Reactionary modernism

Reactionary modernism is a term first coined by Jeffrey Herf in his 1984 book, Reactionary Modernism: Technology, Culture and Politics in Weimar and the Third Reich, to describe the mixture of "great enthusiasm for modern technology with a rejection of the Enlightenment and the values and institutions of liberal democracy" which was characteristic of the German Conservative Revolutionary movement and Nazism. In turn, this ideology of reactionary modernism was closely linked to the original, positive view of the Sonderweg, which saw Germany as the great Central European power neither of the West nor of the East.

Herf's application of the term to describe Fascism has been widely echoed by other scholars. Herf had used the term to denote a trend in intellectual thought during the era, what German novelist Thomas Mann had described as "a highly technological romanticism" during the interwar years. Herf used the term in reference to a wide range of German cultural figures, including Ernst Jünger, Oswald Spengler, Carl Schmitt, and Hans Freyer. Historian Nicolas Guilhot has broadened the scope of reactionary modernism, applying the term to trends in Weimar Republic industry, medicine (eugenics), mass politics, and social engineering. Reactionary modernism can be seen in the Fascist concept of the New Man, as well as in art movements of Weimar culture that emphasized rationalism and embraced Futurism and the New Objectivity. Many Weimar period artists rejected the Futurists' fetishization of machinery and violence, for example the proponents of German Expressionism. Despite this, the return to order became a dominant theme in German culture and in that of other European countries.