Banned in Berlin. Gary D. Stark

      2008052671

       British Library Cataloguing in Publication Data

      A catalogue record for this book is available from the British Library

      ISBN 978-1-84545-570-5 (hardback)

      ISBN 978-0-85745-311-2 (paperback)

      ISBN 978-1-84545-903-1 (ebook)

      For Kathleen and Karl

       CONTENTS

       List of Tables

       List of Figures

       Acknowledgements

       List of Abbreviations

       Introduction Censorship, Society, and Literary Life in Imperial Germany

       Chapter 1 The Law

       Chapter 2 The Censors

       Chapter 3 Defending the Political Order

       Chapter 4 Defending the Social Order

       Chapter 5 Defending the Religious Order

       Chapter 6 Defending the Moral Order

       Chapter 7 The Censored: Authors' Responses to Censorship

       Conclusion Imperial Censorship: An Appraisal

       Archives

       Works Cited

       Index of Censored Authors, Titles, Periodicals, and Publishing Firms

       General Index

       TABLES

       Table 2.1 Dramas Submitted and Banned in Berlin, 1876–1880

       Table 2.2 Dramas Submitted and Banned in Berlin, 1891–1900

       Table 2.3 New Dramas Banned in Berlin, 1900–1917

       Table 2.4 Dramas Banned or Withdrawn in Berlin, 1901–1903

       Table 2.5 Dramas Submitted and Banned in Frankfurt, 1909–1914

       Table 2.6 Dramas Banned in Munich, 1908–1918

       Table 2.7 Dramas Considered, Allowed (Licensed), and Banned (Refused) by the English Lord Chamberlain, 1871–1912

       Table 2.8 The Work of the Munich Censorship Advisory Board (Zensurbeirai)

       FIGURES

       Figure 2.1 Freie Bühne (Kladderadatsch, April 1890)

       Figure 3.1 Prosecutions for lèse majesté in Germany, 1882-1918

       Figure 5.1 Prosecutions for Blasphemy in Germany, 1882-1918

       Figure 5.2 The Anti-Revolution Bill (Kladderadatsch, December 1894)

       Figure 6.1 Prosecutions for Obscenity in Germany, 1890-1918

       Figure 6.2 Sodoms Ende (Kladderadatsch, October 1890)

       Figure C.1 “This is how I'll draw my next picture” (Simplicissimus, 1898)

       Figure C.2 Traum des Majestätsbeleidigers

       ACKNOWLEDGEMENTS

      When I began work on this topic toward the end of the last century, before periodically wandering off down twisting pathways of academic administration, I never imagined it would take so long to complete. It has been a labor of love, but a protracted one. Were it not for the patience (and impatience), prodding, suggestions, inspiration, and support of friends, colleagues, and family, I would be laboring still.

      In Germany, Rainer and Rita Jagmann, Robert Brokopp, and Gaby Moll were always welcoming and generous hosts willing to listen tolerantly to tales from the archives. Though they may no longer remember it, at the University of Texas at Arlington my colleagues Don Kyle, Evan Anders, Robert Fairbanks, and Tom Porter read early drafts or encouraged me onward, while the university supported my initial research with grants and summer stipends from the Organized Research Fund. A German Academic Exchange Service Study Visit Grant and National Endowment for the Humanities Summer Stipend made possible additional visits to archives and libraries, while a National Endowment for the Humanities Fellowship in 1985-1986 underwrote a year of research, reflection, and writing. I was able to complete a major part of the manuscript during a glorious semester as a Visiting Fellow at the Institute for Advanced Study, where I benefited from Peter Paret's generous advice and encouragement and from the assistance of the library staff. A sabbatical and travel grants from Grand Valley State University have provided me the time necessary to complete the manuscript. My colleague Jason Crouthamel and the Faculty Writing Group read various chapters and offered valuable suggestions for improving and clarifying them, while the members of the colloquia of the History Department and the College of Liberal Arts & Sciences listened patiently and asked useful questions as I honed my arguments. Elaine Eldridge helped me wrestle some of the more lengthy segments into a more manageable, and readable, form.

      Throughout my career Vernon Lidtke has been a most supportive and inspiring mentor. For many years Robert J. Goldstein, Peter Jelavich, Andrew Lees, Charles E. McClelland, and especially Leslie Moch have also followed this project with interest, heartened me when I needed it, read drafts of various chapters, and offered perceptive critiques.

      My deepest debt, however, is to my wife Kathleen Underwood and son Karl Underwood Stark, who have lived with this topic nearly as long as I and are as happy as I am to see it completed. Their patience, support, and presence made that possible.