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Journal articles on the topic 'Weimar reactionary modernism'

Author: Grafiati

Published: 7 June 2025

Last updated: 16 July 2025

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1

Zhang, Zoe. "The Wagnerian roots of reactionary modernism: Nietzsche's The Birth of Tragedy and The Greek State." Cambridge Journal of Political Affairs, no. 9 (December 18, 2024): 56–69. https://doi.org/10.5281/zenodo.14289017.

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This article argues for an evaluation of Weimar’s reactionary modernism as having been strongly shaped by the thought of Richard Wagner. Scholarship on the ‘German Conservative Revolution’ has long recognised the impact of Friedrich Nietzsche upon reactionary modernist thinkers, particularly that of his thought - on amoral aestheticism and irrationalist vitalism. This article seeks to show that both of these facets of Nietzsche’s thought were, in turn, significantly inspired by Wagner’s vitalism, thereby establishing a line of direct influence from Wagner to the C

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2

MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.

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Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the tradit

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3

Mehrtens, Herbert, and Jeffrey Herf. "Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich." Technology and Culture 28, no. 1 (1987): 149. http://dx.doi.org/10.2307/3105498.

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4

Bendersky, Joseph W., and Jeffrey Herf. "Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich." American Historical Review 90, no. 5 (1985): 1223. http://dx.doi.org/10.2307/1859753.

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5

Eley, G. "Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich." Telos 1987, no. 71 (1987): 187–97. http://dx.doi.org/10.3817/0387071187.

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6

Jones, Michael T., and Jeffrey Herf. "Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich." German Quarterly 60, no. 1 (1987): 158. http://dx.doi.org/10.2307/407197.

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7

Giles, Geoffrey J., and Jeffrey Herf. "Reactionary Modernism. Technology, Culture and Politics in Weimar and the Third Reich." German Studies Review 9, no. 3 (1986): 670. http://dx.doi.org/10.2307/1429950.

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8

Grenville, A. "Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich." German History 6, no. 2 (1988): 201–2. http://dx.doi.org/10.1093/gh/6.2.201.

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9

Sheehan, James J. "Reactionary modernism: Technology, culture, and politics in Weimar and the Third Reich." History of European Ideas 9, no. 1 (1988): 87–88. http://dx.doi.org/10.1016/0191-6599(88)90076-9.

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10

Rohkrämer, Thomas. "Antimodernism, Reactionary Modernism and National Socialism. Technocratic Tendencies in Germany, 1890–1945." Contemporary European History 8, no. 1 (1999): 29–50. http://dx.doi.org/10.1017/s0960777399000120.

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The article looks critically at attempts to explain the rise of National Socialism in Germany by trying to identify a peculiarly German tradition of antimodernism or reactionary modernism (by, among others, Jeffrey Herf). By looking at different critiques of civilisation in imperial Germany, it tries to show that most of them accepted the necessity of modern technology. What was new about the so-called ‘reactionary modernists’ in the Weimar Republic was not their willingness to use modern technology, but the full acceptance of the fact that modern technology could only exist on the basis of la

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11

Coser, Lewis A. "Reactionary Modernism: Technology, Culture and Politics in Weimar and in the Third Reich.Jeffrey Herf." American Journal of Sociology 91, no. 6 (1986): 1495–96. http://dx.doi.org/10.1086/228448.

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12

Hayes, Peter. "Reactionary Modernism: Technology, Culture and Politics in Weimar and the Third Reich. Jeffrey Herf." Isis 79, no. 3 (1988): 508–9. http://dx.doi.org/10.1086/354801.

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13

Rösslør, M. "Applied Geography and Area Research in Nazi Society; Central Place Theory and Planning, 1933 to 1945." Environment and Planning D: Society and Space 7, no. 4 (1989): 419–31. http://dx.doi.org/10.1068/d070419.

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The earliest ventures in applied geography and area research were developed during the Weimar Republic. In 1933 the first theoretical study appeared: the central place theory by Walter Christaller. Under National Socialism good research conditions existed for social scientists (at least, those who were not persecuted, exiled, or murdered) who wanted to implement their theories. Law and central planning organizations provided the political and institutional basis for scientific research. Power struggles and conflicts concerning competence between different institutions headed by Hitler, Himmler

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14

Stokes, Lawrence D. "Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich by Jeffrey HerfReactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich by Jeffrey Herf. Cambridge and New York, Cambridge University Press, 1984. xii, 251 pp." Canadian Journal of History 21, no. 2 (1986): 282–84. http://dx.doi.org/10.3138/cjh.21.2.282.

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15

Sheppard, Richard. "Reviews : Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich. Jeffrey Herf. Cambridge: Cambridge University Press, 1985. xii + 251 pp. £22.50." Journal of European Studies 16, no. 1 (1986): 75. http://dx.doi.org/10.1177/004724418601600109.

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16

Grenville, A. "Book Reviews : Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich. By Jeffrey Herf. Cambridge University Press. 1986. xii + 25I pp. 9.95 paperback." German History 6, no. 2 (1988): 201–2. http://dx.doi.org/10.1177/026635548800600226.

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17

CHAMETZKY, PETER. "ARTISTS AS AVATARS." Modern Intellectual History 11, no. 1 (2014): 237–52. http://dx.doi.org/10.1017/s1479244313000413.

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Are artists crazy? Are creators more likely to be mad, or madder, than the rest of us? Does mental distress deepen artistic vision? Correlate to genius? Is the drive to fashion a personal pictorial or plastic universe pathological? Bettina Gockel's hefty Tübingen Habilitationsschrift, “The Pathologizing of the Artist: Artist Legends in Modernity,” documents the significant amount of mental energy expended exploring these and related questions from the mid-nineteenth century into the 1920s. Matthew Biro's The Dada Cyborg argues that the Dadaists’ montages, assemblages, and raucous agitational a

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18

"jeffrey herf. Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich. New York: Cambridge University Press. 1984. Pp. xii, 251. $29.95." American Historical Review, December 1985. http://dx.doi.org/10.1086/ahr/90.5.1223.

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