Representations of German Identity

Deborah Ascher Barnstone is Professor of Architecture at University of Technology Sydney. She is a licensed architect as well as an historian. She has published two recent monographs: The Break with the Past: Avant-Garde Architecture in Germany, 1910–1925 (2017) and Beyond the Bauhaus: Cultural Modernity in Breslau, 1918–1933 (2016). Her primary research interests are in the origins of classical modernism and exploring the relationships between art, architecture, and culture more broadly. Thomas O. Haakenson is Associate Professor of Critical Studies and Visual Studies at California College of the Arts. He earned his doctorate from the Department of Cultural Studies and Comparative Literature at the University of Minnesota. He has published articles in New German Critique, German Quarterly, and the anthologies Legacies of Modernism and Memorialization in Germany Since 1945.

Deborah Ascher Barnstone/Thomas O. Haakenson: Introduction: Why Visual Culture Matters – Gabriella Szalay: A Painting Fit for a Nation: The Dombild and its Legacy in Nineteenth-Century Germany – Samuel Adams: Blasting Wagner out of the Continuum of History: Deutschtum Transposed in the Los Angeles Ring – Robert C. Kunath: German Art and the Spirit of 1914: Identity, Modernism, and the Case of Ludwig Dettmann – Thomas O. Haakenson: The Architectonics of Public Science: German Identity and the Berlin Museum of Pathology – Kevin S. Amidon: Intersexes and Mixed Races: Visuality, Narrative, and «Bastard» Identity in Early Twentieth-Century Germany – Deborah Ascher Barnstone: The 1929 Breslau Werkbund Exhibition: Constructing German Identity in Architecture and Urban Design – Elizabeth Cronin: The Problem of German Identity in 1930s Austria and the Influence of Austrian Heimat Photography – Wendy Westphal: Good Bye, DDR!: Where East German Material Culture Meets Film – Mareike Herrmann: Imagined Homes: Negotiating German Identity in the Eastern Provinces in Thomas Arslan’s Ferien and Dominik Graf’s Komm mir nicht nach – Erin Hanas: Raus mit der Sprache. Rein ins Leben: The Exposed Tongue – Christina Schmid: Pathetic Parodies: German National Identity in Bjørn Melhus’ Weit Weit Weg.