The Proletarian Dream: Socialism, Culture, and Emotion in Germany, 1863–1933 by Sabine Hake (review)

The Proletarian Dream: Socialism, Culture, and Emotion in Germany, 1863–1933 by Sabine Hake... Book Reviews 163 the world to see that it stands at a parting of the ways, the passage to a new era in the arts necessitated by their new independence in choosing which interests they must serve. Mutual influences and ideas exchanged across borders continue in the common currents bearing onward to that divisive feature of modernity. The international traffic in manifestoes in our day does still reproduce the conflict with aesthetic norms that alienated Goethe in his. Successive generations do still dismantle the forms and fa- miliarities with which their contemporaries have grown comfortable, and they do so in the name of initiating a distinctive age. The rhetoric of these successions both undoes and recreates the allure of synchronicity expressed in historical periods and styles. The doubtful phenomenon of an organically connected European romanticism, th along with the political modernization of nation and state in the 19 century, does look ever more fanciful as Europe and the world move ever further from the norms that this fancy implies. And yet the large concept of this project still hankers after the idea of Europe’s potential to resume such a coherent expression of artistic creativity. Ziolkowski’s ambitious reconstruction of a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Monatshefte University of Wisconsin Press

The Proletarian Dream: Socialism, Culture, and Emotion in Germany, 1863–1933 by Sabine Hake (review)

Monatshefte, Volume 112 (1) – Mar 12, 2020

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Publisher
University of Wisconsin Press
Copyright
Copyright © The Board of Regents of The University of Wisconsin System.
ISSN
1934-2810

Abstract

Book Reviews 163 the world to see that it stands at a parting of the ways, the passage to a new era in the arts necessitated by their new independence in choosing which interests they must serve. Mutual influences and ideas exchanged across borders continue in the common currents bearing onward to that divisive feature of modernity. The international traffic in manifestoes in our day does still reproduce the conflict with aesthetic norms that alienated Goethe in his. Successive generations do still dismantle the forms and fa- miliarities with which their contemporaries have grown comfortable, and they do so in the name of initiating a distinctive age. The rhetoric of these successions both undoes and recreates the allure of synchronicity expressed in historical periods and styles. The doubtful phenomenon of an organically connected European romanticism, th along with the political modernization of nation and state in the 19 century, does look ever more fanciful as Europe and the world move ever further from the norms that this fancy implies. And yet the large concept of this project still hankers after the idea of Europe’s potential to resume such a coherent expression of artistic creativity. Ziolkowski’s ambitious reconstruction of a

Journal

MonatshefteUniversity of Wisconsin Press

Published: Mar 12, 2020

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