Titlebook: Gender and Sexuality in Weimar Modernity; Film, Literature, an Richard W. McCormick Book 2001 Richard W. McCormick 2001 culture.film.gender

injurious

书目名称Gender and Sexuality in Weimar Modernity影响因子(影响力)




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书目名称Gender and Sexuality in Weimar Modernity被引频次学科排名




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书目名称Gender and Sexuality in Weimar Modernity年度引用学科排名




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书目名称Gender and Sexuality in Weimar Modernity读者反馈学科排名

健忘症

借喻

,“New Objectivity”: Ambivalent Accommodations with Modernity, by an Englishman. Although Christopher Isherwood’s observations were of course those of a foreigner who stood apart from what was going on, the lines above capture some significant aspects not only of Weimar culture but also of one of the predominant attitudes with regard to that culture among Germ

GRUEL

Boys in Crisis: Discourses of Castration in the Early Stabilized Period,ooks most annoying aspects is its somewhat facile Freudian analysis of Weimar cul- ture, an analysis that unfortunately still haunts us.. Expressionism, which Gay defines as the dominant artistic expression of the Weimar Republic (thus placing a phenomenon primarily of the 1910s into the 1920s, a mi

conservative

悦耳

Judicial Remedies for Contract and Tortt the lower than at the middle classes. If so, this particular de stabilization is especially ironic, given that those romantic ideals were originally meant to reinforce the concept of a stable, intimate private sphere that was “timeless,” immune to the changes that the rise of the bourgeoisie and c

悦耳

https://doi.org/10.1007/978-3-030-03347-7cal of a long tradition of scholarship on the Left about German culture. From (the postwar) Kracauer to Adorno (Hewitt, 1–78), the Mitscherlichs, and beyond, weak or “effeminate” sons and powerful moth- ers are more or less blamed for fascism—and also for the inability to “mourn” fascism (Linville,

DEMUR

monogamy

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