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129 Notes Unless otherwise noted, translations are my own. Introduction 1. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 2008), xxx. 2. My use of the term “bourgeoisie” follows Peter Gay’s definition of this rather heterogeneous class as it developed in the nineteenth century. In his history of the bourgeoisie, Gay writes,“My leading men and women are physicians, merchants, teachers, housewives, novelists, painters, politicians, the occasional prosperous artisan who has secured a measure of economic independence and social respectability, and the rare aristocrat whose credentials are dubious and whose very posture is supremely bourgeois.” Peter Gay, The Bourgeois Experience : Victoria to Freud, vol. 1, Education of the Senses, (New York: Oxford University Press, 1984), 4. In addition, civil servants, professors, and officers were often counted among the bourgeoisie, although they held a diffuse position between court society and bourgeoisie. As the bourgeoisie became politically and economically increasingly influential, their ideas, values, and mores gradually came to orient society, and the nineteenth century has been described frequently as the “bourgeois era.” 3. For more detailed discussions of the bourgeoisie’s treatment of gender, sexuality, and the body, see Michel Foucault, The History of Sexuality, vol. 1, An Introduction, trans. Robert Hurley (New York: Vintage Books, 1990); Ute Frevert, “Mann und Weib, und Weib und Mann”: Geschlechter-Differenzen in der Moderne (Munich: Beck, 1995); Ute Frevert, ed., Bürgerinnen und Bürger: Geschlechtsverhältnisse im 19. Jahrhundert (Göttingen: Vandenhoeck & Ruprecht, 1988); and Stefan Zweig, Die Welt von Gestern: Erinnerungen eines Europäers, 1944 (Frankfurt: Fischer, 1998). 4. Hélène Cixous offers these and many more examples of the binary oppositions associated with the male-female divide that have influenced Western thought and representation for centuries. See “Sorties,” in New French Feminism: An Anthology, ed. and intro. Elaine Marks and Isabelle de Courtrivon, trans. Ann Liddle (Amherst: University of Massachusetts Press, 1980), 90. 5. Butler, Gender Trouble, 192. 6. Hélène Cixous, “Paintings,” in Poetry in Painting: Writings on Contemporary Arts and Aesthetics, ed. Marta Segarra and Joana Masó, trans. Laurent Milesi (Edinburgh: Edinburgh University Press, 2012), 10–11. 7. Susan Stanford Friedman, “Why Not Compare?” PMLA 126, no. 3 (2011): 759. 8. See ibid., 757. 130 Notes to Pages 9–14 9. Thomas Mann, The Magic Mountain, trans. John E. Woods (New York: Vintage Books, 1996), xi–xii (hereafter cited in text as MM).“In den alten Tagen, der Welt vor dem groβen Kriege, mit dessen Beginn so vieles begann, was zu beginnen wohl kaum schon aufgehört hat.” Thomas Mann, Der Zauberberg, ed. Michael Neumann, vol. 5, bk. 1, Large Annotated Frankfurt Edition (Frankfurt: Fischer, 2002), 9–10 (hereafter cited in text as ZB). Chapter One The chapter epigraph is from Irmgard Keun, The Artificial Silk Girl, trans. Kathie von Ankum, intro. Maria Tatar (New York: Other, 2002), 36. “Ich will so ein Glanz werden, der oben ist.”Irmgard Keun, Das kunstseidene Mädchen, 1932 (Munich: List, 2000), 45. 1. Vicki Baum, Grand Hotel, trans. Basil Creighton (New York: Doubleday Doran, 1931), 76 (hereafter cited in text as GH).“Mitten auf dem Mund hatte sie einen Kreis roter Schminke sitzen, ganz achtlos und nebenbei hingetupft, nur weil es modern war.”Vicki Baum, Menschen im Hotel, 1929 (Gütersloh: Bertelsmann, 1957), 64 (hereafter cited in text as MH). 2. “prachtvoll gewachsen von oben bis unten;” “fest zugezogenen Ledergürtel um die auffallend schmale Mitte” (MH 64). 3. “als ob sie sich köstlich amüsieren wollte” (ibid.). 4. “Ich habe nichts erfunden, nichts komponiert. Es handelt sich nicht mehr darum zu ‘dichten.’ Das wichtigste ist das Beobachtete.” Joseph Roth, Die Flucht ohne Ende: Ein Bericht (Cologne: Kiepenheuer & Witsch, 1994), 7. 5. In 1926 the French artist and poet Jean Cocteau published his influential essay collection Le rappel à l’ordre (A Call to Order), rejecting extreme avantgarde art forms and calling for a return to realist styles. 6. “Form statt Deformation, straffer Bildaufbau, plastisch greifbare Gegenst ändlichkeit, nicht ekstatischen Gefühlsrausch sondern Ration, Organisation der intellektuellen Kräfte . . . Verlangen nach Disziplinierung des Schaffens.” Westheim quoted in Dennis Crockett, German Post-Expressionism: The Art of the Great Disorder, 1918–1924 (University Park: Pennsylvania State University Press, 1999), 170. 7. Around the turn of the century, the founder of the Deutscher Werkbund, Hermann Muthesius, had used the term “Neue Sachlichkeit” to describe functional architecture, and in 1913 the painter Ludwig Meidner had promoted this kind of artistic approach to modern life. However, it was...

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