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The body disassembled: World War I ...

Maxon, Wendy Susanne.

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The body disassembled: World War I and the depiction of the body in German art, 1914--1933.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The body disassembled: World War I and the depiction of the body in German art, 1914--1933./
Author:	Maxon, Wendy Susanne.
Description:	468 p.
Notes:	Chair: David Luft.
Contained By:	Dissertation Abstracts International63-03A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3044795
ISBN:	9780493589039

The body disassembled: World War I and the depiction of the body in German art, 1914--1933.
Maxon, Wendy Susanne.

The body disassembled: World War I and the depiction of the body in German art, 1914--1933. - 468 p.

Chair: David Luft.

Thesis (Ph.D.)--University of California, San Diego, 2002.

My dissertation examines how the unprecedented destruction of the First World War prompted artists to visually deconstruct and reconstruct the human form. During the war and the Weimar era, artists such as Max Beckmann, Otto Dix, George Grosz, Oskar Schlemmer, Rudolf Schlichter, Georg Scholz, and H. M. Davringhausen tried to come to grips with the war's ruinous effects on soldiers' bodies, They voiced puzzlement about how to put bodies back together and began to experiment with different ways of reconstructing them in their work. Because of its linkages to progress and destruction, and in light of the physical rehabilitation taking place in European hospitals, technology became an important subject for these artists. Beginning in 1919, artists devoted much of their work to exploring the fusion of human being and machine, but they differed in their attitudes toward industrialization and its effects on the body. While many German intellectuals after the war emphasized the extent to which human bodies had become machines, other artists and writers believed that the war had turned human beings into animals. By depicting animals and people in butcher shops, many artists during the Weimar years reflected commonly held anxieties that human beings had become beasts. Artists' endeavors to reconstruct the body unveiled the confrontation between mechanization and bestialization that was central to German culture. In my last chapter I examine how the phenomenon of bodily collapse during the First World War had a profound influence on artists' ideas about biological sex, Since wartime advances in prosthetic technology allowed scientists the capacity to rearrange the body into different configurations, some artists became curious about the possibility that sex itself was changeable. By constructing androgynous figures, Oskar Schlemmer and Hannah Hoch destabilized the notion of two immutable biological sexes. I expose the substantial connections between the representations of the body that were created during the war years and those created during the Weimar years. In exploring varying depictions of the body it becomes clear that the visual prototype of the 'Fascist man' was not the only significant model of the body that was created during the Weimar era.

ISBN: 9780493589039Subjects--Topical Terms:

635474
Art History.

The body disassembled: World War I and the depiction of the body in German art, 1914--1933.
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100 1 $a Maxon, Wendy Susanne. $3 1270228
245 1 4 $a The body disassembled: World War I and the depiction of the body in German art, 1914--1933.
300 $a 468 p.
500 $a Chair: David Luft.
500 $a Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 1087.
502 $a Thesis (Ph.D.)--University of California, San Diego, 2002.
520 $a My dissertation examines how the unprecedented destruction of the First World War prompted artists to visually deconstruct and reconstruct the human form. During the war and the Weimar era, artists such as Max Beckmann, Otto Dix, George Grosz, Oskar Schlemmer, Rudolf Schlichter, Georg Scholz, and H. M. Davringhausen tried to come to grips with the war's ruinous effects on soldiers' bodies, They voiced puzzlement about how to put bodies back together and began to experiment with different ways of reconstructing them in their work. Because of its linkages to progress and destruction, and in light of the physical rehabilitation taking place in European hospitals, technology became an important subject for these artists. Beginning in 1919, artists devoted much of their work to exploring the fusion of human being and machine, but they differed in their attitudes toward industrialization and its effects on the body. While many German intellectuals after the war emphasized the extent to which human bodies had become machines, other artists and writers believed that the war had turned human beings into animals. By depicting animals and people in butcher shops, many artists during the Weimar years reflected commonly held anxieties that human beings had become beasts. Artists' endeavors to reconstruct the body unveiled the confrontation between mechanization and bestialization that was central to German culture. In my last chapter I examine how the phenomenon of bodily collapse during the First World War had a profound influence on artists' ideas about biological sex, Since wartime advances in prosthetic technology allowed scientists the capacity to rearrange the body into different configurations, some artists became curious about the possibility that sex itself was changeable. By constructing androgynous figures, Oskar Schlemmer and Hannah Hoch destabilized the notion of two immutable biological sexes. I expose the substantial connections between the representations of the body that were created during the war years and those created during the Weimar years. In exploring varying depictions of the body it becomes clear that the visual prototype of the 'Fascist man' was not the only significant model of the body that was created during the Weimar era.
590 $a School code: 0033.
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