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i

Antifascist Humanism and the Politics

of Cultural Renewal in Germany

Antifascism is usually described as either a political ideology of activists

and intellectuals confronting the dictatorships of Hitler and Mussolini,
or as a cynical tool that justified the Stalinist expansion of commu-
nism in Europe. Andreas Agocs widens our understanding of antifas-
cism by placing it in the context of twentieth-​century movements of
“cultural renewal.” He explores the concept of “antifascist humanism,”
the attempt by communist and liberal intellectuals and artists to heal
the divisions of Nazism by reviving the “other Germany” of classical
Weimar. This project took intellectual shape in German exile commu-
nities in Europe and Latin America during World War II and found its
institutional embodiment in the Cultural League for the Democratic
Renewal of Germany in Soviet-​occupied Berlin in 1945. During the
emerging Cold War, antifascist humanism’s uneasy blend of twentieth-​
century mass politics and cultural nationalism became the focal point of
new divisions in occupied Germany and the early German Democratic
Republic. This study traces German traditions of cultural renewal from
their beginnings in antifascist activism to their failure in the budding
Cold War.

Andreas Agocs is currently Visiting Assistant Professor at the University

of the Pacific, California, where he teaches European and world history.
His research area is the cultural and political history of Germany and
Central Europe during the nineteenth and twentieth centuries.
ii
iii

Antifascist Humanism
and the Politics of Cultural
Renewal in Germany

Andreas Agocs
University of the Pacific, California
iv

University Printing House, Cambridge CB2 8BS, United Kingdom

One Liberty Plaza, 20th Floor, New York, NY 10006, USA
477 Williamstown Road, Port Melbourne, VIC 3207, Australia
4843/​24, 2nd Floor, Ansari Road, Daryaganj, Delhi –​110002, India
79 Anson Road, #06-​04/​06, Singapore 079906

Cambridge University Press is part of the University of Cambridge.

It furthers the University’s mission by disseminating knowledge in the pursuit of
education, learning, and research at the highest international levels of excellence.

www.cambridge.org
Information on this title: www.cambridge.org/​9781107085435
DOI: 10.1017/​9781316084106
© Andreas Agocs 2017
This publication is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of Cambridge University Press.
First published 2017
Printed in the United States of America by Sheridan Books, Inc.
A catalogue record for this publication is available from the British Library.
Library of Congress Cataloging-​in-​Publication Data
Names: Agocs, Andreas, author.
Title: Antifascist humanism and the politics of cultural renewal in Germany /
Andreas Agocs (University of the Pacific, California).
Description: Cambridge, United Kingdom; New York, NY: Cambridge
University Press, 2017. | Includes bibliographical references and index.
Identifiers: LCCN 2017003652 | ISBN 9781107085435 (hardback)
Subjects: LCSH: Anti-fascist movements – Germany – History – 20th century. |
Humanism – Political aspects – Germany – History – 20th century. |
Exiles – Political activity – Europe – History – 20th century. | Exiles –
Political activity – Latin America – History – 20th century. | Kulturbund zur
Demokratischen Erneuerung Deutschlands – History. | Nationalism –
Germany – History – 20th century. | Germany – Politics and government –
1933–1945. | Germany – Politics and government – 1945–1990. | Germany –
Cultural policy. | Germany – Intellectual life – 20th century. |
BISAC: HISTORY / Europe / General.
Classification: LCC DD256.7.A35 2017 | DDC 943.087–dc23
LC record available at https://lccn.loc.gov/2017003652
ISBN 978-​1-​107-​08543-​5 Hardback
Cambridge University Press has no responsibility for the persistence or
accuracy of URLs for external or third-​party Internet Web sites referred to in
this publication and does not guarantee that any content on such Web sites is,
or will remain, accurate or appropriate.
v

Contents

List of Figures page vii

Acknowledgments ix
List of Abbreviations xi

Introduction: Antifascist Humanism and the Dual

Legacies of Weimar 1

Part I Defending the “Other Germany”

1 The “Humanist Front”: Antifascism and Culture
Wars, 1934–​1939 23
2 “Otra Alemanias”: Antifascist Humanism
in the Diaspora, 1939–​1944 37
3 The “Other Germany” from Below: Antifascist
Committees and National Renewal in 1945 54

