Klaus Theweleit – författare

Theweleit's project in Male Fantasies is to discover the emotional core of fascism as it was revealed in the novels and memoirs of the Freikorps, mercenary bands that fought Germany's border disputes and put down worker revolts in the aftermath of World War I. His excavation of Freikorps literary remains (and the writings of some of their protofascist contemporaries) enabled Theweleit to reconstruct the mythical content of the fascist imagination. An integral part of Male Fantasies is Theweleit's choice of illustrations--cartoons, advertisements, engravings, posters--that serve as an ironic commentary on the text and extend its meaning in time and space.In this second volume of the two-volume work Theweleit discovers how the repudiation of one's own body--and of femininity--became a psychic compulsion associating masculinity with hardness, self-denial, and destruction. We are shown how the body becomes a mechanism for eluding the dreaded liquid--the "Red Flood," lava, mud--and the "feminine" emotions associated with it. Armored, organized by mental and physical procedures like the military drill, the male body is transformed into a "man of steel." As Theweleit shows, only in war does this body find redemption from constraint.The first volume of Male Fantasies, also available from the University of Minnesota Press, deals primarily with the image of women in the collective unconscious of the fascist warrior that threatens to engulf the male ego.

2 volume set about the fantasies of males. V. 1 includes women, floods, bodies, history. V. 2 includes male bodies, psychoanalyzing the white terror.

This is the second volume of Theweleit's extraordinary study of the fantasies of some of the men centrally involved in the rise of Nazism. The author develops his account by focusing on the representation of masculinity and homosexuality and their relation to the preparations for and conduct of war. He offers a psychoanalytic interpretation of the role of warfare as a search for sensation without desire or pleasure, leading to an image of the body which emphasizes hardness, self-discipline and, ultimately, violence. This is much more than a book about culture of warfare: it is about sexuality and power, about gender, representation and violence. It is a document of our times which will be of interest to anyone concerned with modern history, contemporary politics and social, political and literary theory.

Whom do we choose when we fall in love? How do we make the love-object into what we want? These are questions which only became important at the end of the nineteenth century, as Freud began to formulate a new discipline which would be called psycholanalysis. Freud argues Klaus Theweleit, was the first theoretician of the new situation: boy versus girl in the world series of love.Theweleit looks at a number of relationships: Alfred Hitchcock and Alma Reville; the triangle of Hannah Arendt, Martin Heidegger and Elfriede Heidegger; Jung and Sabina Spierlrein. But the key figure is Freud himself. Who would, who could Freud choose? As it happened, Freud proposed to Martha Bernays. The 1,500 letters of Freud's courtship became something like the first psychoanalysis; without knowing it, Martha Bernays became an analytic-instance.But Object-Choice is not only a study of the founder of psychoanalysis, it is also an illuminating lexicon of love in the twentieth century. Freud is accompanied here by Jimi Hendrix, the Kinks and the Velvet Underground. Like Theweleits's Male Fantasies, this is a collage book, mixing auto-biography, theory and pop culture, and always haunted by history, above all the history of Nazism.As an epilogue, Theweleit brings Freud back to the scene of his courtship, and the Beatles back to Hamburg, in an exploration of that city's Wandsbek district, once home to an important Jewish community. His comments on the transformations and destruction that Wandsbek has endured form an elegiac tribute to German Jewry, and a powerful conclusion to this remarkable book.