Romanticism, Spectacle, and a Critique of Wilhelmine Consumer Capitalism

Abstract

Many elements were woven into this rather sneering assertion by Ferdinand Avenarius, founder and editor of the leading cultural journal of Wilhelmine Germany,Der Kunstwart. Toys, by then thoroughly commercialized consumer goods, had “true value.” By extension, consumer goods could have value. Unfortunately for Avenarius, that value stands in “inverse ratio to its dazzle.” Dazzle did not simply obscure or even eliminate value, but rather maintained a complicated link. “Value” was the mirror image of “dazzle,” varying in equal and opposite proportion. That “inverse ratio” was also connected to the power that dazzle had over “weak minds.” The values and assumptions that informed and united Avenarius' broadside represent the subject of this essay. For Avenarius was not piecing together ideas at random, nor were they applicable to toys alone. Rather, this outburst was but one example of a persistent effort by German cultural elites to assess the problems as well as the possibilities of an increasingly commercial, even consumerist society. In that effort, Avenarius and others would mobilize the Romantic suspicion of vision and reemphasize the central importance of creativity and autonomous self-expression in the construction of genuine subjectivity. In this way, important elements of the Romantic tradition worked to authorize, even promote, certain types of consumer items while stigmatizing others, suggesting a nuanced and historically specific response to the challenges of modern consumerism.