 |
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| Titre : |
Goethe’s tree |
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| Numéro : |
18 |
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| Année : |
2002 |
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| Volume : |
VIII |
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| Auteur(s) : |
Jean-Marc HUGUET |
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| Résumé : |
Buchenwald is eight kilometres from Weimar. Weimar-the-Beautiful, cradle of German culture symbolises, by Goethe, German unity. Weimar-the-Black, Hitler parading at the Elephant Hotel, Thuringia was his. In the Buchenwald camp, Faust can cry “Even Hell has its own laws”. Boris Taslitzky paints Halbwachs in the Revier de Buchenwald, Zoran Music draws Dachau. Another war at another time, in 1912, at the Neulengbach prison, Egon Schiele “lives a life of profound misery”. Five years later, in the Weimar Republic, the Bauhaus School inaugurated total architectural creativity. Wassily Kandinsky and Paul Klee invented Modern Art. The Bauhaus was shut in 1933. Art was to be devoted to the glorification of Volksgemeinschaft, the Nazi national community.
The imbrication of good and evil, by the proximity of these places, renders what art can suggest of the unspeakable when the artist rubs shoulders with horror. |
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| Pages : |
127 - 137 |
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| DOI : |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-127.htm |
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| Type : |
Research paper |
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| Keywords : |
Goethe, German, Germany, art, Nazism, Nazi, Hitler, |
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| APA : |
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| Citations : |
- |
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| CAIRN : |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-127.htm |
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