Weimar's 'Others' : Art History, Alterity and Regionalism in Inter-War Germany
- Submitting institution
-
University of Bristol
- Unit of assessment
- 26 - Modern Languages and Linguistics
- Output identifier
- 94046629
- Type
- B - Edited book
- DOI
-
10.1111/1467-8365.12454
- Publisher
- Wiley
- ISBN
- 0000000000
- Open access status
- -
- Month of publication
- August
- Year of publication
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The Introduction to Weimar’s Others was 80% researched, conceptualized and written by Professor Price. The drive to ensure that it came out in September 2019 to mark the centenary of the Weimar Republic was from Price. The co-editor provided excellent support but as Editor of Art History journal, Price was the intellectual lead. The central premise to focus on alterity through gender, sexuality, ableism and critical race was Price’s. Price brought each article together through a rigorous introduction that interrogated all aspects of what had been left out of the account of standard art histories of Weimar culture. Price ensured the issue interrogated the specificity of art historical engagements with Weimar (as distinct from film, cultural history more broadly) and vice versa and to ask where art historical research on the Weimar era was heading. Price’s specific research insights in the Introduction centred on interrogating the narrative proposed by the co-editor that read Weimar through the lens of unacknowledged whiteness. Whilst the co-editor led with a summary of how Weimar culture featured within the sweeping narrative structured by former British Museum director Neil McGregor in Memories of A Nation (2014), Price asked instead what Germany’s ‘memories of a nation’ might look like if recalibrated through the lens of Black German scholarship. Price proceeded to offer a model in the Introduction for how this might be done by no longer ignoring or side-lining the visual representation of black people within Weimar culture and Germany’s art history more widely and by recovering their subjectivity rather than accepting visual stereotypes of the so-called ‘other’. The research undertaken for the issue was disseminated through a special journal launch hosted by the Courtauld Institute of Art and also since the pandemic, via social media posts.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -