二十世紀標誌著人類發展的一個重要時期，短短的一百年內經歷兩次世界大戰，不僅顛覆傳統社會階層，也為女性地位的改善奠定基礎。本文將聚焦於1920與1930年代的關鍵事件——在第一次世界大戰後德國威瑪和國的成立到納粹德國的興起為背景，以德國女性藝術家珍妮・曼門的作品為切入點，來分析這一時期德國女性社會的發展。

在納粹德國時期，政府沿用威瑪憲法，並於修改後實施嚴格的文學與思想審查制，使藝術與文學造成嚴重打擊與迫害。1930年代，珍妮・曼門的作品被納粹定性為「墮落藝術」（degenerate art），並被下令禁止創作或展出相關題材的作品。在這一時期，珍妮・曼門採取內心移民（inner emigration）的策略，拒絕創作宣傳納粹主義的藝術作品，選擇留在柏林轉而投身廣告產業。

珍妮・曼門藝術生涯中的創作始終圍繞於女同性戀權利，從威瑪時期對同性戀支持，到後來對內在自我的探索與認同。她在1920與1930年代所創作的豐富作品，清晰地反映她的立場。本文旨在探討珍妮・曼門從威瑪共和國到納粹時期的關鍵作品，以揭示當時德國女性藝術家所關心的社會議題。

The twentieth century marked a transformative era in human history, characterized by two world wars that not only disrupted traditional social hierarchies but also laid the foundation for significant advancements in women's status. This paper examines the evolving role of women in German society during the 1920s and 1930s, focusing on the period between the establishment of the Weimar Republic and the rise of Nazi Germany. Using the work of German female artist Jeanne Mammen as a central case study, the analysis highlights how socio-political changes influenced women's artistic expression and rights advocacy.
Under Nazi rule, strict censorship policies stemming from modifications to the Weimar Constitution severely curtailed artistic and literary freedoms. Mammen’s art was condemned as "degenerate" and subsequently banned, prompting her to adopt a strategy of "inner emigration"—refusing to produce Nazi propaganda and instead turning to commercial art.
Throughout her career, Mammen consistently addressed themes of lesbian rights and personal identity, particularly during the relatively liberal Weimar years. Her body of work from this period offers critical insight into the challenges and concerns of female artists under shifting political regimes. This study aims to explore Mammen’s key works as a lens through which to understand the broader socio-political issues affecting German women artists in the early twentieth century.

一、 中文專書
陳懷恩，《圖像學：視覺藝術的意義與解釋》 （Iconography and Iconology: The Meanings and Interpretations of Visual Arts）（臺北：如果出版，2008年。）
二、 中譯專書
懷特寧・查德維克（Whitney Chadwick）著， 李美蓉譯，《女性，藝術與社會》（Woman, Art, and Society）（臺北：遠流出版，1995年。）
艾文・潘諾夫斯基（Erwin Panofsky）著，李元春譯，《造型藝術的意義》（Meaning. in Visual Arts）（臺北：遠流出版，1996年。）
李歐梵著，毛尖譯：《上海摩登：一種新都市文化在中國（1930-1945）》（北京：北京大學出版社，2001年。）
三、 外文專書
Anscombe, Isabelle. A woman's touch : women in design from 1860 to the present day. ( London : Penguin Books, 1985.)
Blackbourn, David. History of Germany, 1780-1918 : the long nineteenth century. ( Malden, MA : Blackwell Pub., 2003.)
Barrcon, Stephanie, Degenerate Art. The Fate of the Avant-Garde in Nazi Germany.(New York : Harry N Abrams, 1991.)
Bridenthal, Renate. When Biology Became Destiny, Woman in Weimar and Nazi Germany.( New York : Monthly Review Press, 1984)
Carroll, Janell L. Sexuality and gender in society. (London : HarperCollins College. Publishers, c1996.)
Chadwick, Whitney, Women, art, and society (London: Thames & Hudson, 2020)
Clark, T.J. The painting of modern life : Paris in the art of Manet and his followers. ( London : Thames and Hudson, 1985, c1984.)
Clinefelter, Joan L., Artists for the Reich : culture and race from Weimar to Nazi Germany (Oxford : Berg Publishers, 2005)
Fer, Briony, Realism, rationalism, surrealism : art between the wars. (New Haven : University of Yale Press, 1993)
Gay, Peter, Weimar culture : the outsider as insider (New York: W. W. Norton & Company. 1991)
Gordon, Mel, Voluptuous Panic: The Erotic World of Weimar Berlin(Washington: Feral House, 2008)
Harvey, Elizabeth. Women and the Nazi East : agents and witnesses of. Germanization. ( New Haven : Yale University Press, c2003.)
Jelavich, Peter. Studies in Cultural History BELIN CABARET (The U.S.: Harvard College, 1993.)
Petropoulos, Jonathan. The Faustian bargain : the art world in Nazi Germany (London: Oxford University Press, 2000)
Katharina von Ankum, Women in the Metropolis – Gender and Modernity in Weimar Culture.( California: University of California Press, 1997)
Marhoefer, Laurie, Sex and the Weimar Republic: German Homosexual Emancipation and the Rise of the Nazis. (Toronto: University of Toronto Press, 2015)
Meskimmon, Marsha, Vision of “Neue Frau”: Women and the Visual Arts in Weimar Germany.(London: Scolar Press, 1995)
Meskimmon, Marsha, We weren't modern enough : women artists and the limits of German modernism. (California: University of California Press, 1999)
Michalski, Sergiusz, New objectivity : painting, graphic art and photography in Weimar Germany 1919-1933 (Köln: Benedikt Taschen, Köln, 1994)
Nichola, Hewitt, Montmartre a Cultural History. (The UK: Liverpool University, 2017)
Ostende, Florence, Into the night: Cabarets and clubs in modern art (London: Prestel, 2019)
Pateman, Daniel, Magic Realism: Art in Weimar Germany 1919-1933(London: Tate Modern, 2019)
Ritzheimer, Kara L., “Trash,” Censorship, and National Identity in Early Twentieth-Century Germany. (London : Cambridge University Press, 2016)
Schlör, Joachim, Nights in the Big City: Paris, Berlin, London, 1840-1930 (London : Reaktion Books, 2016)
Smith, H. Camilla, Jeanne Mammen: art between and conformity in modern Germany, 1916-1950.(The U.K.: Bloomsbury Visual Arts, 2022)

