印刷术与民族主义:纳粹统治下的过去与现代主义

Mila Waldeck
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引用次数: 1

摘要

1941年,纳粹政权废除了用德国尖角字体排版德文文本的长期惯例。本研究考察了纳粹宣传中字母形式所传达的信息的重要性,以及该政权在多大程度上实施了其宣称的印刷政策。考虑到不同的受众和渠道,它将重点放在由海因里希·希姆莱(Heinrich Himmler)控制的ahnenerbeinstitute、女性杂志ens - frauen - warte和newspaperVölkischer Beobachter出版的书籍上。德国尖角字体的风格似乎已经成为血统和土壤意识形态的主要字体形式,但纳粹的另一股字体设计偏离了德国尖角字体,并可能将《奥拉·林达本》和《古抄本》的重要性翻译为所谓的“雅利安”过去的形象。与此同时,纳粹的宣传结合了它从现代主义版式中挪用的形式和规范,这是1946年马克斯·比尔(Max Bill)和简·奇霍尔德(Jan Tschichold)之间的争论中隐含提出的一个话题。印刷术作为排斥、种族歧视和性别刻板印象的工具,并标记了“雅利安”社区的边界,挑战了本尼迪克特·安德森(Benedict Anderson)在《想象的社区》(imagined Communities)中所表达的印刷语言具有内在包容性的概念。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Typography and nationalism: The past and modernism under Nazi rule
In 1941, the Nazi regime revoked the long-established convention of typesetting German texts in Fraktur styles.1This study examines the significance of the messages conveyed by letterforms in Nazi propaganda and the extent to which the regime put into practice its professed typographic policies. Taking into account different audiences and channels, it focuses on books by theAhnenerbeinstitute controlled by Heinrich Himmler, the women’s magazineNS-Frauen-Warteand the newspaperVölkischer Beobachter.Fraktur styles seem to have functioned as the main letterforms of the blood and soil ideology, but another strand of Nazi typography departed from Fraktur and probably translated the importance of theOera Lindabook and theCodex Aesinasin the image of a supposedly ‘Aryan’ past. Meanwhile, the Nazi propaganda incorporated forms and norms that it appropriated from modernist typography, a topic implicitly raised in the dispute between Max Bill and Jan Tschichold in 1946. Typography functioned as an instrument for exclusion, racial discrimination and gender stereotyping and to mark the boundaries of the ‘Aryan’ community, challenging the notion of print-language as intrinsically inclusive expressed in Benedict Anderson’sImagined Communities.
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