Part II Contesting “Other Germanies”

4 Antifascism as Renewal and Restoration: The Cultural
League for the Democratic Renewal of Germany,
1945–​1946 71
5 Humanism with a Socialist Face: Sovietization and
“Ideological Coordination” of the Kulturbund,
1946–​1947 107
6 The Limits of Humanism: Cultural Renewal
and the Outbreak of the Cold War, 1947–​1948 129

v
vi

vi Contents

7 Mass Organization and Memory: Antifascist

Humanism in Divided Germany, 1948 and Beyond 156
Conclusion: From the Saar to Salamis 178

Bibliography 187
Index 201
vii

Figures

1 Portrait of writer and KPD activist Alexander Abusch

(1902–​1982) in the 1950s page 34
2 Anna Seghers (1900–​1983) giving a speech after her
return from Mexican exile, 1947 48
3 Expressionist poet Johannes R. Becher (1891–​1958)
in the 1920s 90
4 Kulturbund Poster, Oktober 1945 102
5 Vice Mayor of Berlin Ferdinand Friedensburg addresses
the delegates at the First Federal Congress of the
Kulturbund Berlin, May 20, 1947 113
6 Participants at the First German Writers’ Congress
approach the Kammerspiele building, Berlin,
October 1947 138
7 Ricarda Huch (1864–​1947) giving the opening speech
at the First German Writers’ Congress, Berlin,
October 1947 142
8 Writer and resistance activist Günther Weisenborn
(1902–​1969) in 1947 166
9 Portrait of writer and philosopher Wolfgang Harich
(1923–​1995) in 1947 171

vii
viii
ix

Acknowledgments

This project began as an attempt to link the histories of the postwar

period and of pre–World War II dynamics of fascism and of battles over
culture, and I’m grateful for a lot of help and assistance I’ve received in
my research and writing. This book was conceived and took shape under
the direction of Bill Hagen, whose intellectual influence did not only
guide this project, but was formative for my approach to history and to
my self-understanding as a historian. My doctoral committee advisors,
David Beale, Edward Ross Dickinson, and John Hall, provided exper-
tise, guidance, and much-needed encouragement throughout the writing
process. Many ideas in this book reflect the influences over my years in
Davis of the late Dan Brower, Norma Landau, Ted Margadant, Mike
Saler, and Clarence E. Walker. Financial support for research and archi-
val travel came from the Smith-Reed Foundation at UC Davis and from
UC Berkeley’s Institute of European Studies. I’d also like to acknowledge
the helpful and well-organized archivists at the SAPMO-Bundesarchiv
in Berlin-Lichterfelde, the Akademie der Künste in Berlin, the Institut
für Zeitungsforschung in Dortmund, and the Hoover Institution’s Visual
Collections in Stanford, California.
Many of this book’s pages were drafted in an office at UC Davis’s
Hemispheric Institute, and I want to thank Christina Siracusa for provid-
ing a clean, well-lighted place. Paul Schliwa needs to be acknowledged
for reading the manuscript during long nights in Sweden. A number of
friends and fellow scholars have expressed interest in or shared com-
ments on aspects of this work, among them Lori Clune, Jason Dawsey,
Mel Draper, Maria Duarte, Frieder Günther, Barbara Kaszowska,
Terry Renaud, Andrea Scionti, Guenther Roth, and Bob Sharlet.
The International Conference on New Narratives of the Cold War in
Lausanne, organized and hosted by Agnieszka Soltysik Monnet, yielded
many inspirational discussions that went into this book. I’d also like to
thank Gesine Gerhard, who read and gave helpful comments on portions
of my draft, as well as Greg Rohlf and my colleagues at the University
of the Pacific’s history department, who have been providing a collegial
ix
x

