Confronting postwar shame in Weimar Germany: Trauma, heroism and the war art of Otto Dix

Oxford Art Journal

Volumn 29, Issue 2, 2006, Pages 247-267

  Fox, Paul ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61449557697     PISSN: 01426540     EISSN: None     Source Type: Journal    
DOI: 10.1093/oxartj/kcl006     Document Type: Article

References (28)

1. Samuel Hynes, A War Imagined: the First World War and English Culture (Bodley Head: London, 1990), p. 425
2. Linda McGreevy, Bitter Witness: Otto Dix and the Great War (Peter Lang: New York, 2001), pp. 8-9
3. Michael Hoffman, Introduction to Jünger, Storm of Steel, p. xii
4. McGreevv, Bitter Witness, pp. 8-9
5. Richard Cork, A Bitter Truth: Avant-Garde Art and the Great War (Yale University Press: New Haven and London, 1994), p. 273, my emphasis
6. Jay Winter, Sites of Memory, Sites of Mourning: The Great War in European Cultural Memory (Cambridge University Press: Cambridge, 2000), p. 159
7. Jay Winter, 'Otto Dix brülé par l'eau-forte de la guerre', in 14-18: la très grande guerre présencé par le Centre de Recherche de l'Historial de Péronne (Le Monde editions: Paris, 1994), pp. 253-4 (my translation)
8. Paul Lerner, Hysterical Men: War, Psychiatry, and the Politics of Trauma in Germany, 1890-1930 (Cornell University Press: Ithaca and London, 2003), p. 8
9. Josef Breuer and Sigmund Freud, Studies in Hysteria, 1895, trans. A. A. Brill (Beacon: Boston, 1937), pp. 3 and 7-8
10. Lerner, Hysterical Men, pp. 185-7
11. Sigmund Freud, Beyond the Pleasure Principle, pp. 5 and 56
12. McGreevy, Bitter Witness, p. 284
13. Whalen, Bitter Wound, p. 33
14. Brigid Doherty, '"See: We Are All Neurasthenics!" or, The Trauma of Dad a Montage', Critical Inquiry, vol. 24, Autumn 1997, p. 94-97
15. Helmut Lethen, Cool Conduct: 'The Culture of Distance in Weimar Germany, trans. D. Reneau (University of California Press: Berkeley and London, 2002), p. 10
16. Lethen, Cool Conduct, p. 74
17. McGreevy, Bitier Witness, p. 201
18. Keith Hartley and Sarah O'Brian Twohig, in Otto Dix 1891-1969 (Tate Gallery Publications; London, 1992), p. 152
19. Dennis Crockett, German Post-Expressionism: The Art of the Great Disorder 1914-1924 (Pennsylvania State University Press: Pennsylvania, 1999), p. 72
20. Frank Whitford, 'The Revolutionary Reactionary', in Otto Dix 1891-1969 (Tate Gallery Publications: London, 1992), p. 17
21. Whitford, 'The Revolutionary Reactionary', p. 16
22. Alfred Salmony, 'Die Neue Gallerie des 17. bis 20, Jahrhunderts im Museum Wallraf-Riehartz in Koln', Der Cicerone, vol. 16, ]an 24, p. 8, my translation
23. McGrcevy, Bitter Witness, p. 231
24. Jünger, Storm of Steel, p. 9
25. See Sue Malvern, Modern Art, Britain and the Great War: Witnessing, Testimony and Remembrance (Yale University Press; New Haven and London, 2004), pp. 96 and 127
26. Bertolt Brecht, 'Norihsea crabs', Üher die bildenden Künste (Suhrkamp: Frankfurt am Main, 1983), pp. 50, 57-9
27. Thomas Nevin, Ernst jünger and Germany: Into the Abyss 1914-1945 (Constable: London, 1997), p. 50
28. McGrecvy, Bitter Witness, p. 234