四、 中文期刊
陳懷恩，〈帕諾夫斯基的藝術學基本概念〉，《揭諦》9，（2005.07）頁75-124。

五、 外文期刊
Dölling, Irene, The “New Woman” of Weimar Republic: Visualization and Standardization of Modernization Processes（Berlin: Vistas Verlag, 2003), pp.77-91
Fuss, Diana. Inside/out : lesbian theories, gay theories. (London : Routledge, 1991)
Lmpela, Laurel, Including Lesbians and Gays in Art Curricula: The Art of Jeanne Mammen (New York : Visual Arts Research 33 no.1, 2007) , pp.34-43
Lmpela, Laurel, Portrait of Lesbian Couple. (New York : Journal of Gay & Lesbian Issues in Education, Vol.3(4), 2006) pp.07-10
Lütgens, Annelie, Jeanne Mammen. In L. R. Noun’s Three Berlin artists of the Weimar era: Hannah Hoch, Kathe Kollwitz, Jeanne Mammen. (Des Moines, IA: Des Moines Art Center, 1994)pp.93-122
Newsletter, Three Berlin artists of the Weimar era: Hannah Hoch, Kathe Kollwitz, Jeanne Mammen (California : Art in Print Review, 1995)pp.230
Petersen, Klaus, The Harmful Publication (Young Persons)Act of 1926. Literary Censorship and Politic of Morality in the Weimar Republic.( German Studies Review, Vol. 15, No. 3, 1992), pp. 505-523
Ramsey, Glenn, The Rites of Artgenossen: Contesting Homosexual Political Culture in Weimar Germany (Austin: University of Texas Press, 2008)pp.85-109
S. Atwood, Jordan R. Axt. “Assessing Implicit Attitudes About Androgyny” (London : Journal of Experimental Social Psychology, 2021) pp.01-13
Sarpenter, B. Stephen, II, What Is (the Matter) With Art Education? (London : National Art Education Association, 2019) pp.3-6
Smith, Camilla, Sex sells! Wolfgang Gurlitt, erotic print culture and women artists in the Weimar Republc, (Oxford: Special Issue: Weimar's Others: Art History, Alterity and Regionalism in Inter-War Germany, Vol. 42, issue 4, 2019)pp.780-806
Smith, H. Camilla, Questioning bohemian myth in WeimarBerlin: Reinterpreting Jeanne Mammenand the artist function through herillustrations Der Maler und sein Modell “The Painter and his Model” 1927 (Oxford : De Gruyter Mouton, 2014) pp.357-386
Sutton, Katie, “We Too Deserve a Place in the Sun”: The Politics of Transvestite Identity in Weimar Germany (Maryland : The Johns Hopkins University Press, 2012) pp.335-354
Sykora, Katharina, Jeanne Mammen (New York : Woman's Art Inc., 1989) pp. 28-31
Troeller, Jordan, Review: Jeanne Mammen, The Observer：Rrtrospective 1910-1975 Edited by Thomas Köhler and Annelie Lütgens Hirmer (Philadelphia: WOMAN’S ART JOURNAL, 2017 ) pp.49-51