x Acknowledgments

scholarly and teaching environment during my extended visit over the

past years. I owe special thanks to Andrew Port, whose careful reading
of the whole manuscript, insightful suggestions for improvements, and
overall support made this a much better book.
At Cambridge University Press, I thank the two anonymous readers
for their helpful comments, and Lew Bateman, who first saw potential
in my manuscript. Michael Watson guided the project through its final
phases with astute editorial suggestions and decisions, and Fiona Allison
and Claire Sissen provided efficient and patient help with many issues.
At Newgen I’d like to acknowledge Ami Naramor, who was a perceptive
and competent copy editor, and the project management of Kanimozhi
Ramamurthy and the late Siva Prakash Chandrasekaran, who will be
remembered for his kind professionalism.
Finally, I’m grateful to my mother and brothers in Germany, who dur-
ing all too short and rare visits had to see me disappear in archives and
libraries and still supported me as much as they could. Sometimes lists
like this don’t do justice to the people who matter most to us. My wife,
Victoria, has been by my side with love and support throughout the time
it took to write this book. For this and the many more years we’ve shared
together, I’d like to express my most loving acknowledgements and
gratefulness. This book is dedicated to her and to our children, Sophie
and Noah, who have been growing faster and more gracefully than this
project. Although I’m sure that during these years they’ve had more cap-
tivating readings than this book, their unconditional love and patience
were essential ingredients in writing it.
xi

Abbreviations

ACC Allied Control Council

AdK Berlin Akademie der Künste Berlin
Afa Antifaschistisches Aktionskomitee
antifa Antifascist Committee
BFD Bewegung Freies Deutschland
CDU Christlich-​Demokratische Union (Christian
Democratic Union)
Cominform Communist Information Bureau
Comintern Communist International
DSV Deutscher Schriftstellerverband
DVV Deutsche Verwaltung für Volksbildung
FDKB Freier Deutscher Kulturbund in Großbritannien
(Free German Cultural League in Great
Britain)
FRG Federal Republic of Germany
GDR German Democratic Republic
Gestapo Geheime Staatspolizei (Secret State Police)
KGF Kampfgemeinschaft gegen den Faschismus
KPD Kommunistische Partei Deutschlands
(Communist Party of Germany)
Kulturbund Kulturbund zur demokratischen Erneuerung
Deutschlands (Cultural League for the
Democratic Renewal of Germany)
NKFD Nationalkomitee Freies Deutschland (National
Committee Free Germany)
NSDAP National Socialist German Workers’ Party
Pg Party member of the NSDAP
SAPMO -​Barch Stiftung Archiv der Parteien und
Massenorganisationen der DDR im
Bundesarchiv
SBZ Sowjetische Besatzungszone (Soviet
Occupation Zone)

xi
xii
newgenprepdf

xii Abbreviations

SDA Schutzverband deutscher Autoren (Association for

the Protection of German Authors)
SDS Schutzverband deutscher Schriftsteller
(Association for the Protection of German
Writers)
SED Sozialistische Einheitspartei Deutschlands
(Socialist Unity Party of Germany)
SMAD Sowjetische Militäradministration Deutschlands
(Soviet Military Administration in Germany)
SoPaDe Sozialdemokratische Partei im Exil
(Social Democratic Party in Exile)
SPD Sozialdemokratische Partei Deutschlands
(German Social Democratic Party)
1

