第六章，“交通作为公民的艺术”，考察了魏玛共和国时期德国交通、社会和个体体验之间复杂的关系。该章首先描绘了 1920 年代汽车保有量迅速增长的场景，并将其与早期私人汽车和司机的奢华形成对比。交通密度不断增加，既令人着迷又令人焦虑，反映了那个时代更广泛的社会变革和焦虑。本章探讨了交通如何被视为共存的流动，既成为连接的手段，又成为潜在危害的象征。 哲学家特奥多尔·莱辛 (Teodor Lessing) 早期对噪音污染的担忧被突出显示，预示了弗里茨·朗 (Fritz Lang) 的《大都会》等城市的反乌托邦景象。阿尔弗雷德·德布林 (Alfred Döblin) 的《柏林亚历山大广场》提供了一个关于这种焦虑的文学例证，主角弗兰茨·比伯科普夫 (Franz Biberkopf) 从监狱释放后，被城市混乱的交通所淹没，经历了一场“出生创伤”。城市本身成为了一个对手，摆脱了个人，并挑战了叙事和身份的传统观念。 柏林人口的迅速增长进一步加剧了这些焦虑，创造了一种生活在一个同时存在于现在和反乌托邦未来的城市中的感觉。交通堵塞和人群加剧了对迫在眉睫的“巴比伦和蛾摩拉”的恐惧，再加上对犯罪和恶习的担忧，将这座城市描绘成一个吞噬一切的怪物。 为了解决交通拥堵，城市规划师马丁·瓦格纳 (Martin Wagner) 设想了一个以交通需求为中心的现代高效城市。他为亚历山大广场制定的计划旨在通过多层主干道简化交通，并将行人、有轨电车和汽车的交通流量区分开来。虽然他的一些想法没有实现，但他设计的环形交叉路最终导致了一个美学上令人失望的空间，充斥着空地和空虚感。“贝洛里纳”雕像被移除，因为它被认为对于现代时代来说过于老旧，象征着这种向“无脂肪”城市景观的转变。 瓦格纳的愿景，既受功能性又受利润的驱动，试图将消费与交通流量结合起来，确保城市通过城市发展投资不断更新。这种愿景虽然具有进步性，但与保守主义理想相冲突，后者感叹传统的丧失和世界主义的兴起。 本章随后介绍了关于城市的对比视角。当保守派谴责城市生活时，约瑟夫·罗特 (Josef Roth) 等人拥抱城市及其基础设施，将“格莱斯德莱克” (Gleisdreieck) 视为充满活力的未来的象征。这引发了文化辩论，“沥青文学家”赞扬这座城市，而赫尔曼·普莱斯纳 (Hermann Plessner) 等人则提倡“谨慎”——一种巧妙的社会互动——作为在匿名城市生活中导航的一种手段。 本章强调了 Zekewid Karkawa 分析的交通灯和信号的重要性，反映了导航复杂城市环境所需的新形式的专注和直觉。普莱斯纳的理论，强调妥协和社会距离，在魏玛共和国社会的背景下尤其具有相关性，在这个社会中，不同的个体必须学会共存。 本章将“漫步者”（城市的观察者）的经历与汽车驾驶员的经历进行了对比。弗兰茨·赫塞尔 (Franz Hessel) 强调缓慢、审慎的漫步，挑战了速度崇拜。汽车被视为现代性和个人自由的象征，激发了贝尔托特·布莱希特 (Bertolt Brecht) 的诗歌创作，但也引发了对其破坏潜力的担忧。 本章最后探讨了 1920 年代女性和汽车形象的改变。从赋予女性驾驶权力的形象到关于事故的警示故事，汽车象征着女性独立的新时代。克莱奥尔·斯蒂尼斯 (Cleoore Stinis)、艾尔·卡曼 (Irre Kammann) 和鲁德·兰肖 (Roud Landshaw) 等人物体现了这种不断变化的格局，但本章也承认，并非所有女性都体验到了这种自由，并且存在着巨大的不平等。

Chapter 6, "Traffic as the Art of Citizenship," examines the complex relationship between traffic, society, and individual experience in Weimar Republic Germany. The chapter starts by setting the scene of the rapid increase in automobile ownership in the 1920s, contrasting it with the earlier luxury of private cars and chauffeurs. The increasing density of traffic becomes a source of both fascination and anxiety, mirroring the broader social changes and anxieties of the era. The chapter explores how traffic, viewed as the fluid of coexistence, became both a means of connection and a symbol of potential harm. The philosopher Teodor Lessing’s early concerns about noise pollution are highlighted, foreshadowing the dystopian visions of cities like Fritz Lang's *Metropolis*. Alfred Döblin's *Berlin Alexanderplatz* provides a literary illustration of this anxiety, with the protagonist, Franz Biberkopf, experiencing a "birth trauma" upon his release from prison as he is overwhelmed by the city's chaotic traffic. The city itself becomes an antagonist, shaking off individuals and challenging traditional notions of narrative and identity. The rapid growth of Berlin's population further intensified these anxieties, creating a sense of living in a city that existed simultaneously in the present and in a dystopian future. Traffic jams and crowds fueled fears of an impending "Babylon and Gomorrah," compounded by concerns about crime and vice, painting the city as a devouring monster. To combat gridlock, city planner Martin Wagner envisioned a modern, efficient city centered around the needs of traffic. His plans for Alexanderplatz aimed to streamline movement with multi-level thoroughfares and differentiate traffic flows for pedestrians, trams, and cars. While some of his ideas didn't materialize, his roundabout design ultimately resulted in an aesthetically underwhelming space, marked by vacant lots and a sense of emptiness. The removal of the Berolina statue, deemed too old-fashioned for the modern age, symbolized this shift towards a "fat-free" urban landscape. Wagner’s vision, driven by both functionality and profit, sought to integrate consumption with traffic flow, ensuring the city's continuous renewal through urban development investments. This vision, while progressive, clashed with conservative ideals, which lamented the loss of tradition and the rise of cosmopolitanism. The chapter then introduces contrasting perspectives on the city. While conservatives condemned urban life, figures like Josef Roth embraced the city and its infrastructure, seeing the "Gleisdreieck" as a symbol of a dynamic future. This sparked cultural debates, with "asphalt literati" praising the city and figures like Hermann Plessner advocating for "tack" – tactful social interaction – as a means to navigate anonymous urban life. The chapter highlights the significance of traffic lights and signals, as analyzed by Zekewid Karkawa, reflecting the new forms of concentration and intuition required to navigate the complex urban environment. Plessner's theories, emphasizing compromise and social distance, were particularly relevant in the context of Weimar Republic society, where diverse individuals had to learn to coexist. The chapter contrasts the experiences of "flâneurs," observers of the city, with those of car drivers. Franz Hessel's emphasis on slow, deliberate strolling challenged the cult of speed. The motorcar was seen as a symbol of both modernity and individual freedom, inspiring poetry from Bertolt Brecht but also raising concerns about its destructive potential. The chapter concludes by exploring the changing representations of women and cars in the 1920s. From the empowering images of women at the wheel to cautionary tales of accidents, the car symbolized a new era of female independence. Figures like Cleoore Stinis, Irre Kammann, and Roud Landshaw embodied this changing landscape, but the chapter also acknowledges that not all women experienced this freedom, and there were vast inequities at play.