Introduction

Darnton, Robert

doi:10.9783/9780812203707.ix

Cited by 2 publications

(14 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…West Germany in children's literature with a decided turn toward solidarity within the Soviet Bloc. 37 In terms of the comics produced in the GDR, there is little evidence speaking to a connection to the Bitterfelder Weg. That said, the requirements of Socialist Realism play an important role in the argumentative threads picked up again in later chapters, particularly with regard to Mosaik and the understanding of Hannes Hegen and the Mosaik-Kollektiv's roles as creators employed by Verlag Junge Welt.…”

Section: Atze Education and The Connection Between Comics And Childmentioning

confidence: 99%

“…After June 1961, Hegen was no longer sole creator of Mosaik and instead operated as part of a creative collective, though his name remained on the comics' masthead. Following the transfer of Mosaik from Verlag Neues Leben to Verlag Junge Welt in 1960 during which editorial duties 66 "Die Digedags im Mosaik," DDR-Comics.de, http://ddr-comics.de/digedags.htm (accessed 27 August 2013) and Lettkemann,[37][38][39][40][41][42]. Comics in Germany, broadly speaking, were judged in terms of their educational effects due to the aesthetic nature of the publications.…”

Section: Free-zonementioning

confidence: 99%

“…84 Pfeiffer,20. 85 Gersdorf,[35][36][37][38][39][40][41][42][43][44][45]. For more on comics as indicative of propaganda and specifically their uses during the Cold War in Germany, see Patrick Major, "'Smut and Trash:' Germany's Culture Wars Against Pulp Fiction," in Mass Media, Culture, and Society in Twentieth-Century Germany, ed.…”

Section: Free-zonementioning

confidence: 99%

“…Comics thus did not represent life as it was, but as the child-readers imagined it should be. 37 Prior to the Weltraum-Serie at the end of the 1950s, little was done to educate children in the pages of these comics as they were written off as American "Primitivkultur." Rather, comics in the GDR followed the patterns established by their American counterparts, providing quick entertainment that did little to obviously adhere to the ideological and historical educational principles of socialism.…”

Section: Comics Culture Demonstrations Of State Power and Capturingmentioning

confidence: 99%

“…This public sphere shifted from the private to the public realm with the mobilization of mass society in the late nineteenth and early twentieth century as the divisions between the two were blurred and intertwined with the rise of the modern social welfare state. 37 Typically, the public sphere was considered inconsistent with the lived experience of the GDR as the state did not permit criticisms leveled against society, those in power, or the construction of socialism and its successes or failures more generally. More than this, but as a socialist state, the GDR and the entire Soviet Bloc, for that matter, lacked a bourgeois class and the perceived political structure and freedoms upon which Habermas based his notion of a public sphere as providing a space for, effectively, the formation of rational and critical public opinion.…”

mentioning

confidence: 99%

See 4 more Smart Citations

Comic Books and Culture in the German Democratic Republic, 1955-1990: Between Constructions of Power and Childhood

Eedy¹

View full text Add to dashboard Cite

In 1955, the East German Socialist Unity Party issued the Regulations for the Protection of Youth as a means of controlling publications for children and young people coming across the relatively open German-German border. At the same time, the regime authorized the creation of socialist comics in order to fill the gaps these regulations left in children's entertainment.However, as socialist alternatives to the perceived trash and filth represented by western comics and American influence, these East German comics were employed as extensions of the regime's education system, delivering the state's ideology in its efforts to develop the socialist personality among youth and generate genuine enthusiasm for the construction of state-socialism. Just as these comics organized children's activities and leisure time, they were taken up and read by East German children who made their own meanings of the publications' contents. As much as these comics were meant to fulfill the state's ideological agendas and foster the spirit of socialism within these readers, the children themselves understood comics in terms of the perceived freedoms they allowed. As such, children projected their own desires, interests, and tastes upon these publications. These expectations limited the range of actions available to the regime for drawing these readers into participation with socialism and the SED-state.This dissertation approaches the subject of comics in the German Democratic Republic as constructions of state power and, in keeping with Foucault's governmentality thesis, as levers of power that allowed for the perpetuation of SED control. As children understood comics in ways different from the regime, comics are also examined in terms of Jürgen Habermas' critical public sphere insofar as they provided space for child-readers to make their own sense of the SED-state and the society around them despite these constructions of power. To this end, this dissertation iii examines archival records of the GDR youth groups and issues of Verlag Junge Welt's comics and children's magazines. This study argues that GDR comics were constructions of the regime's power at the same time that they provided fantasies of empowerment, escapism, and constructive of the experience of childhood under socialism. iv

show abstract

Section: Atze Education and The Connection Between Comics And Childmentioning

confidence: 99%

Section: Free-zonementioning

confidence: 99%

Section: Free-zonementioning

confidence: 99%

Section: Comics Culture Demonstrations Of State Power and Capturingmentioning

confidence: 99%

mentioning

confidence: 99%

See 3 more Smart Citations

Comic Books and Culture in the German Democratic Republic, 1955-1990: Between Constructions of Power and Childhood

Eedy¹

View full text Add to dashboard Cite

show abstract

The Donor’s Dilemma: International Aid and Human Rights Violations

Dasandi¹,

Erez

2017

Brit. J. Polit. Sci.

View full text Add to dashboard Cite

Donor governments face a dilemma when providing development aid to states that violate human rights. While aid may contribute to positive development outcomes, it may also contribute to rights violations committed by these regimes. This article provides a conceptual framework for donors to address this dilemma in a normatively justified way. Drawing on recent methodological advancements in normative political theory, it develops a distinctively political framework of dilemmas, suggesting three models: complicity, double effect and dirty hands. It considers this framework in the context of development aid, discussing the relevant considerations for donors in different cases. The article demonstrates that an approach to development assistance that acknowledges political realities does not have to be normatively silent.

show abstract

Introduction

Cited by 2 publications

References 0 publications

Comic Books and Culture in the German Democratic Republic, 1955-1990: Between Constructions of Power and Childhood

Comic Books and Culture in the German Democratic Republic, 1955-1990: Between Constructions of Power and Childhood

The Donor’s Dilemma: International Aid and Human Rights Violations

Contact Info

Product

Resources

About