always poses a dilemma, considering that the German language makes no distinction between sex and gender. Nur ein paar Augen sein: Erich Reimer and The Conspiracy of Women. German Portraits from the s.

Yale University Press Pp. While the woman in profile takes a casual drag from her cigarette, the woman in the foreground pauses to look straight at the viewer. Her cool expression is softened only slightly by the coy shrug of her shoulder. The blank narrow eyes quite typical of Mammen s style coupled with pale cheeks and red lips give her face a mask-like quality. The squinted eyes, made-up face, and coy pose could be read today through Helmut Lethen s explication of the cool persona, the adoption of strategic self-enactment central to the age of New Objectivity.

Jews and the New Culture Ed. University of Michigan Press Miller: P Canetti is quoted in Rewald: The Culture of Distance in Weimar Germany. University of California Press P Ibid. Mammen, however, draws her female subjects in masks that bear an uncanny resemblance to Lethen s description of the cool gaze a squinting of the eyes into narrow slits: The impulse to squint is transmitted simultaneously to the muscles that lower the upper lids and raise the lower ones, and again to the muscles that open the eyes.

A more or less narrow slit remains open, resulting in the familiar image of eyes peering between nearly closed lids. If, as Lethen argues, character in the age of New Objectivity is a matter of what mask is put on, then Mammen s images of women who exude cool conduct imply that they were just as adept at trying on masks as male intellectuals and artists were. Sabine Hake reminds us: Until the war, only prostitutes and demimondaines wore makeup during the day. The more widespread use of cosmetics robbed them of their power to mark illicit sexuality.

Describing women on the streets of Berlin-West, Moreck raises this very point about makeup, remarking: P The references to makeup and the mask are too numerous to cite in the main body of this text.

In the Mirror of Fashion. Again, the inability to distinguish between sex and gender complicates the translation of Moreck s phrase, particularly when one considers that as evidenced by Moreck s description of the transvestite haven Eldorado, makeup in Weimar Berlin was not only used by women to create a playful mask of femininity. A uniform conjures, on the one hand, the women s uniformity of appearance, their possible indistinguishability. On the other hand, a uniform is also an article of clothing that one puts on and takes off.

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The widespread use of makeup, combined with the loosening of moral codes, Moreck contends, made it virtually impossible to stigmatize women s promiscuity. Women could use makeup as a mask as a medium through which to try out different looks and attitudes to experiment with androgyny, to be hyperfeminine, to be flirtatious, or to appear cool and detached. As Hake notes, there were different cosmetic uniforms for different spaces: The mechanisms of the production of gender can be exposed as such in order to make a space for woman.

The decorative layer [ In Moreck s guide, the original mask-wearers are prostitutes, and prostitutes remain some of the ultimate performers described in the text. The possibilities afforded 74 Hake: P Mary Ann Doane: Feminism, Film Theory, Psychoanalysis. Routledge See also Doane s earlier article Film and the Masquerade: Theorizing the Female Spectator. The Housing of Gender. Princeton Architectural Press Pp Here: Just how naughty was Berlin, and where did this naughtiness reside? By calling Berlin s naughtiness into question in his own title, Moreck s work is satirizing what it defines as outdated moral codes, such as those represented by Thomas Wehrling s essay and, to a certain extent, by Brecht s and Kracauer s as well, that would define Berlin as a metropolis of vice and its public women as whores.

Johnson stresses through an abundance of spatially oriented language in the novel how geopolitical determinations such as the division of Germany profoundly affect the life of the modern Everyman, protagonist Jakob Abs. This essay outlines how Johnson relates the changed geography of Cold-War Europe to the altered mental states and outlooks of his characters.

The next two sections detail the extended spatial metaphors employed by Johnson to illustrate how politics and ideologies shape both private and public spaces, which in turn influence the worldviews of their inhabitants. The conclusion then makes a plea for further spatial analyses of Cold War literature that documents the human geographies of that era. Wright Mills in his foundational work The Sociological Imagination from the same year.

Soja illustrates in this work how space can be made to hide consequences from us, how relations of power and discipline are inscribed into the apparently innocent spatiality of social life, how human geographies become filled with politics and ideology. Mills s description of the modern individual s immobilization contains a remarkable amount of spatial-metaphorical language: Along with the increasing focus on space by social scientists as well as humanities scholars over the past several decades should come a reevaluation of the crucial role of spatiality by which I mean both spatially oriented language and the conceptualizations that such language represents in literary texts of the twentieth century.

In this way, literary studies become vital to a more complete understanding of human geographies within Cold War societies, and of the profound effects of political division on individual lives. With this novel, Johnson combines the project of making history with that of making geography, a practice that Soja argues provides the most revealing tactical and theoretical world. Social theorists in the twentieth century, from Emile Durkheim and Max Weber to Pierre Bourdieu and beyond, contend that cultural and social entities are also to be understood as constructs or collective representations.

Contemporary views generally identify Heimat as one such construction, determined for each person not only by socio-cultural but also highly individual factors.

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Heimat may be roughly defined as the imaginary space where a reconciliation with an alienated, moving world takes place. Fredric Jameson has asserted that the inverse occurred with the onset of postmodernism and late capitalism, as time was subsumed by space. See for example Fredric Jameson: Duke University Press Pp. P See Peter Blickle: Through his multiple narrators, Johnson does not take a conspicuous ideological stance that promotes one side of the border as superior to the other.

But due to its implicit criticism of GDR socialism, the book was destined to be published at first only in the West. Norbert Mecklenburg accurately labels the novel in vieler Hinsicht ein DDR- Roman [ in many respects a GDR novel ], 7 due to its critique of socialism from a socialist perspective. Yet Johnson also moves beyond this agenda by suggesting the importance of challenging all Cold War ideologies.

As Gary Baker notes about the author, Johnson refused to champion either Germany s ideological position, recognizing instead the deeply disturbing aspects of both German regimes. Uwe Johnson and the Cold War. Hauptmanns Bahnwarter Thiel als naturalistische Novelle? Literaturwissenschaftliches Argumentieren in der Praxis, Sprache: Wissenschaftliches Argumentieren gehort ebenso zur Literaturwissenschaft wie die Literatur selbst. Dennoch wird vorwiegend ein Augenmerk auf die Interpretation von Primartexten geworfen als die Analyse eben dieser Werkinterpretationen.

Das Ziel dieser Hausarbeit soll sein, herauszuarbeiten wie wissenschaftliches Argumentieren in Interpretationen zu erkennen ist. Woran erkennt man eine gute Argumentationsstruktur? Sind die Argumente schlussig auf die zentrale These bezogen und die beigefugte Beispiele nachzuvollziehen? Im folgenden Kapitel geht es primar um eine theoretische Herangehensweise an das Thema 'Literaturwissenschaftliches Argumentieren'.

Zum einen mithilfe verschiedener Enzyklopadien wie dem Metzler-Lexikon, dem Brockhaus und dem 'Dictionary of literary terms' von Harry Shaw. Best sowie Walther Kindt und Siegfried J. Schmidt drei Fragen geklart werden: Welche methodischen Probleme konnen beim literaturwissenschaftlichen Argumentieren auftreten?

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