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.The key determiner of guilt is thenthe strength of character, which proves itself through its resistance toanything that seeks to turn the character away from form and direc-tion.This strength of character becomes the final value, and the maindanger is that, tempted and disturbed by the tragic structure of life thatnever allows full satisfaction, the character of man weakens.Within thisethic, there is no specific set of values that are to be defended.Rather,in the struggle to maintain an idealistic fervour, strength of characteritself becomes the content of the task set by God for humans.61 Valuesare reduced to strength of character itself, making the affirmation ofthe individual self into the sole ultimate value.To sum up, Korff argues that if one believes in self-fulfilment as thenatural and longed-for meaning of life, one must also accept the higherright of all that is necessary to achieve this self-fulfilment.As Korffremarks, everything in the realm of nature has its price.62 In this context,sacrifice refers to the violence done to others in the course of the sub-ject s striving for self-fulfilment, and the measure of greatness is theability to accept violence as a condition of this self-fulfilment.Thisethic clearly differentiates between those self-centred individuals suchas Faust, whose individual goals are to be realized, and those victimssuch as Gretchen, whose lives are to be regrettably but necessarily sacri-ficed for the benefit of the Faustian individual s striving.Korff s argument is significant here, not just because of its obviousutility in justifying Nazi violence, but also because it develops as theproduct of a humanist perspective.His claim concerning the amoralquality of the drama has been echoed more recently by Jane Brown,63and his perspective does not exhibit any explicitly Nazi-oriented rheto-ric.Rather, his commitment to a humanist perspective suffices to jus-tify the defence of the Faustian perspective that he lays out.Korff shumanist defence of this perspective indicates that the difficulty liesnot in the purported falsifications of Nazi Goethe scholars, but ratherin the problematic ethics of violence and tragedy embedded in Goethe stext.For only the basic form of this text and its structuring of moralpleasure can account not just for the broad popularity of the Nazi-promoting Faust interpretation offered by Schott but also for the domi-nance, first, of similar trends in Faust scholarship in the Nazi period 102 David Panthat, though diverging from Schott s model, were equally sympatheticto Fascist ideals but couched in a more sophisticated language ,64 and,second, a tradition of Goethe scholarship dating back at least to 1870which Schott and others like him could draw on to substantiate theirarguments.Play and tragedyKorff s work provides the most cogent example of how Goethe shumanism remained compatible with and even provided an impor-tant moral justification for Nazi ideas.Given the way in which thishumanist faith functioned, it did not even matter that Korff s workdoes not take any explicitly political positions.The rejection of politi-cal context itself fits into both the needs of a Nazi reception and theconstant shifting between ironic play and violence within Faust.Here,even Schwerte s critique of the Faust myth recapitulates the tendencyof the play s developmental ethic to shift back and forth between anindividualist-escapist and a nationalist-ideological one.Schwerte s pri-mary argument in favour of the benign character of Goethe s text isto blame the Nazi reception on the ideologization of poetic concepts,while the antidote to this ideological appropriation is to hold thepoetic word within its formal borders.65 By imagining an enclosure ofthe work of art within a poetological space without social and politicalconsequences, Schwerte repeats a mistake that can be also be attrib-uted to the Bildungsbürgertum attitude of directors and managers suchas Hilpert and Gründgens, but not to Goethe or Goebbels.Neither ofthe latter, in their respective stagings of escapes into a Walpurgis Nightof theatrical illusion, ever imagined that the illusion would perma-nently prevent an awakening or a reckoning.Though the diversionis useful for allowing the spirit to rest and gather strength, the finalmoral and ideological conflict is still the main event, and the diver-sion only serves to make the necessary violence more palatable.Fromthis perspective, the insistence on the poetological purity of the textbecomes an escapist ruse that ultimately serves the very ideologicalends that are being downplayed.And, in fact, the case of Hans Schwerte is the best example for thetendency of the Bildungsbürgertum attitude to shift into the NationalSocialist one and back again in a kind of Dr Jekyll and Mr Hyde man-ner.For, as has become well known, Schwerte s career as a demaskerof Faustian ideology only began after he secretly gave up a career asHans Schneider, the Nazi SS officer working within Heinrich Himmler s The Structure of Aesthetic Pleasure 103research project on German ancestral heritage (Deutsches Ahnenerbe).66While, as Claus Leggewie has argued,67 there is no reason to doubt theauthenticity of his conversion from Nazi to Bildungsbürger in his Faustbook, there is reason to question the meaning of this conversion andthe extent to which it represented a real rupture rather than an under-lying continuity.For the Nazi ideological project that promoted anethic of individual striving that culminates in a people s freedom andthat trumps all other morals not only co-existed with but was activelylinked to a vision of art that could divert attention from the violenceengendered by the ideology.The structure of aesthetic pleasure in the Nazi period included both aserious acceptance of violence as the price for progress and an entertain-ment that diverted attention from the real price that was being paid [ Pobierz caÅ‚ość w formacie PDF ]
