Berlin : Psychogramme of a City (suhrkamp taschenbuch 5158) （2021. 188 S. 220 mm）

Scheffler, Karl/ Mitarbeit:Illies, Florian/Herausgegeben:Illies, Florian

SUHRKAMP; SUHRKAMP VERLAG（2021発売）

• 製本 Hardcover:ハードカバー版
• 商品コード 9783518471586

Description

(Text)

"Berlin is damned forever to become, and never to be." Scheffler could not have anticipated that his dictum would prove prophetic. No other author has captured the city's fascinating and unique character as perfectly. From the golden twenties to the anarchic nineties and its status of world capital of hipsterdom at the beginning of the new millennium - the formerly divided city has become the symbol of a new urbanity, blessed with the privilege of never having to be, but forever to become.

Unlike London or Paris, the metropolis on the Spree lacked an organic principle of development. Berlin was nothing more than a colonial city, its sole purpose to conquer the East, its inhabitants a hodgepodge of materialistic individualists. No art or culture with which it might compete with the great cities of the world. Nothing but provincialism and culinary aberrations far and wide. Berlin: "City of preserves, tinned vegetables and all-purpose dipping sauce."

(Table of content)
Foreword
BERLIN - Psychogramme of a City
On Method
Development as Destiny
The Colonial City
The Inhabitants
The Nobility
The Ethos of the City
City of Bourgeois and City of Nobles
The Layout of the City
Building
The Arts
Society
Social Forms
City Culture
Metropolitan Destinies I
The Metropolis
The Population
Wilhelm II
Trade
The New Suburbs
Founder's Architecture
The Arts
Nature and the Environs
Society in the City
Influence on the Reich
Metropolitan Destinies II
The Pioneer Will
Utopia
The Destiny of Berlin
(Review)
»Eine niederschmetternde, stilistisch funkelnde Wutrede auf Berlin ...« noa Neue Zürcher Zeitung 20160105
(Author portrait)
Scheffler, KarlKarl Scheffler (1869-1951) war Kunstkritiker und Publizist. 1906 legte er mit Der Deutsche und seine Kunst. Eine notgedrungene Streitschrift ein polemisches Plädoyer für den Impressionismus als Kunstform der Moderne vor. Ab 1907 war er Herausgeber der einflussreichen Zeitschrift Kunst und Künstler, bis diese 1933 von den Nationalsozialisten verboten wurde.