六、 碩士論文
黃宗儀，〈瓦解性別差異：女性主義論述中扮裝、雌雄同體、與女同性戀主義之重新嵌入〉（國立台灣大學外國語文研究所碩士畢業論文，1993）。
陳秀珠，〈18-19世紀古希臘女詩人「沙芙」的圖像研究〉（國立高雄師範大學美術學系碩士畢業論文，2010）。
蔡昕曄，〈「墮落藝術」的誕生、展示與移動〉（國立臺北藝術大學美術學系碩士畢業論文，2023）。

七、 外文碩博士論文
PARK, SOOHYUN, FLAPPER FASHION IN THE CONTEXT OF CULTURAL CHANGES OF AMERICA IN THE 1920S (The U.S.: Master degree New York University, 2014)
Kreinik, Juliana D., The Canvas the Camera in Weimar Germany: A New Objectivity. in Painting and Photography of the 1920s (The U.S.: PhD. New York University, 2008)
Rogan, Clare l., Desiring women: Constructing the lesbian and female homoeroticism in German art and visual culture, 1900~1933 (The U.S.: PhD. Brown University, 2005)
Royal, Suzanne Nicole, Graphic art in Weimar Berlin: The case of Jeanne Mammen (The U.S.: PhD. University of Southern California, 2007)

八、 網路資料
Degenrate Art Exhibition Guide: The catalogue that accompanied the famous 'Degenerate Art' exhibition held in Munich by the Nazi party in 1937.
(http://lcc.onlineculture.co.uk/ttp/ttp.html?id=1bdcb351-e431-45a2-8fa7- 4fa343bdc27f&type=book)［檢索日期：2023年11月07日］
Kunsthandell Koskull: Gertrud Johanna Louise, gen. Jeanne, Mammen (21.11.1890 Berlin – 22.04.1976 ebd.) (https://kunsthandel-koskull.de/kunst-1900-1945/jeanne-mammen/)［檢索日期：2023年11月16日］
The Galerie St. Etienne began exhibiting Mammen’s work in 1990s, in connection with a never-realized museum project on female Expressionists. (http://www.gseart.com/artist/Jeanne-Mammen/bio ) ［檢索日期：2024年10月14日］
Voget, Renate., Ku'Damm 29, 2022 (https://www.schirn.de/en/magazine/context/2022/kunst_fuer_keinen/kudamm_29/)［檢索日期：2024年10月14日］
MoMA, Otto Dix, Kriegskrüppel, 1920 ( https://www.moma.org/collection/works/69799?artist_id=1559&page=1&sov_referrer=artist) ［檢索日期：2024年10月18日］
【歐洲服裝二三事】香奈兒女士如何改寫時裝歷史？（https://www.giect.ntnu.edu.tw/index.php/2021/05/03/20201115/）［檢索日期：2024年10月30日］
Paul, Morand. The allure of Chanel, 1976. 香奈兒品牌官方網站：（https://www.chanel.com/tw/about-chanel/the-founder/）［檢索日期：2024年11月09日］
“Nihilism and Boogie Woogie at the ‘Badewanne’” (September 7, 1949)（https://germanhistorydocs.org/en/occupation-and-the-emergence-of-two-states-1945-1961/neues-deutschland-nihilism-and-boogie-woogie-at-the-quot-badewanne-quot-1949）［檢索日期：2024年12月04日］
Through the eyes of Jeanne Mammen（https://www.mdc-berlin.de/news/news/through-eyes-jeanne-mammen）［檢索日期：2024年12月04日］
Max Beckmann, 1884-1950（https://artemperor.tw/focus/811）［檢索日期：2024年12月24日］
Otto Dix，1891-1969（https://www.moma.org/artists/1559）［檢索日期：2024年12月24日］
George Grosz, 1893~1959（https://artemperor.tw/focus/1360）［檢索日期：2024年12月24日］
Andy Stewart MacKay, Democratic Depravity: Curt Moreck’s Berlin（https://www.peterharrington.co.uk/blog/democratic-depravity-curt-morecks-berlin/）［檢索日期：2025年1月4日］