Introduction: Antifascist Humanism

and the Dual Legacies of Weimar

In July 1945, Berlin was in ruins. Only weeks earlier, the capital of the
former Reich had experienced the traumatic violence and chaos of
the early days of Russian occupation.1 On Masurenallee, a major thorough-
fare that traverses the affluent middle-​class borough of Charlottenburg,
one block is still taken up by the semicircular broadcast center, the Haus
des Rundfunks. Built in 1931, the unadorned, functional design of the
structure reflects the Neue Sachlichkeit (New Objectivity) style of the
Weimar period’s Bauhaus modernism. The center’s left-​leaning archi-
tect, Hans Poelzig, lost his position after National Socialism came to
power in 1933.2 During the war, the building served as the seat of Joseph
Goebbels’s propaganda radio, the Großdeutsche Rundfunk, yet the com-
pound somehow survived the bombings that laid so much else in the city
to waste. The building’s turbulent and contested history continued into
the early postwar period. Even though Charlottenburg was to become
part of the British sector of divided Berlin in early July 1945, the Soviets
would hold on to and broadcast from the building at Masurenallee
until 1952.3
Like so much in Berlin’s architectural landscape, the Haus des
Rundfunks embodies many of the contradictions, ruptures, and conti-
nuities of German history during the middle decades of the twentieth
century: the close relationship between the arts and politics; the battle
between left-​wing and right-​wing visions of modernity; and the influence
1
For accounts of the year 1945 in Berlin, see Anthony Beevor, The Fall of Berlin 1945
(New York: Viking, 2002); Giles MacDonogh, After the Reich: The Brutal History of the
Allied Occupation (New York: Basic Books, 2007), 95–​124; Richard Bessel, Germany
1945: From War to Peace (New York: Harper Collins, 2009).
2
See Matthias Donath, “Poelzig, Hans,” in Sächsische Biografie, hrsg. vom Institut für
Sächsische Geschichte und Volkskunde e.V., bearb. von Martina Schattkowsky, Online-​
Ausgabe: www.isgv.de/​saebi/​ (3.8.2014), accessed August 2, 2014. For Poelzig’s role in the
Weimar period’s Neues Bauen (New Building) movement, see Sabine Hake, Topographies
of Class: Modern Architecture and Mass Society in Weimar Berlin (Ann Arbor: University of
Michigan Press, 2008).
3
Rundfunk Berlin-​Brandenburg rbb, Haus des Rundfunks, “Hier spricht Berlin,” www.
haus-​des-​rundfunks.de/​, accessed December 27, 2014.

1
2

2 Introduction

of global political power struggles playing out in Germany.4 In July 1945,

most inhabitants of the city probably had the more immediate realities
of a lost war, lack of food and housing, and an uncertain future at the
hands of the Allies on their minds. Yet on July 4, 1945, approximately
1,500 Berliners filled the Große Sendesaal, the main broadcasting room
at Masurenallee, to attend the inauguration of an organization whose
main objective was the resurrection of German culture. The Kulturbund
zur demokratischen Erneuerung Deutschlands (Cultural League for the
Democratic Renewal of Germany) was one of the first organizations that
had been licensed by the Soviet Military Administration in Germany
(SMAD). Its first president was the expressionist poet and Communist
Party of Germany (KPD) member Johannes R. Becher, although the
Kulturbund’s member-​and leadership included antifascist intellectuals
from a wide range of political persuasions. The speeches at the inaugura-
tion were preceded by music by Beethoven and Tchaikovsky to under-
score the theme of German and Russian reconciliation.5 Becher shared
the stage with, among others, a Protestant pastor and several professors
and artists. In an emotional address, the Communist writer described
the Kulturbund’s goal of renewing German culture after the barbarity of
the Nazi years. The coalition of antifascist intellectuals represented in the
Kulturbund was to “resurrect” the “other Germany” by building on the
“rich heritage of humanism, classicism, and the workers’ movement.”6
The ceremonial inauguration of the Kulturbund has been documented
and described many times, especially in the historiographical literature
of the former German Democratic Republic (GDR). Yet, the event still
opens up questions that frame the analysis in the pages of this book.
What motivated this heightened emphasis on the role of German culture
so shortly after the war, in a defeated city that lacked the most basic
material goods? Why did the antifascist intellectuals who staged the event
seem to believe that their eclectic vision of German cultural renewal
would connect with the masses and create a new, “other” Germany? And
how did their project of a regenerated and reunified German culture play
out against the context of the brewing Cold War confrontation that made
occupied Germany its battleground and ultimately led to the country’s
division?
Like the building that provided the setting for its inauguration, the
Kulturbund ties into many of the turbulent and contradictory themes

4
For more on the relationship of architecture and memory in German history, see Hake,
Topographies of Class; Rudy Koshar, From Monuments to Traces: Artifacts of German
Memory, 1870–​1990 (Berkeley: University of California Press, 2000).
5
Toby Thacker, Music after Hitler, 1945–​1955 (Aldershot: Ashgate, 2007), 35.
6
Archiv der Akademie der Künste Berlin, Nachlass Becher, 39/​3, Blatt 7, Bl. 8.
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