Book contents
- Frontmatter
- Contents
- Acknowledgements
- Introduction
- Berlin
- Political Formations
- “Glücklose Engel”: Fictions of German History and the End of the German Democratic Republic
- Successful Failure? The Impact of the German Student Movement on the Federal Republic of Germany
- The PDS: “CSU des Ostens”? — Heimat and the Left
- “An Helligkeit ragt in Europa vor allem mei' Sachsenland vor”: Prime Minister Biedenkopf and the Myth of Saxon Identity
- Unifying a Gendered State: Women in Post-1989 Germany
- Difference
- Notes on the Contributors
- Index
“Glücklose Engel”: Fictions of German History and the End of the German Democratic Republic
from Political Formations
Published online by Cambridge University Press: 05 February 2013
- Frontmatter
- Contents
- Acknowledgements
- Introduction
- Berlin
- Political Formations
- “Glücklose Engel”: Fictions of German History and the End of the German Democratic Republic
- Successful Failure? The Impact of the German Student Movement on the Federal Republic of Germany
- The PDS: “CSU des Ostens”? — Heimat and the Left
- “An Helligkeit ragt in Europa vor allem mei' Sachsenland vor”: Prime Minister Biedenkopf and the Myth of Saxon Identity
- Unifying a Gendered State: Women in Post-1989 Germany
- Difference
- Notes on the Contributors
- Index
Summary
“Who knows what an angel would be doing in a century like this one”
— Patrick McGrathI shall start with a quotation from Wolf Biermann's “Barlach-Lied”:
Was soll aus uns noch werden
Und droht so große Not
Vom Himmel auf die Erden
Falln sich die Engel tot.
Biermann's 1965 song, warning of imminent threat, diagnoses the darkening times by referring to a fall of angels. They fall dead from the heavens like insects or birds in a hostile climate. And similar, if less poetic, obituaries have been issued by a number of commentators in different fields. Gerhard Bott, former Director of the Walraff-Richartz-Museum in Cologne, in an examination of the angel in Western art, speaks of a “Verfall der Engel”: a fall certainly; but he is also pointing to the degeneration of the image. Modern angels have been debased as the result of a long process of vulgarised aesthetic humanisation, socialisation and sexualisation, which began perhaps with the painters of the Italian Renaissance. Paradoxically, as angels became less substantial in eyes of theologians, they became more so in eyes of artists and writers, with the result that in representations they began to obey the laws of nature and science. That process has continued, with every age more or less producing the angels it needs. And, as that has happened, the figure of the angel has fallen to earth — becoming more and more a reflection of the time it represents, and less a reflection of an immutable and divinely sponsored universe.
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- Recasting German IdentityCulture, Politics, and Literature in the Berlin Republic, pp. 87 - 104Publisher: Boydell & BrewerPrint publication year: 2002