The German Genius

London: University of Minnesota Press, 2006), pp. 26ff.
6. Lutz Schöbe and Wolfgang Thöner, Stiftung Bauhaus Dessau: Die Sammlung (Ostfildern-Ruit: Hatje, 1995), pp. 29f.
7. Ibid., pp. 32–33.
8. Lee Congden, Exile and Social Thought: Hungarian Exiles in Germany and Austria, 1919–1933 (Princeton, N.J.: Princeton University Press, 1991), p. 181.
9. Dick Geary, Karl Krautsky (Manchester: Manchester University Press, 1987), p. 58.
10. Rolf Wiggershaus, Die Frankfurter Schule: Geschichte, theoretische Entwicklung, politische Bedeutung (Munich: Hanser, 1986), pp. 36ff.
11. Wiggershaus, Die Frankfurter Schule , contains portraits of the main characters between pp. 55 and 123.
12. Robert E. Norton, Secret Germany: Stefan George and His Circle (Ithaca, N.Y., and London: Cornell University Press, 2002), p. 688. See also Thomas Karlauf, Stefan George: die Entdeckung des Charisma; Biographie (Munich: Karl Blessing, 2007).
13. Judith Ryan, Rilke, Modernism and Poetic Tradition (Cambridge: Cambridge University Press, 1999), p. 111.
14. For Rilke’s debt to Freud, see Adrian Stevens and Fred Wagner, eds., Rilke und die Moderne: Londoner Symposion (Munich: Iudicium, 2000), pp. 49ff.
15. Joseph Mileck, Hermann Hesse: Biography and Bibliography (Berkeley and London: University of California Press, 1977), vol. 1, p. 4.
16. Karl Corino, Robert Musil: Eine Biographie (Reinbeck bei Hamburg: Rowohlt, 2003), pp. 993ff. See David S. Luft, Eros and Inwardness in Vienna: Weininger, Musil, Doderer (Chicago and London: University of Chicago Press, 2003), pp. 115–125 for general background.
17. For the links between Kafka and Musil, see Reiner Stach, Kafka: The Decisive Years , trans. Shelley Frisch (New York: Harcourt, 2005), pp. 401–412.
18. Wolfgang Jeske, Lion Feuchtwanger, oder, Der arge Weg der Erkenntnis: Eine Biographie (Stuttgart: Metzler, 1984), pp. 238ff.
19. Christine Barker and R. W. Last, Erich Maria Remarque (London: Oswald Wolff, 1979), p. 13.
20. Hilton Tims, Erich Maria Remarque: The Last Romantic (London: Constable, 2003), p. 53.
21. Barker and Last, Erich Maria Remarque , p. 60.
22. John Willett, The New Sobriety: 1917–1933; Art and Politics in the Weimar Period (London: Thames & Hudson, 1978), p. 193.
23. Barker and Last, Erich Maria Remarque , pp. 151–152. James, Cultural Amnesia , pp. 55 and 400.
24. Andreas Jacob, Grundbegriffe der Musiktheorie Arnold Schönbergs (Hildesheim: Olms, 2005), vol. 1, p. 374. For Kessler, see Harry Kessler, Berlin in Lights: The Diaries of Harry Kessler (New York: Grove, 2000).
25. Freundlich, Before the Deluge , p. 180.
26. Ross, The Rest Is Noise , pp. 206–207.
27. John Jarman, The Music of Alban Berg (London and Boston: Faber, 1979), pp. 15ff. and 80ff. See Kathryn Bailey, The Life of Webern (Cambridge: Cambridge University Press, 1998), pp. 116ff., for more details about the musical culture of the time in Germany.
28. Ross, The Rest Is Noise, p. 207.
29. For other American influences at that time, see Elizabeth Harvey, “Culture and Society in Weimar Gremany: The Impact of Modernism and Mass Culture,” in Mary Fulbrook, ed., Twentieth-Century Germany: Politics, Culture and Society 1918–1990 (London: Arnold, 2001), p. 62.
30. Hans Mayer, Brecht (Frankfurt am Main: Suhrkamp, 1996), pp. 323ff.
31. Walter Lacquer, Weimar, A Cultural History, 1918–1933 (London: Weidenfeld & Nicolson, 1974), p. 153.
32. John Fuegi, Brecht & Co.: Biographie (Hamburg: Europäische Verlagsanstalt, 1997), pp. 271ff.
33. Ross, The Rest Is Noise , p. 192.
34. Foster Hirsch, Kurt Weill on Stage: From Berlin to Broadway (New York: Knopf, 2002), p. 12. See also Jürgen Schebera, Kurt Weill 1900–1950: Eine Biographie in Texten, Bildern und Dokumenten (Mainz: Schott, 1990), pp. 77ff.
35. Keith Bullivant, ed., Culture and Society in the Weimar Republic (Manchester: Manchester University Press, 1997), pp. 50ff., for the differences between Brecht and Alfred Döblin in Berlin Alexanderplatz.
36. See Thomas J. Saunders, Hollywood in Berlin: American Cinema and Weimar Germany (Berkeley and London: University of California Press, 1994), where the author argues that, in the 1920s, Germany was poised to overtake America in film production.
37. Dietrich Scheunemann, ed., Expressionist Film: New Perspectives (Rochester, N.Y.: Camden House, 2003), p. 25.
38. Ibid., p. 38.
39. Harvey, “Culture and Society,” pp. 68ff.
40. Patrick McGilligan, Fritz Lang: The Nature of the Beast (London: Faber, 1997), p.