The FAZ and regional broadcaster Bayerischer Rundfunk have teamed up for an essays series on the topic of “Weimarer Verhältnisse?” (Weimar conditions): a group of distinguished historians of the era, including Andreas Wirsching, Ute Daniel and Hélène Miard-Delacroix, consider the reasons for Weimar’s collapse and its lessons for today, from democratic breakdown to economic policy.
To commemorate the 25th anniversary of Marlene Dietrich’s death, Resonance FM repeated Marlene Dietrich – Beyond Top Hat and Tails, a radio feature we posted about before. It is available to listen online until 13 May.
The BBC has produced a programme on revolutionary Rosa Luxemburg, with input by historians Jacqueline Rose, Mark Jones, and Nadine Rossol: “Melvyn Bragg discusses the life and times of Rosa Luxemburg (1871-1919), ‘Red Rosa’, who was born in Poland under the Russian Empire and became one of the leading revolutionaries in an age of revolution. She was jailed for agitation and for her campaign against the Great War which, she argued, pitted workers against each other for the sake of capitalism. Continue reading
In The Guardian, the journalist Vanessa Thorpe follows in the footsteps of Franz Hessel, author of the 1929 book Walking in Berlin. Quite remarkably, she contends that “the city that comes to life on Hessel’s pages could be straight out of Cabaret, based on Christopher Isherwood’s novel Goodbye to Berlin” – a book published 10 years later. If anything, Isherwood took inspiration from Hessel rather than the other way round.
In the current issue of Central European History, Jochen Hung reviews new literature on the history of the Weimar Republic, focusing on the often-used “plot” of Weimar’s cultural modernism juxtaposed with its democratic breakdown: “More than thirty years ago, Eberhard Kolb commented that the vast wealth of research on the history of the Weimar Republic made it “difficult even for a specialist to give a full account of the relevant literature.” Since then, the flood of studies on Weimar Germany has not waned, and by now it is hard even to keep track of all the review articles meant to cut a swath through this abundance. Yet the prevailing historical image of the era has remained surprisingly stable: most historians have accepted the master narrative of the Weimar Republic as the sharp juxtaposition of “bad” politics and “good” culture, epitomized in the often-used image of “a dance on the edge of a volcano.””