Antiqua–Fraktur dispute

The Antiqua–Fraktur dispute was a typographical dispute in 19th- and early 20th-century Germany. In most European countries, blackletter typefaces like the German Fraktur were displaced by the creation of the Antiqua typefaces in the 15th and 16th centuries. However, in Germany and Austria, the two styles of printing coexisted until the first half of the 20th century. During that time, both styles gained ideological connotations in Germany, which led to long and heated disputes on what was the "correct" typeface to use. The eventual outcome was that the Antiqua-style typefaces prevailed when the Nazi Party chose to put an end to the use of Fraktur in favor of "normal typeface" ( German : Normalschrifterlaß ). Historically, the dispute originates in the differing use of these two typefaces in most intellectual texts. Whereas Fraktur was preferred for works written in German, for Latin texts the Antiqua-style typefaces were normally used. This extended even to English–German dictionaries; the English words would all be written in Antiqua, and the German words in Fraktur. Originally this was simply a convention. Conflict over the two typeface styles first came to a head after the occupation of Germany and dissolution of the Holy Roman Empire by Napoleon in 1806, which led to a period in the history of Germany in which nationalists began to attempt to define cultural values common to all Germans. There was a massive effort to canonize the German national literature—for example, the Grimm Brothers ' collection of fairy tales —and to create a unified German grammar . In the context of these debates, the two styles became increasingly polarized: Antiqua typefaces were seen as "un-German", and using them took on connotations of "shallow", "light", and "not serious".

In contrast, Fraktur, with its much darker and denser script, was viewed as representing allegedly German virtues such as depth and sobriety. During the Romantic Era , in which the Middle Ages were glorified, Fraktur additionally gained the (historically incorrect) interpretation that it represented German Gothicism . For instance, Goethe 's mother advised her son to refrain from using the un-German Antiqua “for God’s sake”. Otto von Bismarck was a keen supporter of German typefaces. He went so far as to refuse gifts of German books in Antiqua typefaces and returned them to sender with the statement Deutsche Bücher in lateinischen Buchstaben lese ich nicht! ( ' I don't read German books in Latin letters! ' ). [ 1 ] The dispute between Antiqua and Fraktur continued well into the 20th century. Arguments for Fraktur were not only based on historical and cultural perceptions, but also on the claim that Fraktur was more suited for printing German and other Germanic languages, as their proponents claimed it to be more readable than Antiqua for this purpose. A 1910 publication by Adolf Reinecke , Die deutsche Buchstabenschrift , claims the following advantages for using Fraktur as the German script: On 4 May 1911, a peak in the dispute was reached during a vote in the Reichstag . The Verein für Altschrift ("Association for Antiqua") had submitted a proposition to make Antiqua the official typeface (Fraktur had been the official typeface since the foundation of the German Empire ) and no longer teach Kurrent (blackletter cursive ) in the schools. After a long and, in places, very emotional debate, the proposition was narrowly rejected 85–82.

Nazis had a complex and variable relationship with Fraktur. Adolf Hitler personally disliked it. In fact, as early as 1934 he denounced its continued use in a speech to the Reichstag : [ 6 ] Your alleged Gothic internalization does not fit well in this age of steel and iron, glass and concrete, of womanly beauty and manly strength, of head raised high and intention defiant [...] In a hundred years, our language will be the European language. The nations of the east, the north and the west will, to communicate with us, learn our language. The prerequisite for this: The script called Gothic is replaced by the script we have called Latin so far [...] Nonetheless, Fraktur typefaces were particularly heavily used during the early years of the Nazi era , when they were initially represented as true German script. In fact, the press was scolded for its frequent use of "Roman characters" under "Jewish influence", and German émigrés were urged to use only "German script". [ 7 ] However, Hitler's distaste for Fraktur saw it officially discontinued in 1941 in a Schrifterlass ("edict on script") signed by Martin Bormann , which asserted that it was falsely called "Gothic" and actually consisted of Schwabacher Judenlettern ("Jewish letters"). [ 8 ] One of the motivations seems to have been compatibility with other European languages. The edict mentions publications destined for foreign countries, Antiqua would be more legible to those living in the occupied areas; the impetus for a rapid change in policy probably came from Joseph Goebbels and his Propaganda Ministry . [ 9 ] Readers outside German-speaking countries were largely unfamiliar with Fraktur typefaces.

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