“The whole motif of liberation, which has become so central to our century – be it the emancipation of women, homosexuals, proletariat, youth, appetites, peoples – comes into view at the turn of the century. The term avant-garde has usually been applied simply to artists and writers who promoted experimental techniques in their work and urged rebellion against established academies. The notion of modernism has been used to subsume both this avant-garde and the intellectual impulses behind the quest for liberation and the act of rebellion. Very few critics have ventured to extend these notions of the avant-garde and modernism to the social and political as well as artistic agents of revolt and to the act of rebellion in general in order to identify a broad wave of sentiment and endeavour. This book attempts to do so. Culture is regarded as a social phenomenon and modernism as the principle urge of our time. The book argues in the process that Germany has been the modernist nation par excellence of our century. Like the avant-garde in the arts, Germany was swept by a reformist zeal at the fin-de-siècle and by 1914 she had come to represent both to herself and to the international community the idea of spirit at war. After the trauma of military defeat in 1918, the radicalism of Germany, rather than being subdued, was accentuated. The Weimar period, 1918 to 1933, and the Third Reich, 1933 to 1945, were stages in a process. Avant-garde has for us a positive ring, storm troops a frightening connotation. This book suggests that there may be a sibling relationship between these two terms that extends beyond their military origins. Introspection, primitivism, abstraction, and mythmaking in the arts, and introspection, primitivism, abstraction, and mythmaking in politics, may be related manifestations. Nazi kitsch may bear a blood relationship to the highbrow religion of art proclaimed by many moderns. Our century is one in which life and art have blended, in which existence has become aestheticized. History, as one theme of this study will try to show, has surrendered much of its former authority to fiction. In our postmodern age a compromised may, however, be possible and necessary. In search of this compromise our historical account proceeds in the form of a drama, with acts and scenes, in the full and diverse sense of those words. In the beginning was the event. Only later came consequences.”
End of Author’s “Preface” in Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era.