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.The key determiner of guilt is thenthe strength of character, which proves itself through its resistance toanything that seeks to turn the character away from form and direc-tion.This strength of character becomes the final value, and the maindanger is that, tempted and disturbed by the tragic structure of life thatnever allows full satisfaction, the character of man weakens.Within thisethic, there is no specific set of values that are to be defended.Rather,in the struggle to maintain an idealistic fervour, strength of characteritself becomes the content of the task set by God for humans.61 Valuesare reduced to strength of character itself, making the affirmation ofthe individual self into the sole ultimate value.To sum up, Korff argues that if one believes in self-fulfilment as thenatural and longed-for meaning of life, one must also accept the higherright of all that is necessary to achieve this self-fulfilment.As Korffremarks, everything in the realm of nature has its price.62 In this context,sacrifice refers to the violence done to others in the course of the sub-ject s striving for self-fulfilment, and the measure of greatness is theability to accept violence as a condition of this self-fulfilment.Thisethic clearly differentiates between those self-centred individuals suchas Faust, whose individual goals are to be realized, and those victimssuch as Gretchen, whose lives are to be regrettably but necessarily sacri-ficed for the benefit of the Faustian individual s striving.Korff s argument is significant here, not just because of its obviousutility in justifying Nazi violence, but also because it develops as theproduct of a humanist perspective.His claim concerning the amoralquality of the drama has been echoed more recently by Jane Brown,63and his perspective does not exhibit any explicitly Nazi-oriented rheto-ric.Rather, his commitment to a humanist perspective suffices to jus-tify the defence of the Faustian perspective that he lays out.Korff shumanist defence of this perspective indicates that the difficulty liesnot in the purported falsifications of Nazi Goethe scholars, but ratherin the problematic ethics of violence and tragedy embedded in Goethe stext.For only the basic form of this text and its structuring of moralpleasure can account not just for the broad popularity of the Nazi-promoting Faust interpretation offered by Schott but also for the domi-nance, first, of similar trends in Faust scholarship in the Nazi period 102 David Panthat, though diverging from Schott s model, were equally sympatheticto Fascist ideals but couched in a more sophisticated language ,64 and,second, a tradition of Goethe scholarship dating back at least to 1870which Schott and others like him could draw on to substantiate theirarguments.Play and tragedyKorff s work provides the most cogent example of how Goethe shumanism remained compatible with and even provided an impor-tant moral justification for Nazi ideas.Given the way in which thishumanist faith functioned, it did not even matter that Korff s workdoes not take any explicitly political positions.The rejection of politi-cal context itself fits into both the needs of a Nazi reception and theconstant shifting between ironic play and violence within Faust.Here,even Schwerte s critique of the Faust myth recapitulates the tendencyof the play s developmental ethic to shift back and forth between anindividualist-escapist and a nationalist-ideological one.Schwerte s pri-mary argument in favour of the benign character of Goethe s text isto blame the Nazi reception on the ideologization of poetic concepts,while the antidote to this ideological appropriation is to hold thepoetic word within its formal borders.65 By imagining an enclosure ofthe work of art within a poetological space without social and politicalconsequences, Schwerte repeats a mistake that can be also be attrib-uted to the Bildungsbürgertum attitude of directors and managers suchas Hilpert and Gründgens, but not to Goethe or Goebbels.Neither ofthe latter, in their respective stagings of escapes into a Walpurgis Nightof theatrical illusion, ever imagined that the illusion would perma-nently prevent an awakening or a reckoning.Though the diversionis useful for allowing the spirit to rest and gather strength, the finalmoral and ideological conflict is still the main event, and the diver-sion only serves to make the necessary violence more palatable.Fromthis perspective, the insistence on the poetological purity of the textbecomes an escapist ruse that ultimately serves the very ideologicalends that are being downplayed.And, in fact, the case of Hans Schwerte is the best example for thetendency of the Bildungsbürgertum attitude to shift into the NationalSocialist one and back again in a kind of Dr Jekyll and Mr Hyde man-ner.For, as has become well known, Schwerte s career as a demaskerof Faustian ideology only began after he secretly gave up a career asHans Schneider, the Nazi SS officer working within Heinrich Himmler s The Structure of Aesthetic Pleasure 103research project on German ancestral heritage (Deutsches Ahnenerbe).66While, as Claus Leggewie has argued,67 there is no reason to doubt theauthenticity of his conversion from Nazi to Bildungsbürger in his Faustbook, there is reason to question the meaning of this conversion andthe extent to which it represented a real rupture rather than an under-lying continuity.For the Nazi ideological project that promoted anethic of individual striving that culminates in a people s freedom andthat trumps all other morals not only co-existed with but was activelylinked to a vision of art that could divert attention from the violenceengendered by the ideology.The structure of aesthetic pleasure in the Nazi period included both aserious acceptance of violence as the price for progress and an entertain-ment that diverted attention from the real price that was being paid [ Pobierz caÅ‚ość w formacie PDF ]