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A forgotten history of modernity: F...

Ganeva, Mila M.

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A forgotten history of modernity: Fashion in German literature, the illustrated press, and photography in the Weimar Republic.

Record Type:	Electronic resources : Monograph/item
Title/Author:	A forgotten history of modernity: Fashion in German literature, the illustrated press, and photography in the Weimar Republic./
Author:	Ganeva, Mila M.
Description:	234 p.
Notes:	Source: Dissertation Abstracts International, Volume: 61-10, Section: A, page: 4011.
Contained By:	Dissertation Abstracts International61-10A.
Subject:	Literature, Germanic. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9990546
ISBN:	0599975466

A forgotten history of modernity: Fashion in German literature, the illustrated press, and photography in the Weimar Republic.
Ganeva, Mila M.

A forgotten history of modernity: Fashion in German literature, the illustrated press, and photography in the Weimar Republic. - 234 p.

Source: Dissertation Abstracts International, Volume: 61-10, Section: A, page: 4011.

Thesis (Ph.D.)--The University of Chicago, 2000.

This dissertation offers a new genealogy of “women's modernity” by focusing on the debates concerning fashion in the Weimar period (1918–1933). Fashion emerged then as a powerful medium for the autonomous self-expression of women. In a wave of unprecedented literary, journalistic, and photographic productivity, women made fashion the occasion of more general reflections on and interventions into the conditions of modernity. They offered their own, original definitions of modernity on the basis of their direct involvement in the everyday culture and practices of fashion.

ISBN: 0599975466Subjects--Topical Terms:

1019072
Literature, Germanic.

A forgotten history of modernity: Fashion in German literature, the illustrated press, and photography in the Weimar Republic.
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100 1 $a Ganeva, Mila M. $3 1943813
245 1 0 $a A forgotten history of modernity: Fashion in German literature, the illustrated press, and photography in the Weimar Republic.
300 $a 234 p.
500 $a Source: Dissertation Abstracts International, Volume: 61-10, Section: A, page: 4011.
500 $a Adviser: Katherine Trumpener.
502 $a Thesis (Ph.D.)--The University of Chicago, 2000.
520 $a This dissertation offers a new genealogy of “women's modernity” by focusing on the debates concerning fashion in the Weimar period (1918–1933). Fashion emerged then as a powerful medium for the autonomous self-expression of women. In a wave of unprecedented literary, journalistic, and photographic productivity, women made fashion the occasion of more general reflections on and interventions into the conditions of modernity. They offered their own, original definitions of modernity on the basis of their direct involvement in the everyday culture and practices of fashion.
520 $a Methodologically, the dissertation combines textualist and culturalist approaches to a heterogeneous body of primary material: fashion vignettes, essays, short stories, travelogues, a novel, and photographic images. These texts are read closely, with an eye to their compositional complexity, and historically, by locating them within the broader social, institutional, and political contexts of the 1920s and 1930s in which they functioned.
520 $a The thesis is based on four case studies, preceded by a discussion (Chapter I) of some key terms tied to both the theory of modernity and the study of fashion: the <italic>flâneur</italic>, the dandy and the New Woman. The first case study (Chapter II) examines the institution and politics of fashion journalism exemplified by the illustrated magazines of <italic>Ullstein House</italic> and claims that the female fashion journalists at <italic>Ullstein</italic> were respected as authors and societal role models. They set the tone for the open discussion of modernity which used as a primary point of reference not the theoretical speculations of male philosophers and contemporary sociologists but the mundane interests and the daily practices of middle-class women. Chapter III studies the writings of one fashion writer, Helen Grund, published between 1921 and 1935. The analysis of Grund's works expands the canon of texts used in the analysis of modernity and shows how writing on fashion has enriched and transformed popular Weimar genres such as the <italic>feuilleton</italic> and the travelogue.
520 $a Chapter IV studies Irmgard Keun's s 1931 novel <italic>Gilgi</italic>. The main character represents the typical middle-class practitioner of Weimar fashions: she self-consciously wears, designs and sews fashionable clothes, as well as observes, reads and comments on fashion. Fashion constitutes for Gilgi a sphere of liberating modern experiences: uninhibited aesthetic pleasure as well as potentials for professional realization, social mobility and economic independence. Chapter V presents a study of fashion photography as yet another realm in which women could offer their astute interpretation of various themes of women's modernity—beauty, technology, de-individualization, and sexuality. The case is point here is the work of a fascinating and prolific female photographer, Else Neulander Simon, known by her artistic name Yva.
590 $a School code: 0330.
650 4 $a Literature, Germanic. $3 1019072
650 4 $a Art History. $3 635474
650 4 $a Mass Communications. $3 1017395
650 4 $a Women's Studies. $3 1017481
650 4 $a Design and Decorative Arts. $3 1024640
690 $a 0311
690 $a 0377
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710 2 0 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 61-10A.
790 1 0 $a Trumpener, Katherine, $e advisor
790 $a 0330
791 $a Ph.D.
792 $a 2000
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9990546