By Todd Herzog
The Weimar Republic (1918-1933) used to be a vital second not just in German heritage but additionally within the background of either crime fiction and legal technological know-how. This research techniques the interval from a distinct standpoint - investigating the main infamous criminals of the time and the public's response to their crimes. the writer argues that the advance of a brand new kind of crime fiction in this interval - which grew to become literary culture on its head through concentrating on the legal and forsaking religion within the powers of the rational detective - is intricately with regards to new methods of figuring out criminal activity between pros within the fields of legislations, criminology, and police technology. contemplating Weimar Germany not just as a tradition in problem (the general view in either renowned and scholarly studies), but in addition as a tradition of obstacle, the writer explores the ways that crime and situation grew to become the root of the Republic's self-definition. An interdisciplinary cultural reviews venture, this ebook insightfully combines heritage, sociology, literary stories, and movie experiences to enquire an issue that cuts throughout all of those disciplines.
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Additional resources for Crime Stories: Criminalistic Fantasy and the Culture of Crisis in Weimar Germany (Monographs in German History)
16. 17. 18. 19. 20. 21. Tatlow, Renate Voris, and Carl Weber, The Brecht Yearbook / Das Brecht-Jahrbuch 18 (1993): 24–40. I discuss the plans for the ﬁrst novel below. Among the numerous essays both Benjamin and Brecht wrote on the subject of crime ﬁction, see, for example, Walter Benjamin, “Kriminalromane, auf Reisen,” in Gesammelte Schriften, ed. : Suhrkamp, 1972), IV: 88–89 and Bertolt Brecht, “Über die Popularität des Kriminalromans,” in Der Kriminalroman: Poetik, Theorie, Geschichte, ed. Jochen Vogt (München: Wilhelm Fink Verlag, 1998), 33–37.
This provocative understanding of the reader’s use of crime ﬁction runs counter to the dominant understanding of the genre. These three theorists refuse to write oﬀ the experience of reading detective ﬁction as simply an attempt to escape from the monotony of everyday life and inhabit a fantasy world of adventure. In place of escapism, they posit a genre that departs from the real world in order to provide a guide to understanding modernity. The result is a powerful mixture of fantasy and reality, imagined adventures and lived experience, which I have been characterizing as criminalistic fantasy.
24. See Ferdinand Tönnies, Community and Association (New Brunswick, NJ: Transaction Publishers, 1988); Georg Simmel, “The Metropolis and Mental Life,” in On the Individuality of Social Forms, ed. Donald Levine (Chicago: University of Chicago Press, 1971); and Oswald Spengler, Decline of the West (Oxford: Oxford University Press, 1991). 25. Graeme Gilloch argues for Benjamin’s dual perspective on urban modernity in Walter Benjamin: Critical Constellations (Cambridge, UK: Polity, 2002). See especially 7–8.